tag:blogger.com,1999:blog-10744725380527107572024-03-09T21:46:38.975-05:00Jo Weldon's New York School of BurlesqueWelcome to this burlesque school in a blog!
This site features Class Announcements, Tutorials, Interviews, Professional Coaching, and More.
You can ask a question, request an article about a topic, or book Jo to teach, host, or perform by emailing headmistress@schoolofburlesque.com.
See schoolofburlesque.com for live class schedule, or book a private session now through email. Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.comBlogger584125tag:blogger.com,1999:blog-1074472538052710757.post-55665768501745766942024-01-19T12:21:00.002-05:002024-01-19T12:21:31.741-05:00Burlesque Festivals in 2024!Burlesque festivals are more popular than ever in 2024, and many times students ask me if it's too soon for them to go to a festival if they're new performers.
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It's never too soon!
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Festivals are a great way to discover performers, producers, and venues, and to meet new people. They are a concentrated networking opportunity that includes amazing shows and often with unique classes by headliners and locals. They’re usually expensive to travel to, but with this list you might be able to find some within driving distance, so you can get your first few festival experiences without a major investment. Remember to be yourself so you attract people who share your interests, instead of trying to impress people who intimidate you (and remember, sometimes getting intimidated by a person is something you do to yourself, not something they do to you – you are worthy of respect and having your art respected, at all times! Nobody is important enough to pander to or be insulted by). Make compatibility your number one priority.
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My number one tip for applying? Follow the instructions!
If you're like me (ADHD and on the spectrum), or even if you just have trouble with the jitters when you get nervous, you may have to read through the application more than once, or even read it out loud, to get clarity on what is being requested and in what format. However, once you are sure the instructions are clear to you, all you have to do is follow them!
If you have a question, check the website or read through the application again to make sure you didn't miss something. Putting together a festival is overwhelming and producers are often upset that after all the work they did to make sure information was available, you didn't bother to read it. On the other hand, producers DO sometimes make mistakes, or make details hard to find, so it's not necessarily your fault if you can't find the info. Just do the best you can, and use your own judgement, while keeping in mind that producers are very very busy during application seasons.
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Looking for festivals to attend or apply to? You can get started with my festival list, which also includes links to other sources of festival information.
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<a href="https://docs.google.com/document/d/1c7s4Bv03ozUQthIfCw-iCKlWKBIkxYov5fyJXc65OEI/edit?usp=sharing" target="_blank">https://docs.google.com/document/d/1c7s4Bv03ozUQthIfCw-iCKlWKBIkxYov5fyJXc65OEI/edit?usp=sharing</a>
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Let me know if you have any trouble with the link.
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Do you have any suggestions for students reading this article? Any festivals you think I should add to my list? Let us know in the comments!
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Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-59150123653812972312023-08-03T17:26:00.004-04:002023-08-03T17:26:51.919-04:00Creating Your Best Videos -- with Alek Paliński
The New York School of Burlesque is so excited and honored to have Alek Paliński as a guest author this month! With his 7 years of experience in burlesque, Alek has performed all over the world and contributed to the creation of many burlesque acts. He's worked with iconic burlesque performers, such as Dita Von Teese, Dirty Martini and Zelia Rose, to name a few.<BR>
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Enjoy Alek's comprehensive guide to filming your burlesque act for performance submissions. We get so many questions about this topic and this guide is just what performers need to put their best work forward when submitting for an audition or applying for a festival or gig.
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The world of burlesque continues to flourish, bringing more interest and a fresh wave of enthusiasm towards the art form. A new generation of performers combined with the post-pandemic reality in live entertainment makes it harder for the up-and-coming artists to book work. In-person auditions are increasingly rare. Video submissions have become the new standard for presenting work to many promoters, festivals and events. In the digital age, it’s important to be able to show off your work in a video form. Additionally, having one’s work captured this way allows to submit for events and festivals all around the world, not just locally! So what does it take to create a high quality, universal, effective video that will show off your act and skills in the right way? What are promoters looking for such videos and how to best captivate them through a camera lens? Let’s explore some tips, ideas and best practices that you can never go wrong with.
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Environment<BR>
One of the most important and often neglected components of performance videos is the environment. It’s a great idea to put some thought, effort and, if possible, finances, behind the location in which the video will be shot. For burlesque, using a small theater stage is ideal, but can be very costly. However, there are a number of ways in which the theater environment can be imitated. Perhaps you know a local bar, a speakeasy, or a comedy club with a small stage and a vintage feel that could serve as the set of your video. Sometimes you can get access to those spaces for a small fee outside of their business hours. There are also a lot of amazing locations available for rent at an hourly rate through websites such as peerspace.com. Some of them are created specifically with themed video shoots in mind. Another option could be researching dance studios in your area and booking a room with no windows that could be completely blacked out. Some of these studios have very advanced lighting options available. Alternatively, you could hire a videographer who has their own lights, often included in the price of filming and editing your video. A blacked out room with appropriate, intimate lighting can mimic the theatre stage pretty well.
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Why is this important? Making the environment in your video as close as possible to that of a performance space makes it look professional. It allows the viewer to feel what the audience would feel watching the performance in real life. It helps them imagine the artist as a part of their event, festival, or space. If the video helps them envision the performer on a professional stage, they’ll be more likely to hire them over someone who filmed their act in a living room.
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How to film efficiently<BR>
When renting a space, being able to film quickly saves money. Make sure you arrive camera ready and warmed up, ready to go. It’s important to efficiently capture various shots of the performance: wide, medium, and close-up. Having different shot options will come handy in the editing process. It will also help to hide any imperfections in the performance by switching to a different take/angle. To make this process quick, I’d suggest filming the entire performance in a wide shot a few times first, before switching to the medium, close-up, etc. With the wide take of the entire number, focus on performing big and your overall execution. Once you’re satisfied, move on. Fight the urge to watch playback of each shot while you’re in the space. It’ll consume more time than you think and you may end up not capturing all the takes needed for a successful edit later. Trust yourself!
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Close up - Face and Costume<BR>
During the close-up takes, focus on your facial expressions. Play with the imaginary audience, help the viewer feel your connection with the crowd. This is very important. Tease, smile, wink, and point at the imaginary audience members. It will let the promoter know you have the ability to command the stage. Show off your character and make it your superpower. Additionally, a big part of the art of burlesque is the costume and the way in which it comes off. The more imaginative, the better. It is always a great idea to do a close-up shot focused solely on the details of your costume (and it coming off), just like you’d do a close up of your face. This way, you can highlight the most impactful moments of the striptease by directing the camera (and the viewer’s eye) exactly where you want it to go.
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Camera Movement<BR>
Another important factor in filming a solo performance is camera movement that adds dynamism to the act. Dance naturally loses some of its power on camera and tends to become flat. By adding camera movement you can mimic a more dynamic experience that viewers would have watching you in person. This is why it’s important to work with a videographer who is experienced in filming movement, rather than putting a camera on a tripod for a dry, steady shot. A little bit of movement in the wide shots (punching in and out, swinging from side to side) will come a long way in making those shots more captivating and dynamic.
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Editing<BR>
This is another very important part of the process. Most videographers will edit the video for you, however, it is important to ensure you will be able to share your creative input, give them notes and make changes to the edit. You should clarify this with the videographer before you book them. Some videographers will let you join them during the editing process and make choices in real time… Most prefer to provide you with a draft first and then implement your notes. This is where you become a director of your video. Step into the audience’s shoes, imagine you’re seeing the performance for the first time. What excites you? What keeps you engaged? Where do you want the viewer’s attention to go, what do you want them to feel in each moment of the video? Highlight these things in the edit using tools we spoke about earlier: switching between wide shots and close ups, between facial expressions and costume details, between the steady and dynamic moving shots. Think of where the audience's eyes would naturally go during a live performance and keep this in mind for your montage. Make sure to maximize the tease aspect of the video as much as possible and leave the audience wanting more.
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Additionally, it is important to ask your videographer for all the raw footage files from your shoot. That way, you’ll be able to watch everything on your own time prior to working on the montage and identify your favorite moments, so you can have them included in the final cut.If you are on a tight budget and can’t afford to pay for editing, there are multiple free tools out there that you can use to edit yourself (e.g. iMovie.) Most of them have an intuitive layout and with a little bit of time, you can learn them from YouTube tutorials!
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Coloring<BR>
If you do end up working with an editor, it would be ideal to find one who can do basic color grading (or “color correction”) as well. You’d be surprised how powerful coloring can be. A few subtle adjustments can bring a whole new quality level to your video. Color correction can go a long way in making something look beautiful, especially if lighting options in the space were limited. There are many amazing colorists out there who specialize solely in this, but it can get very expensive for a self-funded project. Finding a videographer who can film, edit, and do basic color correction would be ideal for a small project like this. Working with one person in a “one-stop-shop” manner will save you time and money.
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Final touches
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• Make your number memorable. Create a name for it! Something intriguing that nods to the visual appearance or the story in your act. Name of the performer and the number plus contact information should appear in the beginning and the end of your video, as well as in the caption when you post it. Make those parts of the video visually pleasing, too. Think of it as a book cover. Choose a font and colors to match the overall mood of the performance.
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• Upload your video as “unlisted” on YouTube or “private” on Vimeo. This will allow people you share the link with to view it, but it won’t be visible to anybody else. Of course you don’t want to give your act away to the public, just have it handy for submissions. You can send it to promoters of events/festivals/spaces you are interested in. It’s always a good idea to also make a shorter “teaser” version of the same video and put it up on your social media, YouTube, etc. This way you can get a broader audience interested in your work, while showing the full version only to potential clients.
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• Lastly, let’s talk about a few things a promoter looks for in an act and a video submission: stage presence, connection with the audience (show it with those close-ups!), beautiful costume (and an original way in which it comes apart!), distinct look (what makes you stand out and sets you apart from other performers in the genre?), overall originality (it’s always better to be yourself than a second-best copy of someone else.) Finally: less is more, especially in the art of stripTEASE.
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When the work is finished and you have the brand new, shiny video showcasing your work - send it everywhere! Don’t be timid and reach for the stars. What’s the worst that can happen? Maximize the potential of the hard work, investment and time it took to capture your act on camera. Show it to anybody that may be able to hire you, be consistent, and watch the magic happen!
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About Alek Paliński<BR>
Alek is a professional dancer and choreographer born and raised in Poland. He received a Jazz Dance Instruction and Choreography degree under Kielecki Dance Theatre from the Ministry of Culture and National Heritage of Poland. After a successful dance career in Europe, in 2015 he moved to Los Angeles.
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With 15 years of experience as a dancer, choreographer and educator, Alek is an active member of exclusive industry organizations: Television Academy, SAG/AFTRA, National Dance Education Organization, Dance/USA and Dance Studies Association. He is also a Founding Member of the Choreographers Guild. In 2023, Alek was nominated for the National Dance Education Organization “Outstanding Leadership in the Independent Sector” National Award. He is committed to staying an in-demand dancer, choreographer, and educator, with deep roots and expertise in the dance community and the entertainment industry.
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Some of Alek’s professional credits include: Celine Dion, Pharrell, Jessie J, Karol G, Kehlani, Camila Cabello, Finneas, Kim Petras, Christian Louboutin and Dita Von Teese. He regularly performs on TV/Film and live stage. Some of his screen credits include: SYTYCD, X Factor, NBC The Voice, CBS The Talk, “Don't Worry Darling” Motion Picture, "Sitting in Bars with Cake” Motion Picture, FOX “Monarch", Paramount + “1923" and Dancing With The Stars.
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Alek's love for writing started with his mother, a high school Polish teacher. Before dance, he considered journalism as a possible future career. He fulfills this passion by authoring scholarly articles focused in the field of dance and entertainment industry.
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<a href="Alek%20in%20Dance%20Magazine" target="_blank">https://www.dancemagazine.com/alek-palinski/</a>
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Representation: MSA Agency Los Angeles
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<a href="Linktree" target="_blank">http://linktr.ee/alekpalinski</a>
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<a href="Alek%20on%20Instagram" target="_blank">http://instagram.com/alekpalinski</a>
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Reel: <a href="Alek%27s%20Reel" target="_blank">https://vimeo.com/435888095</a>
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<a href="Email%20Alek" target="_blank">alekpalinski@gmail.com</a>
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Do you have further questions or suggestion? Drop them in the comments below!
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Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-4003103964477135592023-01-11T19:31:00.008-05:002023-01-11T19:35:26.900-05:00Burlesque Festivals!<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil0vpvcBUy6dkpfUMhnAkLrBMQJOGWYSC8DjPS0yWCuJp1lzHJVZZLauQXy5zqzU7t1mXnHtzzzxefD1MRHf3XdpxuieQXIV_hw38orSerxNd4ZTmU_Z0TvuKEYAwqzk7J-qcWbwBYKLRbcIVub03zrunaylAc6qlqeHV2woucH_81nPUAMW0pYTYP/s650/539236_10152433773926844_1165186541_n.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="600" data-original-height="433" data-original-width="650" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil0vpvcBUy6dkpfUMhnAkLrBMQJOGWYSC8DjPS0yWCuJp1lzHJVZZLauQXy5zqzU7t1mXnHtzzzxefD1MRHf3XdpxuieQXIV_hw38orSerxNd4ZTmU_Z0TvuKEYAwqzk7J-qcWbwBYKLRbcIVub03zrunaylAc6qlqeHV2woucH_81nPUAMW0pYTYP/s600/539236_10152433773926844_1165186541_n.jpg"/></a></div>
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Hello Burlesquers!
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I've been inspired to update my Burlesque Festival List, which includes dozens of festivals in the US and around the world, as well as links to social media accounts that keep their own lists so you'll always get the latest information.
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<a href="https://docs.google.com/document/d/1c7s4Bv03ozUQthIfCw-iCKlWKBIkxYov5fyJXc65OEI/edit?usp=sharing" target="_blank">Check out my burlesque festival list now!</a>
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Looking for tips on making your best impression when applying to burlesque festivals or other shows? Follow the instructions on the application and<BR>
<a href="https://burlesquedaily.blogspot.com/2019/04/apply-yourself-tips-for-successful_4.html" target="_blank">BE PREPARED!</a>
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Photo: BurlyCon 2013 , by Don Spiro
Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-80637769870097390572022-06-21T10:22:00.009-04:002022-08-01T10:35:07.977-04:00How to Get Started as a Performer in Burlesque<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh58R1S6Cw_GNUuhZI2rZZw19he2f9QRh2pVII72hx4Ce73botVqWmXGHBa-S8loMhlUuc4bHBrhE5TYoJXxQlfV1fe654hKWemtcZruNSVDCWUqBXMrkNW_zkZjd0XwOGj_TP8dHGiWWxA6eq6NJQsE2gBI0bhZezpERr0RFLWxrcOaChiLXRvmOkH/s450/JoWeldon-1581586815059.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="328" data-original-width="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh58R1S6Cw_GNUuhZI2rZZw19he2f9QRh2pVII72hx4Ce73botVqWmXGHBa-S8loMhlUuc4bHBrhE5TYoJXxQlfV1fe654hKWemtcZruNSVDCWUqBXMrkNW_zkZjd0XwOGj_TP8dHGiWWxA6eq6NJQsE2gBI0bhZezpERr0RFLWxrcOaChiLXRvmOkH/s400/JoWeldon-1581586815059.jpg"/></a></div>
<P>Above: Jo Weldon performing at The Burlesque Hall of Fame.<BR>Photo by Tigz Rice.</P>
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Many students come to my classes with the intention to perform professionally. Not all who want to perform want to become fulltime performers, but they'd like to get onstage now and then.
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I work in the field of what I call "Independent Burlesque," where most performers are creating individual acts that then get booked into variety or burlesque shows. People also sometimes hear about a theme for a show and then create an act based on that theme, or start producing a show for which they then create acts. There are as many different approaches as there are people to come up with them. However, for this article, let's focus on what most of my students are asking me about, which is how to get booked as a solo performer in a burlesque show that already exists. I'll also be focusing mostly on how things work in New York. Traveling to work is a separate topic, but I'll have an article about that too!
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You can do the following steps in a different order, but this is a common format that works for a lot of people.
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1) Think about what you like about burlesque and what inspires you and what kinds of acts you'd like to create.
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2) Create those acts! Train yourself or take classes. Don't know how? The Burlesque Handbook is a good place to start. You can buy the ebook as soon as you read this article and start immediately -- just do a search for it on your favorite bookstore or library website, or you can order the hard copy and wait a few days. This book has full guidelines on creating a routine and includes tips on how to choose a stage name, select music, develop costumes, do choreography, make pasties, and get gigs.
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3) Make sure you have a unique stage name! See <a href="http://burlesquedaily.blogspot.com/2019/04/tips-for-tuesday-stage-names-for.html">this article</a> for more information.
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4) Set up social media and email with your stage name. If your stage name is already taken on social media or email, you may not have a unique-enough name.
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5) Now that you're a stage name on social media, follow a bunch of burlesque performers and producers who interest you.
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6) See if there are shows that include the kind of burlesque you want to do. Research online for burlesque shows in your area. Go to them if you can -- that way you can get a sense of the show and network with the other performers who are bound to be in the audience! Feel free to tell them you're thinking about performing, but don't be pushy or overwhelm them all the details about what inspired you and what you plan to do. Be both enthusiastic and elegant.
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7) You can start out as a <a href="http://burlesquedaily.blogspot.com/2011/08/stage-kitten-guidelines.html">stage kitten</a>, which is a great way to network and learn backstage.
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8) If there aren't any shows that do what you want to do, look for burlesque groups on Facebook in your area and see if any other performers want to develop one. Be sure you know a bit about what's going on in your area before you go about making bold statements like, "I want to do the first burlesque show with live rock music in Seattle!" Um, you'd be far from the first. Just take it easy, be respectful, and don't burn any bridges with ignorance or over-enthusiasm. When in doubt, simply ask, "Is anybody in Seattle doing live music shows?"
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9) When you start performing, be easy to work with: send your music on time labeled as requested in the format requested, show up for the gig on time, don't ask questions that are answered in the show emails, and treat everyone with respect backstage, on stage, in the audience, and tip the people who work at the venue. Also, don't get wasted the first time you perform with a given producer or venue, trust me. Many burlesque producers have thanked me for including a chapter on backstage etiquette in The Burlesque Handbook. Having good backstage manners will take you far!
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10) Thank producers for every gig. If you tag them on social media and talk sincerely about what a great time you had and how awesome they were and how fabulous the audience and venue were, you'll be making friends.
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There are articles on this blog related to all of the things I suggested above. Use the search box at the top of the blog to find articles on every topic, from which shoes to wear to how to make a headdress.
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That's enough to get anybody started! Got questions? Different points of view? A topic you'd like me to cover on this blog? Comments are open!
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Want more? Check out <a href="https://burlesquedaily.blogspot.com/2022/01/business-of-burlesque-presentation.html">this presentation</a> on how to get your first gigs in burlesque!
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Article by <a href="http://www.joweldon.com">Jo Weldon.</a>
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Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-75525787328660486352022-06-04T13:35:00.001-04:002022-06-04T13:35:25.820-04:0012 Tips on Supporting Friends in Burlesque Competitions
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<P>Above: Miss Poison Ivory winning the Burlesque Hall of Fame pageant, 2016.<BR>Photo by Don Spiro.<BR>Image via burlesquehall.com.
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BY JO WELDON<BR>
NOVEMBER 19, 2014<BR>
This article was originally published at<BR>
https://21stcenturyburlesque.com/12-tips-supporting-friends-burlesque-competitions-jo-weldon/
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In the world of burlesque, ballyhoo is part of the fun. Taglines and titles pique the audience’s curiousity and make for vivid introductions by emcees. Pageants and competitions offer opportunities to make things up and then invent value for them. It should always be in a spirit of fun, but of course it can get much more complicated than that.
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In a spirit of support and compassion for competitors, I’d like to offer the following suggestions for being a good friend to someone who is participating. You know your friends best, and some of these suggestions might not work for everyone, but I hope they help friends of competitors think about the best ways to be supportive.
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1. Feel free to pamper, if you’re that kind of friend. Many competitors told me it was helpful to them when friends surprised them by offering to help them rehearse, work on their costumes, or do their hair for the show. If this is something you’d enjoy doing for your friend, it will be appreciated! Bring them a healthy snack when you know they’re stressed, have a pedicure party, help them glue rhinestones. It’s simply a matter of whatever you, as a friend, know would be the most supportive of them.
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2. Give them space if they want it. Many times, they may not be talkative about their preparations, and might want to be alone beforehand. Some competitors have told me that they get nervous when people ask them if they’re nervous. I’m guilty of this myself. I get nervous for them and then ask them if they’re nervous, which they weren’t until I inadvertently conveyed my nervousness for them. Now we’re all nervous.
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3. Honour their feelings. It’s okay if they have intense feelings. If they actually are nervous, there’s no need to talk them out of it. Let them process it and get to the other side, and they’ll be grateful you didn’t short-circuit them on the way.
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4. Talk them up. Remind them of all the awesome they are, and of every time they’ve blown people away. Help them access their own excellence by reminding them of how it feels to be excellent. If they say, “But what about that time I tripped and cried?” say, “But what about that time you got a standing ovation?”
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5. Refrain from talking down others. It doesn’t help to talk down the pageant or the other competitors. It may make your friend feel foolish for participating, or, if they become convinced that all the other people in the pageant aren’t very good, make them wonder if they also aren’t very good. “It’s an honour just to be nominated” is actually a valuable sentiment, and a generous and most often true one.
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6. Support at the show. If at all possible, go to the show and cheer. Actually screaming out their name continuously may have the opposite of the desired effect and can make the judges feel distracted, harassed, or manipulated, and that is not good for your friend. However, your friend knows the sound of your “Woooooooo!” and it will make them feel supported.
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7. Let it be about them. Save your description of the time you competed on America’s Top Potato Peeler for your interview with Rolling Stone – or for another time long after the competition.
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8. Give realistic advice. If you know, based on empirical evidence, a lot about the competition, it makes sense to talk about it with your friend to help them evaluate the best way to maximize their performance experience. If you’re speculating or relying on second-hand information, take care. You may feel justified to speculate, but you don’t want to help your friend second-guess themselves out of their best performance with half-true information.
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9. Support them even if they win. If they win, let them have a day of handling it improperly before you decide how they’re handling it. Whatever you do, encourage them to be gracious. Don’t insult their competitors and previous winners by saying things like, “It would have been criminal for anyone else to win,” which in effect says it wasn’t much of a win since everyone else was pretty bad, or “Finally, a real queen of this pageant,” which is unnecessarily insulting to the previous winners, and trivializes the win by implying that he or she is now in the company of a lot of unimpressive previous winners who didn’t live up to the hype about the competition.
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10. Support them even if they don’t win (most competitors don’t, you know). See #5. Also, see #9. Also, it probably isn’t helpful to them at all to tell them that they were robbed or that it was rigged. Again, honour their feelings, let them rant a bit if they must if that’s part of their natural process, but don’t feed their anger. On one hand, if you don’t let them be upset, you short-circuit their feelings. On the other hand, if you express anger, you increase the value of the title they did not win by the intensity of your feeling about it. Be cool, be kind, feel the love for all.
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11. Make it about the performance, not the title. It’s totally possible that your friend may be a better performer than the winner, but did not win. This is not a huge betrayal of them and their passion. It is simply the outcome of a pageant that was made up by somebody and that some other people decided to take seriously and that came out that way on that particular night. Also, there are people with fantastic international careers who have never competed or have competed but not won a title. Generally speaking, no actual harm has been done – to your friend, or to our occasionally grandiose art form. In many cases you can honestly tell them, “You were good enough to win, I don’t know why you didn’t” without getting into a hater loop. Hater loops are bad for everybody.
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12. Be consistent if you’re inclined to criticize them for wanting to compete. If you don’t believe in competition, that is a valuable point of view to be discussed. However, if you don’t believe in competition, then consider whether you are giving your friend mixed signals. Do you get excited or angry about who wins reality show competitions? Do you judge or otherwise participate in competitive events? Do you do audience member participations with competitions in them? Do you use superlatives in your taglines or advertising (it is impossible to use them ironically)? Do you talk a lot about who headliners really should be? Do you use winners’ titles to promote your shows? Do you talk down the producer or other competitors in a pageant to try to decrease its value? It always appears competitive to talk down another show or producer, unless they’re actually stealing from or defrauding people, or beating them with sticks or something.
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I believe in burlesque – what it was, what it is, and what it will be. This idea of adults creating performances for adults in the format of self-contained, self-generated, independent routines, it’s magical. I don’t think anything can destroy it, because so far, nothing ever has. I believe we can retain our joy in it in spite of disappointments and differences. Whether or not competition is actually good for art or community – community defined by the dictionary definition, not by a standard of ‘community as a place where nothing bad ever happens between its members’, although that’s certainly a goal to aspire to – is another topic.
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The Miss Exotic World Pageant (Burlesque Hall of Fame Pageant) is 20 years old, and the neo-burlesque movement is about the same, so for competitions and pageant to be part of the scene is no bait-and-switch to the ideals of New Burlesque, as some have suggested; it’s part of the very fabric of the development of neo-burlesque. It doesn’t have to be, and may not always be, a part of our community and lifestyle, but a lot of people love pageants and competitions and vote with their money and time, not just by producing and performing in them, but by buying tickets and attending these shows. While they’re here, let’s make the most of them, enjoy them, help them drive our art form to new levels, and be compassionate to the bold performers who put their hearts, their souls, and their tender egos on the line, all of which help drive them to create glamorous and hilarious and thought-provoking art for our entertainment.
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Applaud for all of them, even if you only scream your heart out for your friends. Every one of them, even the ones who aren’t our buddies, appreciates support. If you can help them keep their hearts light, it will keep your heart light, too.
By Jo Weldon (Voted Biggest Cougar in Burlesque Two Years in a Row. There Can Be Only One.)
Further Reading
Jo Weldon: A Brief History of the Miss Exotic World Pageant
Watch: Miss Indigo Blue’s EPIC Step-Down number at BHoF 2012Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-76330568102661409642022-04-24T16:50:00.006-04:002022-04-24T16:53:47.034-04:00Our Showcase is Tonight! Here are some performers from our last showcase!Our student showcase is tonight at DROM NYC!<BR>
Headmistress Jo Weldon is in COVID quarantine, but Gigi Holliday is taking up the mic so the students will be in good hands!<BR>
<P>Tickets are at
<a href="Drom%20NYC" target="_blank">https://dromnyc.com/event/new-york-school-of-burlesque-2/</a></P>
<P>And if you're thinking about performing yourself, you can sign up for the next Act Development series now: <a href="" target="_blank">http://schoolofburlesque.com/actdevelopment.shtml</a></P>
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Below are a few pictures from Katherine Whitehead, who'se been our official NYSB photographer for 2022. Check back for more student photos and quotes!
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<P>
Above: Amanda Poise
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<P>Above: Stiletto Sinclair.</P>
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<P>“If you’re reading this wondering if you should take a class with Jo, this is your sign to do it. I found burlesque exciting but I wasn’t sure if burlesque was “for me” and being able to put together my own act to perform on stage was daunting. Jo is a great teacher that gives you the information that you need to know and fosters a creative environment for you to succeed in whatever you want to accomplish. After taking this class, I felt empowered as a woman, as an artist, and as a performer."</P>
<P>Above: Topaz Afternoon.</P>
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<P>"This whole experience exceeded any of my wildest dreams and expectations and has only strengthened my desire to explore more of this beautiful world that is burlesque! Working with Kathryn was also a dream: she was very easy to communicate with and gave stunning images in a very timely manner. I can't wait to work with the NYSB and Kathryn again in the future!! "</P>
<P>Above: Lavender Lilac.</P>
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Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-57525356627076734102022-03-09T12:32:00.001-05:002022-03-09T12:32:28.286-05:00Character and Persona<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgepoE0s2VW74XdYnP9iHb9M4Y00smVdiGsRYg_U72mJ0mKCSoYg77plHMFFz77K7ucCtjIl6sNN7APqN8btNNUc4SuLUMrH12137VAk946WJmqiBNjPFOMeSD3m0Q8IHiV9TW1Xe-WQVvNHV3xevHT1RBKUDzlU_D0uMrIFOBu_x1PXJ2CA86sfAO9=s1136" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="1136" data-original-width="936" src="https://blogger.googleusercontent.com/img/a/AVvXsEgepoE0s2VW74XdYnP9iHb9M4Y00smVdiGsRYg_U72mJ0mKCSoYg77plHMFFz77K7ucCtjIl6sNN7APqN8btNNUc4SuLUMrH12137VAk946WJmqiBNjPFOMeSD3m0Q8IHiV9TW1Xe-WQVvNHV3xevHT1RBKUDzlU_D0uMrIFOBu_x1PXJ2CA86sfAO9=s600"/></a></div>
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Above: Burlesque Performer Rosie Cheeks as many different characters.
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Rosie is also an excellent classic showgirl performer!
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When I'm teaching, I differentiate character and persona in a specific way that relates to the necessity for most burlesque performers to have a consistent stage name.
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Your stage name is for your persona. This is your general presentation. This presentation may have multiple variations -- you may do classic, comedy, horror, and political burlesque under this persona, but it's all under the same stage name.
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Your character is someone (or something) that you portray in that persona. For instance, if you do nerdlesque, you might have a Catwoman and a Fitzwilliam Darcy number; those are characters you portray under your stage name, so the producer is booking your persona (your stage name) to portray that character (the name of someone who isn't you). It could also be a character you've invented, like The Angry Milkman or The Passive Aggressive Neighbor or a recurring character within your persona. But let's not get ahead of ourselves!
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This doesn't work for every burlesque performer, and it isn't necessarily the most traditional way to think about it, but this framing often helps new performers to write their bios for their persona -- who they are as a performer -- rather than for their character, which they are only in a given number.
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What do you think? What is your persona as a burlesque performer? who are some characters you've portrayed?
<BR><BR>Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-43416716111439263152022-02-15T09:25:00.005-05:002022-02-15T09:25:46.023-05:00Gossip girl 1X07| Victor/Victrola<iframe width="480" height="360" src="https://youtube.com/embed/-OG8mgQsgJ4" frameborder="0"></iframe>
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Did you know that I coached Blair (Leighton Meester) for the Victor Victrola episode of the first season of Gossip Girl in 2007?
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while I was working with her and the director, we did lots of planning around the costume and the choreography. However, when her dress arrived for the shoot, it had an inset side zipper rather than the back zipper for which we had choreographed, and we had to figure out how to get it to drop to the floor as we wanted it to -- and get that shot!
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We decided to have her do the choreography without the zipper and break at the point where she would have unzipped, instead spending extra time focusing on the designers shoes that had been provided for the scene. Then, with cameras off, she removed the dress over her head, stepped back into it, and lifted it above her knees to let it drop in silky folds around her feet. The film was edited to make this look fluid.
You can see the end result in the video above!
Check out what Leightton Meester is up to now -- in addition to being a gorgeous actress and a sweet and funny person, she's also a talented musician and a social justice advocate. <BR>
<a href="Leighton%20Meester" target="_blank">https://www.instagram.com/itsmeleighton/</a>
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And here are some other posts I made during the filming and airing of the episodes I worked on:<BR>
<a href="" target="_blank">https://burlesquedaily.blogspot.com/2007/11/gossip-girl-burlesque-part-one.html</a><BR>
<a href="" target="_blank">https://burlesquedaily.blogspot.com/2007/11/gossip-girl-burlesque-part-two-picture.html</a><BR>
<a href="" target="_blank">https://burlesquedaily.blogspot.com/2009/01/gossip-girl-visuals.html</a>
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Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-12249642499829739482022-02-12T11:59:00.005-05:002022-02-12T11:59:47.287-05:00SILK & FEATHERS Burlesque Fan Dance instant video / DVD<iframe style="background-image:url(https://i.ytimg.com/vi/NsfNWZGGdy8/hqdefault.jpg)" width="480" height="270" src="https://youtube.com/embed/NsfNWZGGdy8" frameborder="0"></iframe>
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Did you know that you can rent or purchase the streaming version of my fan dance workshop video program at any time to study in the privacy of your own home? It's designed to get you started with marabou fans, silk veil fans, and ostrich fans (the big feathered ones all the headliners use)!
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It's available at
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<a href="" target="_blank">https://worlddancenewyork.com/products/silk-and-feathers</a>
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The world Dance website also hosts my video programs in striptease, burlesque dance, and chair dance, so take a look at all the offerings!
<BR><BR>Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-5496505744215152242022-02-10T08:44:00.003-05:002022-02-10T09:48:06.734-05:00So You Want to Produce a Burlesque Show, V. 2, Part 1 (Business of Burlesque)
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Above: The poster for my 2019 birthday party show at Coney Island USA. Poster design by David L Byrd.
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I always encourage my students to produce their own burlesque shows! They make new friends in class and build new audiences at student showcases -- their fresh energy is just what burlesque needs to stay exciting and relevant.
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Here are a few tips to get you started. There are many, many ways to produce burlesque shows, so if you read this and disagree with it, at least it will have given you an idea of what you don't want to do! If you have questions about a particular type of show, please ask in the comments. Also feel free to share your experiences as a producer, performer, or venue if you have different expectations or preferences than I'm describing here.
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Before you even start producing, visualize and manifest your show. Make a poster for it, even if it's just a sketch on a pad. Make a private online or print vision board with pictures of how you want it to look. Make a name for it -- and google the hell out of that name to make sure it's unique so you can promote it easily. Go ahead and get an instagram and twitter (yes, twitter -- twitter doesn't edit nudity and ig does, so you'll have a backup link, and it will help you learn to keep your posts pithy) account for it.
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1) Find a venue. Go scouting.<BR>
1a) Not all venues want burlesque shows. See if they've been hosting them, or events that make you think burlesque would be a good fit. Or, if they're friends of yours, just ask them.<BR>
1b) Seek a good fit. Look for one that has the vibe you're after -- whether that's sexy, queer, elegant, raunchy, etc., or a mix of everything you love.<BR>
1c) Consider where the dressing room, stage, and audience will be.
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2) Prepare to pay performers.<BR>
My article on standards of pay is coming soon.<BR>
2a) As a producer, you have to have the money to pay performers. Don't wait till you get the ticket money and pay them what you can. Have the money in hand before you do the show. Don't tell them they'll make it up in tips.<BR>
2b) The kitten and emcee are also performers who have to be paid. Venues may requires money for the DJ, etc.
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3) Prepare to approach the venue.<BR>
3a) Think about what you have to offer the venue. Will you be adding ambiance? Can you bring new people to their place? Can you help them make more money, whether that's through selling tickets, food, or drinks?<BR>
3b) Make a document, hopefully a colorful PDF with pictures (use pictures only with permission, do not put pictures of Dita Von Teese or Cardi B in your doc unless they and their photographer agree to it, and always include photo credit) showing that you know and admire the venue, how your show would work in their space regarding the dressing room, stage, and audience placement.<BR>
3c) Understand that every venue works differently regarding ticketing, drink sales, etc. Know how you're going to make money. Some venues will pay you all your expenses and producer fee up front; some will want you to generate a certain amount of bar sales before you get paid; some will promote for you, and some won't. All of these are reasonable standard practices. Know what you need. Don't take less or offer to work for free to get the gig. This is a business proposition as well as an artistic endeavor.<BR>
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4) Approach the venue and tell them what you can do for them.
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5) If they are interested, they will tell you what they can do for you.
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After that, you decide if the deal works for you! Then you can book your performers and make your show poster for real.
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Questions? Comments? Differences of opinion? Comment below!
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Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com1tag:blogger.com,1999:blog-1074472538052710757.post-9076982912492641902022-02-01T15:15:00.002-05:002022-03-06T12:44:40.981-05:00Brown Skin Showgirls -- Includes Podcast Link!<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg1-kW7wapxwGD2miXEsl-XZSZhkqATDyjLU3TZYGjz9mmSs0CwBnR9bTVgz0rkguZKv4SmUd0C0Ky7cY0mzJA_omHNPen3U9hBeucwdXki8gJ44hlS2P3pHKa3JV-QvRyfeDhz8c-Lw41sdnMaCGaiTKqGEd8b2Tl0Ke2703sF_VG8LZ2XFlMwenSN=s640" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="600" data-original-height="376" data-original-width="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEg1-kW7wapxwGD2miXEsl-XZSZhkqATDyjLU3TZYGjz9mmSs0CwBnR9bTVgz0rkguZKv4SmUd0C0Ky7cY0mzJA_omHNPen3U9hBeucwdXki8gJ44hlS2P3pHKa3JV-QvRyfeDhz8c-Lw41sdnMaCGaiTKqGEd8b2Tl0Ke2703sF_VG8LZ2XFlMwenSN=s600"/></a></div>
<P>It's Black History Month, and I want to start by acknowledging that Black History is simply history; but we need to pay special attention because so much of mmainstream history has been erased, minimized, or reframed to suit white supremacy.</P>
<P>I'll be providing some resources for students who are curious about burlesque history, but have been reading older texts (including mine, I regret to say) that omit significant contributions by Black artists and entertainment businesspeople.</P>
<P>First up, I want to celebrate the phenomenal work of Leslie Cunningham, a documentarian and author who produced Brown Skin Showgirls and Jig Show, as well as documentaries on other dazzling topics. From her <a href="https://lesliecunninghamfilms.com/2015/04/06/brown-skin-showgirls-a-photographic-collection/">website:</a></P>
<P>"BROWN SKIN SHOWGIRLS is a black and white photographic collection of the Black and Cuban women who performed burlesque, exotic, rhumba, salsa, calypso, striptease and female impersonation on Leon Claxton's Harlem in Havana Revue. This book is guaranteed to expand your knowledge of Black and Cuban performers that shaped American popular culture."</P>
<P>During the summer of 2020 I produced a series of zoom book clubs during which I discussed books or presented interviews of authors, and for one of these events burlesque historian <a href="https://www.bebebardot.com/">Bebe Bardeaux</a> interviewed Leslie! You can listen to the interview <a href="https://youtu.be/S4LcMIeDTeg">here.</a> Let me know if you have any problems with the link!</P>
<P>Please recommend you Black History Month links and resources in the comments!</P>
<P>I'll also be adding more resources for doing your own research over the next two months -- we can all be historians, once we know how to look and report!</P>
<P>(Just be aware that there is a lot of messy and unreliable history on some social media sites just as much as in biased history books -- and we'll talk about that too.)</P>
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Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-87920086243764293022022-01-26T11:06:00.000-05:002022-01-26T11:06:13.477-05:00February 2022 Classes at the New York School of Burlesque!<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgNSUT63Ctq-JAbT8fV4fit09vDmgjW8UgsJ9A_R3AqLslqGLwX0Dt3FwyC-69CUfOHh5LVq99pwph9zryRYqFjyyRMRkY-cRv6IuXCLowByj72MvIjE42cHRsZR040gbUK22TCy706_2yA0f_Ub7_i0VoepFPgTKdnP216q2g99HPPTSBOzPWWs8an=s400" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="261" data-original-width="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEgNSUT63Ctq-JAbT8fV4fit09vDmgjW8UgsJ9A_R3AqLslqGLwX0Dt3FwyC-69CUfOHh5LVq99pwph9zryRYqFjyyRMRkY-cRv6IuXCLowByj72MvIjE42cHRsZR040gbUK22TCy706_2yA0f_Ub7_i0VoepFPgTKdnP216q2g99HPPTSBOzPWWs8an=s400"/></a></div>
<P>Get ready for a fantastic roster of classes coming up in February!</P>
<P>All of our instructors are accomplished burlesque artists!<BR>
This month:<BR>
Briq House, Gigi Holliday, The Maine Attraction, Miss Poison Ivory, Rosie Cheeks, and Headmistress Jo Weldon.
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<P>All classes are in-person in NYC unless otherwise noted.</P>
<P>All classes are suitable for all levels unless otherwise noted.</P>
<P>Please share about these classes!<BR>
We appreciate your support on social media and in word-of-mouth.</P>
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<B>Flirting With Burlesque</B><BR>
<BR>Live Online<BR>
Are you Burlesque-Curious?
Get acquainted with our fancy performing art in this fun and friendly class, featuring simple moves that will get you into the burlesque groove!
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<B>Essential Burlesque</B><BR>
This series features four workshops, each focusing on a different mode of burlesque solo movement with props. Props include your own clothes, plus our chairs, feather fans, boas, gloves, and even tasseled pasties!
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<B>Burlesque Improv and Choreography</B><BR>
Dress for movement!
Gigi Holliday will teach you basic burlesque moves and get you into showgirl form in this introductory class! Designed for all levels, it's the perfect way to begin your journey into this sexy and playful performing art.
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<B>Costuming for Character</B><BR>
Recommended for all students, whatever your style!
Love dressing up like your favorite characters? Want to make sure your burlesque costumes wow the crowd? Join Rosie Cheeks, one of the hottest performers and producers in New York City burlesque, for a class on assembling the level of polished and coherent character costumes that can make or break your numbers. She will describe a few of her most popular costumes and show how she brought them together, including how ot make layers work with your character. This workshop will open your eyes to all the possibilities! Get ready to be inspired and to solve some of your most vexing costume issues.<BR>PS All the people in the photo above are Rosie.
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<B>Body Love</B><BR>
Part discussion, Part movement, Part sex education, this workshop is designed to help you strengthen your relationship with your Temple (Body) from a Body and Sex Positive lens. Approaching the topics of our varied physical attributes, abilities, genders, and sexualities with love and excitement can positively alter the way we move within ourselves and the world. This positive change can make us better performers, allies, teachers, advocates, partners, and people.
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<B>Pinup Styles for Textured and Curly Hair</B><BR>
If you love pinup and showgirl style but many of the hair tutorials you've seen fail your curly-to-4C tresses, this is for you! Learn from The Maine Attraction, an internationally-celebrated burlesque pioneer who's been making waves since she first started.
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<B>A History of the G-String</B><BR>
ONLINE: Illustrated Lecture with Jo Weldon.
The G-String, called “the ultimate triangle” by semiotician and fashion theorist Roland Barthes, has a dazzling history going back to ancient cultures in Africa, Asia, Europe, and the Americas. Learn how this tiny garment and its cousins, the thong and the loincloth, served artists, athletes, and warriors before becoming the symbol of the stripteaser; how it has appeared in literature high and low; and how it evolves to both reflect and influence culture and the ways in which various bodies are perceived, celebrated, censured, and policed. From the decent to the indecent, from the vulgar to the divine, the g-string has always simultaneously revealed and concealed more than meets the eye.
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<P>All this and more, ready for registration at:<BR>
<a href="http://www.schoolofburlesque.com" target="_blank">http://www.schoolofburlesque.com</a>
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Come play!
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<P>Please share about these classes!<BR>
We appreciate your support on social media and in word-of-mouth.</P>
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjC-9n-T9gKTFTvEO8f-qudHhY1jME3JbFF6cLWb3RZrm862Pzlb8OMz93pz6UZY5uq-E-2V6GHb9NcIvm9UDu3MSkhqBkPRsuTd47MeYt41qNizo9v4_enb_QX9qR7bHZ6MoQn78zx3hp5hxe7WcCdPeY41PK2_KsPO1qWkDnfMf-_XraDLa2hMc_L=s500" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="600" data-original-height="500" data-original-width="375" src="https://blogger.googleusercontent.com/img/a/AVvXsEjC-9n-T9gKTFTvEO8f-qudHhY1jME3JbFF6cLWb3RZrm862Pzlb8OMz93pz6UZY5uq-E-2V6GHb9NcIvm9UDu3MSkhqBkPRsuTd47MeYt41qNizo9v4_enb_QX9qR7bHZ6MoQn78zx3hp5hxe7WcCdPeY41PK2_KsPO1qWkDnfMf-_XraDLa2hMc_L=s600"/></a></div>
<P>Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-21262629977249408962022-01-23T10:31:00.000-05:002022-01-23T10:31:14.888-05:00How to Support this Blog<P>Several people have asked how they can support this blog. Thank you for your kindness!</P>
<P>Originally begun on the <a href="http://web.archive.org/web/20030201082334/gstringsforever.com/burlesque.html">legacy site G-strings Forever</a> in 2001, this blog has been present to support new burlesquers since the early neo-burlesque movement. For over 15 years, Jo Weldon has been producing free content on the internet for people who want to begin to learn burlesque. She has included articles related to costuming, movement, composition, choreography, getting hired, producing shows, interviews with Legends and other burlesque cultural leaders, and so much more. </P>
<P>How can you support it in return? All you need to do is praise it to other people!</P>
<P>In this age where virtual word of mouth is everything and algorithms fight against older sites, especially those with adult-related media, the best thing you can do is to tell people about it. Share posts and quotes with enthusiasm. Let people know what this site did for you. Help a neo-burlesque elder and pioneer keep her legacy alive.</P>
<P>But most importantly, it feels like it's worth all the work that went into producing this media to hear that this blog has been helpful to you! Comment on posts, ask questions, suggest articles right here ont he blog. When you interact with it, it helps the algorithms. To let Jo know you learned something, or that this blog made something easier for you, or simply that you enjoyed it, feel free to shoot her an email at schoolofburlesque@gmail.com.</P>
<P>If you would like to tip or otherwise financially support this non-monetized blog, which is provided in the hope of boosting and promoting burlesque education and performance, you can tip Jo on Venmo at @joweldon or <a href="https://paypal.me/SchoolofBurlesque?country.x=US&locale.x=en_US">on Paypal</a>.</P>
<P>PS I'm Jo.</P>
Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-71006682539019856932022-01-22T09:40:00.002-05:002022-01-22T09:55:37.421-05:00How to Prepare for a Press Interview
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhB_dNWEFlr0tNghuSE0u6qZC-OfSR3xqx9_Lg2SmR-8zXC5mWLs_11StZW5GYxOr5H0DHcFuDD-Wp_TVacyJXl0X8tPbuzXvcSJgtej256YhmaVqp5EU6vpsDqg2plte-B6sYkmuOY6j87qBfDnMeZNLaE-5a9eIfwMRUemOpynMYfkp-bp3Oacyi7=s432" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="432" data-original-width="288" src="https://blogger.googleusercontent.com/img/a/AVvXsEhB_dNWEFlr0tNghuSE0u6qZC-OfSR3xqx9_Lg2SmR-8zXC5mWLs_11StZW5GYxOr5H0DHcFuDD-Wp_TVacyJXl0X8tPbuzXvcSJgtej256YhmaVqp5EU6vpsDqg2plte-B6sYkmuOY6j87qBfDnMeZNLaE-5a9eIfwMRUemOpynMYfkp-bp3Oacyi7=s400"/></a></div>
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Pro Tips: How to Prepare for a Press Interview
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Experts on achieving excellence in almost every field – athletics, the performing arts, business, academia, and more – agree that the best way to get optimal results from any presentation is to be prepared.
You can prepare for a press interview, just as you prepare for a show. It can help to write a script of an imaginary interview, even if during the actual interview you don’t use a word of it, and you can even rehearse your answers aloud. You probably can’t control what the interviewer will do, but you can go in ready to do your best. The suggestions I’m giving here are pertinent to burlesque, but I’ve helped people use them in other areas of the entertainment industry, in activism, and in business community interviews as well.
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1) Know the questions most commonly asked in your field.<BR>
Look at other interviews in your field. Common questions in burlesque include: “How did you get started?” “What’s the difference between burlesque and stripping?” “Is burlesque empowering?” “Do you make a living solely from performing?“ <BR>
And remember, it's okay to say, "I don't know," or "Next question please." You can set boundaries! Just decide in advance how you’re going to do it, so you’re not caught like a deer in headlights if it happens. And if they persist, just ask them to respect your boundaries.
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2) Be prepared for those questions.<BR>
Write down your best answer or answers to those popular questions.
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3) Respond in complete sentences, including the question you’re answering in your response, just like in school.<BR>
It helps to avoid confusion if you are quoted. Being misquoted is probably more common than being properly quoted, even via written interviews. Do your best to prevent it.
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4) Prepare especially well for questions you anticipate that make you anxious.<BR>
Think about the questions you think may not be common, but that you find you ask yourself. If they are questions for which you can look up answers, such as, “What year was the first burlesque striptease?” do look them up before the interview. If it is a question that makes you personally anxious, such as “Do you consider yourself an expert?” dig deep in yourself to find the answer that you feel best expresses your most confident state. If you say you’re really not important, they’ll believe you.
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5) Admit your ignorance when it occurs.<BR>
When you don’t know the answer to a question, it’s okay to say, “I don’t know” or “I’m still deciding what I think about that” or “I’m still looking into that.” And, if you are called out for a mistake, explaining yourself is usually time-consuming and can make you look weak. Just apologize full stop without a comma after the apology.
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6) If it gets controversial or they bring up something you aren’t sure how to talk about, speak your truth.<BR>
Some people will turn against you or complain about you or shame you on social media, but speaking your truth will help you find the right people to appreciate your goals and your ethics, and it will help you make sustainable connections.
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7) If someone asks a question you don’t want to answer, you don’t have to answer it.<BR>
How you redirect the interview depends on your comfort level and personality. You can simply say, “I’d prefer not to answer that.” If you are pressed to say why, you can say, “By telling you why I don’t want to answer it, I’d be answering it. I hope you’ll respect my wishes.” If you’re sassy, you can say, "I’m glad you asked that,” and answer a different question, ideally bringing up something much more fascinating as a diversion. If they point out that you did it, laugh and say “yeah.” Don’t explain or apologize. It’s clear you don’t want to answer and that’s all anyone needs to know. The interviewer is not your boss and they are not doing you a favor by interviewing you; the benefit should be mutual. Not answering is truly okay.
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8) Refrain from commenting negatively, directly or indirectly, on other performers, producers, etc., unless it’s truly important. <BR>If it’s about your former roommate, boyfriend, or business partner, chances are good that it’s personal, however grand you imagine your motives to be. Don’t be that drama llama. If what you know about them is true, people will often figure it out on their own pretty quick. Anyway, it can make you look petty and unprofessional.
Referring to things you don’t like is just plain giving your press away to them. Direct the attention of the listener or reader to the things to which you want attention to be paid. And, bonus insight, if you talk about people or art or brands you don’t like, you may inadvertently alienate people you admire who, when they smell self-serving crap being stirred up, don’t care who is responsible for the crap, but just want to get as far as possible from the smell.
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9) Of course there’s such a thing as bad press. You don’t want it.<BR>
Beware the overshare. Enjoy the interview, but remember, nothing is really off the record. Know before the interview what you don’t want to share, and don’t share it.
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10) Beware of doing interviews in a crowd, or drunk, or in the middle of show production.<BR>
If there are circumstances you know will make you liable to alienate the interviewer, avoid them to the best of your ability. Often we really have no time during shows, no patience in the middle of a crowd, no grace when drunk. You can just say no to interviewing at those times.
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11) Know what you want to promote, what you want to say about it, and have the pertinent information at hand. <BR>If it is a verbal interview, feel free to write it down in advance on a notecard and give that notecard to the interviewer. Don’t assume that if they are tape-recording you will covered. And if you have that notecard in front of you, you won’t forget to mention it.
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12) Feel free to let go of your prepared responses if you so desire. <BR>You’re not a machine. You might get passionate. You do you.
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By Jo Weldon, 2016
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Photo of Jo Weldon by Dallas PinUps
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Originally at:
https://schoolofburlesque.tumblr.com/post/137628711047/pro-tips-how-to-prepare-for-a-press-interviewJo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-18639328058886367562022-01-21T18:45:00.005-05:002022-01-21T19:00:57.936-05:00Julie Atlas Muz and the Zombie Burlesque Controversy: Originality and Intellectual Property<iframe style="background-image:url(https://i.ytimg.com/vi/f2mkUqGohac/hqdefault.jpg)" width="480" height="360" src="https://youtube.com/embed/f2mkUqGohac" frameborder="0"></iframe>
<BR>Above: The Hand, performed by Julie Atlas Muz.
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Students have been asking me about what’s up with this situation, and asked about some scenarios. To make it clear, responding to those questions, this situation is NOT about being inspired by someone, not about two people who used to work together disagreeing about who should still be using the work, two people coming up with the same idea independently, or lifting a signature move, composition element, or gimmick. While those situations can be annoying, they are not the same as wholesale copyright violation. It is about a stranger watching and then lifting a performer’s entire routine, then teaching it to another performer. Seeing it, then doing it. The entire thing.
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I lived with Julie, and before that I toured with her, and before that I saw her do this act many times. I refer students to it as a an example of how to commit to a performance, and how to make the most of a small prop. I also describe it to students as the inspiration for my "possessed glove" class exercise. Julie has been doing this act, and it has been known to a wide international audience, for many years before it was performed at Zombie Burlesque in Las Vegas.
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What I've been told: The producers of Zombie Burlesque are reported to have watched a video of her, taken the costuming, prop, and choreography, and had their dancers watch a video of her performing it to get the choreography down. A friend of Julie's saw it and alerted her; Julie confronted the producer; they agreed that it was so; then continued to produce the act.
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Gossip can beget lawsuits, and defamation lawsuits are a lot of work and a huge expense for the defendant. Be careful how you talk about this story, and remember that anything that can be screenshot can be used against you, even in supposedly private messages. However, I saw Julie's number with my own eyes and heard from her that she had not known they were using her act and she had not granted them rights to the act.
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Curious about originality in burlesque?<BR>
Read <a href="https://schoolofburlesque.tumblr.com/post/149938035652/practicing-originality-as-part-of-the-learning">Practicing Originality as Part of the Learning Process: Originating from The Heart</a>.
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Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-21657033141332302372022-01-20T11:12:00.008-05:002022-01-20T16:48:08.325-05:00How to Choreograph a Burlesque Striptease Dance for Yourself: Three Steps (Burlesque Performance)<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhxP-V-Pr-iUaEzKAZNi2xppAoJBjrP3zbzD23YZcl_lMmO8TIiP53pAewEK-GD-NELC2zTTyjtI2OkYCoejQif7VKuH74T7wk3-a6iS15iFY23Pe8uwM79OyqmxtmPw_8oRV60S1m11R1ofX7kfUkSQkbqKjGR1wK63EKn7k6wUgLFYDQacWWBe_Ss=s623" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="623" data-original-width="533" src="https://blogger.googleusercontent.com/img/a/AVvXsEhxP-V-Pr-iUaEzKAZNi2xppAoJBjrP3zbzD23YZcl_lMmO8TIiP53pAewEK-GD-NELC2zTTyjtI2OkYCoejQif7VKuH74T7wk3-a6iS15iFY23Pe8uwM79OyqmxtmPw_8oRV60S1m11R1ofX7kfUkSQkbqKjGR1wK63EKn7k6wUgLFYDQacWWBe_Ss=s320"/></a></div>
<P>How to Choreograph a Striptease Dance</P>
<P>1) Find a piece of music you love so much you can listen to it hundreds of times without getting tired of it. Prance around to the music and imagine yourself in the environment you dream of getting the loving and enthusiastic response you deserve.</P>
<P>2) Find some articles of clothing that make you feel spectacular. Admire yourself in the mirror. Talk to yourself like you talk to the people you compliment on social media. Say extravagant nice things and give yourself permission to accept them as the truth they are.</P>
<P>3) Take off those articles of clothing to the music five times in a row, till you know exactly what you have to do to remove them smoothly. Allow for humor and mischeif. Think of it as play rather than as work. If an article of clothing is making you unhappy because it's too hard to remove the way you want, after five tries, put it aside for now and try something else. You can always come back to it later if you feel like it.</P>
<P>You did it!</P>
<P>To prepare it for the stage, watch it on video and fix the parts that don't work from the perspective of the viewer. Write down notes about what works. Tell yourself what looks great. When something doesn't look great, simply release it. All performers at every level flop their way through many rehearsals before the magic falls into place! It's perfectly natural.</P>
<P>That's where you start! During the creation of the number, set aside criticism of yourself and allow yourself complete improvisational freedom. Throw in some moves you know and love. See what happens. Keep what works and release what doesn't with love -- it may come back to work for you in another number.</P>
<P>Rehearsals can, if overdone, make the number begin to look mechanical. Remember to reconnect to your original joy in the music and your love of the audience right before you perform. You may find yourself improvising onstage -- and that's okay! Go with the flow.</>
<P>If you are a fan of bling, bling up the costume. If you want to add a layer of humor, glamour, emotion, remember to speak to the audience as if they are on your side. They are rooting for you!</P>
<P>Looking for an online course on striptease?<BR>
<a href="https://worlddancenewyork.com/collections/burlesque-instructional-and-workout-videos/products/striptease-for-burleque">Check out Jo Weldon's striptease video program.<a/>
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Looking for live classes? They're at<BR>
<a href="http://www.schoolofburlesque.com">New York School of Burlesque</A></P>Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-85252931283400606762022-01-19T12:56:00.000-05:002022-01-19T12:56:12.429-05:00Sustainable Feathers!<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEik0X_n0SkDhykpbYV3MLDJq11jQJPWCjmi0YEJcpKFFHP3H71hkfodo60hn0-wkoq6pLkW8Awa-wcdQMzPXvHUdeb_rX3881maRvVZBWO4ilKK3KB77cX5LM7WBb7fJPMkHaect6WhjrbZroimFZf8zMVkXoHVEvU6NlhrTrCiiB2-_G1A9LppoPDj=s1440" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="600" data-original-height="1440" data-original-width="1440" src="https://blogger.googleusercontent.com/img/a/AVvXsEik0X_n0SkDhykpbYV3MLDJq11jQJPWCjmi0YEJcpKFFHP3H71hkfodo60hn0-wkoq6pLkW8Awa-wcdQMzPXvHUdeb_rX3881maRvVZBWO4ilKK3KB77cX5LM7WBb7fJPMkHaect6WhjrbZroimFZf8zMVkXoHVEvU6NlhrTrCiiB2-_G1A9LppoPDj=s600"/></a></div>
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Interested in sustainable fashion? I made this headdress (see how I made it with link) with recycled feathers I got from Carnicycle!
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<a href="carnicycle.com">Carnicycle</a> was formed in November 2018 as the first social enterprise to recycle carnival costumes in the world. Their mission is to bridge the gap between Carnival Culture (carnival, fetes, and other festivals) and sustainability through environmental advocacy and costume recycling.
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See how I made the headdress with a the feathers, a sports visor, a lot of glue, and some sparkles <a href="https://burlesquedaily.blogspot.com/2021/02/cringe-crafting-feather-headdress.html" target="_blank">in this post!</a>
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Photo of me by Kholood Eid from <a href="https://www.nytimes.com/2021/03/25/nyregion/nightlife-burlesque-nyc.html">this article in the New York Times</a>
<BR><BR><BR>Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-52340099389735808742022-01-18T10:32:00.007-05:002023-11-13T17:53:34.916-05:00Business of Burlesque Presentation January 15 2022Hello everyone!
You can watch/listen to the Business of Burlesque presentation here. This was a presentation about how new burlesque performers can begin to get gigs.
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The slide show begins a couple of minutes in. The question and answer section begins at about 33 minutes in.
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<iframe width="480" height="360" src="https://youtube.com/embed/dYE_N7NpTzY" frameborder="0"></iframe>
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Note that there are dozens of articles on the art and business of burlesque on this blog, so do go to the search box in the upper right hand corner of the main page and see if the topic that interests you is discussed here.
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There is also a chapter on professional etiquette in The Burlesque Handbook.
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If after listening to all 55 minutes you have suggestions, questions, regional-specific differences, disagreements, or corrections, drop it in the comments here or on youtube! Students will see it! If you post it on Facebook and talk about it there, they'll never get to see your comments and they will eventually get lost in the Facebook feed.
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Still want more? Request the "Get the Gig" ebook by emailing schoolofburlesque@gmail.com.
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Almost all New York School of Burlesque classes are taught by performers who also produce shows. Attending burlesque classes is a great way to network with fellow students AND people who are significant movers and shakers in the burlesque industry and community!
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Here are a few burlesque community resources.
When following a social media account or joining a social media group, always spend some time reading through the guidelines and previous posts before you participate. Beware of drama-stirrers.
If you're looking for NYC shows to attend or perform in, check out the NYC Burlesque Shows can related arts promo list:
https://www.facebook.com/groups/356367644381716
The Burlesque Hall of Fame
https://www.facebook.com/groups/burlesquehalloffame
A List of Burlesque Festivals -- I update it when someone suggests a fest to me
https://docs.google.com/document/d/1c7s4Bv03ozUQthIfCw-iCKlWKBIkxYov5fyJXc65OEI/edit?usp=sharing
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Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com1tag:blogger.com,1999:blog-1074472538052710757.post-65204357778141355892022-01-14T20:14:00.012-05:002022-01-18T11:17:19.581-05:00Free Presentation This Weekend! Business of Burlesque
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiThCJxweLvV1UchGphLe0dFemoNB05pR2n66DUUhchvTZXPWpfpILXDKavcIheAdtCRLMAuy23ReH7htWewhDtbMMVFDhs78MilOMiQjWU8hCO1FFfjVd1iGr01XBmAUrZbatPUtnOIwjNqAPEx786_fHbP2YMd0aJ-pTsdhxZG5C14p7VuHXQFg_m=s750" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="422" data-original-width="750" src="https://blogger.googleusercontent.com/img/a/AVvXsEiThCJxweLvV1UchGphLe0dFemoNB05pR2n66DUUhchvTZXPWpfpILXDKavcIheAdtCRLMAuy23ReH7htWewhDtbMMVFDhs78MilOMiQjWU8hCO1FFfjVd1iGr01XBmAUrZbatPUtnOIwjNqAPEx786_fHbP2YMd0aJ-pTsdhxZG5C14p7VuHXQFg_m=s400"/></a></div>
Business of Burlesque <BR>
With Jo Weldon (Online on Zoom)<BR>
FREE<BR>
Saturday, January 15 2022, 4 pm EST<BR>
This chat will begin with a discussion about how to get gigs as a new performer, and how to determine your goals and values within the burlesque industry and community.<BR>
To attend, email schoolofburlesque with the words "Business of Burlesque January 15" in the subject line of your email, and include 1-3 questions related to the topic in the body of your email. Be sure to use or include the email address to which you want your registration sent.
Part of the discussion will be recorded.<BR>
<BR><BR>Missed it? <BR>
<a href="https://burlesquedaily.blogspot.com/2022/01/business-of-burlesque-presentation.html">Check out a recording of the presentation!</a>
<BR><BR><BR>Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-77976810469174892892022-01-12T09:42:00.004-05:002022-07-15T20:54:02.737-04:00Email/DM Etiquette with Venues and Producers (Business of Burlesque)<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgMYoR7YcuxKcpcpo_bRGI2zd3eDtaqLP8mUa8HYaF2ep9Su802ZlD9BVrycnQ7aRNTo80u81-NkFEgs6lzoYaIJQnxzItwJW3Qse__hciA_ns94B6H92jImZRbxHkyxKTw03D9_63eomG5R13crWqWruNNbYLfTSdVv3L_X4srcXV558lgfx3Yqc4x=s220" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="97" data-original-width="220" src="https://blogger.googleusercontent.com/img/a/AVvXsEgMYoR7YcuxKcpcpo_bRGI2zd3eDtaqLP8mUa8HYaF2ep9Su802ZlD9BVrycnQ7aRNTo80u81-NkFEgs6lzoYaIJQnxzItwJW3Qse__hciA_ns94B6H92jImZRbxHkyxKTw03D9_63eomG5R13crWqWruNNbYLfTSdVv3L_X4srcXV558lgfx3Yqc4x=s400"/></a></div>
Remember that every single person who sends emails and messages has accidently violated one of more of these guidelines at one time or another. Don't beat yourself up if you've already mistakes, because you're in good company. Progress, not perfection, is always the goal.
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1) Spell their name correctly. Typos happen, but it makes a difference! And be sure to review your email -- don't let spellcheck make your mistakes for you.
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2) If you're responding to a casting call, google them. Are they real? Who are they? What are their preferences? What can you learn about them before you approach? Know who they are and let them know you admire their work and that you are not sending out a mass email to a bunch of people you don't really care about as long as you get a gig. Read their website and/or social media carefully to see if it's a good fit, and to see if they are looking for what you are offering. You aren't just asking for something -- you have value! And if you're not for them, that doesn't decrease your value to someone with whom you're a better fit. You just may not be what they need. Remember your worth and all the hard work you've put into it, but don't forget that their needs and yours may not be compatible. Triple-scan their media for compatibility between your tastes, methods, and goals, and theirs.
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3) Keep in mind that burlesque folks occasionally get knocked off of social media because of pasties and naughty words, and performers have actually lsot accounts in spite of having tens of thousands of followers. If at all possible, make sure you have an email for them, and use that rather than a DM -- unless they request that you use DMs, in which case use DMs, because you should always contact them in the manner they specify. Email is more stable, predictable, organizable, and permanent than DMs, but not everyone prefers it.
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4) Email in the formats requested, if they offer specifics for email in their profiles or on their websites. If you get an email from them that says to send a separate email rather than in the thread, don't respond by hitting "reply." If specific words or wordings are requested, use them -- those specifics may be keywords the they use to organize.
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5) Sign with your stage name. They will probably only need to know your stage names unless they have to write a check to you. And if you're in an email thread that's getting long, keep adding your name to the bottom of your comments even if you have an email signature file.
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6) If you are asking them if they are interested in having you perform, have a promo package ready immediately Have your social media, videos, photos, whatever you have, organized and ready to send via links and attachments, in the manner they request. If you have a website with links to all of that, you can include it in your signature, but don't send any unsolicted attachments. <a href="https://burlesquedaily.blogspot.com/2019/04/apply-yourself-tips-for-successful_4.html">Check out this article on organizing folders as a performer.</a>
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7) Use the same syntax and grammar you would use for a job interview, whatever that means to you. It's usualy read as a gesture of respect and professionalism.
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8) Remember that they are probably as overwhelmed and anxious about the world and work and relationships and social media as you, and that they are not all-powerful. Treat them like humans you respect, not like all-powerful gods who can make or break you. You don't need them to do burlesque, and it's okay that they don't need you. You're looking for a good fit, not asking to be recognized as a worthy being. Burlesque is a voluntary enterprise and people are doing it for various reasons, most of which we can respect even if we don't share the same motivations. You don't have to put up with anything you're not comfortable with in order to get a gig. No one in burlesque is special enough for you to put up with abuse -- or, as I prefer to think of it, everyone is so special that they don't have to put up with abuse.
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9) Respect yourself, and don't apologize for being new. It's an asset. Being experienced is an asset too -- it is a matter of finding those producers who are looking for people who are where you're at now. You don't have to pretend to be further along in your career than you are. If they're looking for experienced people, and you're not one or can't present as one onstage, it's a compatibility issue between what they're looking for and where you are, not a flaw you have. Look for people who want newness. Plenty of producers love the energy and freshness of new faces -- you'll find the right folks!
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10) If they don't respond, email again in a week or a month, or whatever you think. They may not have seen your email, or they may have gotten it right when the dog threw up on the carpet and then they lost track. Don't take it personally. If it's just your second email, refrain from saying, "Per my previous email," or "I emailed you before"; no matter how you say it, it can read as passive-aggressive, and they will feel guilty about not responding, whether they saw your email or not.
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See my article on how to keep files and promo prepared and ready for queries and applications:<BR>
<a href="https://www.blogger.com/blog/post/edit/1074472538052710757/4500187095727634060">Apply Yourself</a>
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What do you think of these tips? What questions do you have? What would you do differently?
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Image via publicdomainpictures.netJo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-56903126782821766212022-01-11T14:04:00.003-05:002022-01-11T14:05:36.262-05:00Know The Lyrics (Burlesque Performance)<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgBVuTH5zeruHiw5FKTOtcdRftrjYpvSjDW42_pvxpRPTiAjlX4hyaV4aTeIvuLe5ltuwLKlVJvokMgHCwbDjrPt9mrDcoKvwtbYgM1pFXL2rxkOMeVaIOVPeK5vBmbVtZaX0G9gQVhcIpCg7YtpXwcLnaSTV6bI7FMYZA4defVeKh7TeGaIpAdEZIL=s1920" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="1920" data-original-width="1352" src="https://blogger.googleusercontent.com/img/a/AVvXsEgBVuTH5zeruHiw5FKTOtcdRftrjYpvSjDW42_pvxpRPTiAjlX4hyaV4aTeIvuLe5ltuwLKlVJvokMgHCwbDjrPt9mrDcoKvwtbYgM1pFXL2rxkOMeVaIOVPeK5vBmbVtZaX0G9gQVhcIpCg7YtpXwcLnaSTV6bI7FMYZA4defVeKh7TeGaIpAdEZIL=s400"/></a></div>
<B>If your song has lyrics, make sure you know them well.</B>
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Don't just think you know them. Look them up and read them out loud without the music. Make sure the song is about what you think it's about it. Sometimes the name of the song or the words of the chorus contrast with the verses. Sometimes songs we think are love songs are actually about stalking or abuse. Also look out for sexist, homophobic, racist, or ablist slurs. If these are words you wouldn't want to say onstage, you probably shouldn't dance to them.
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What do you think of this tip? What songs can you think of that may have misleading or ironic titles?
Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-41682062553886734982022-01-06T14:52:00.005-05:002022-03-01T13:51:17.298-05:00Using Social Media In Your Burlesque Career: Facebook (Business of Burlesque)<p><br /></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEidS2Jpk5f0ZeBauxZtvh_HGjBDLC4y_5Ye-6bOfOxaT8Hu8ZjOuCUOcDKIfrqPaV2O9Nn50yIeQik9rJc1HLj0ATLs7Bt1kEzeX0iLvNCruQz-DCg9CEVN403jjg2LAZurHSbkv-7RhhmtXvQ5Skh-9BbqcKAhe0XeosbM6leVE-oj58rFidUm4sIg=s1500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1000" height="467" src="https://blogger.googleusercontent.com/img/a/AVvXsEidS2Jpk5f0ZeBauxZtvh_HGjBDLC4y_5Ye-6bOfOxaT8Hu8ZjOuCUOcDKIfrqPaV2O9Nn50yIeQik9rJc1HLj0ATLs7Bt1kEzeX0iLvNCruQz-DCg9CEVN403jjg2LAZurHSbkv-7RhhmtXvQ5Skh-9BbqcKAhe0XeosbM6leVE-oj58rFidUm4sIg=w311-h467" width="311" /></a></div><br />Facebook can be a boon or a bane to your burlesque career, depending on how you use it. Here are some tips to help you make the most of the site, which is still one of the most common places for people to find casting calls for burlesque shows.<div><br /></div><div>A list of fhings to keep in mind:<br /><div><br /></div><div>If you get caught up in petty drama, a lot of producers will quietly decide not to work with you. If you present professionally, you'll make great connections. Use the platform mindfully, cautiously, soberly.<p></p>
<P>Above all, keep in mine that your social media faces your audience. Ideally, there are more audience memebrs than burlesque performers, otherwise we're in trouble! Make your social media as appealing ot audiences as can be. Get them interested in you! If the audience wants you, producers will want you -- simple as that.</P><BR>
<P>When you start out, you can post about your journey, your inspirations, your costume projects, anything you like! You can post to Instagram, an important resource for the burlesque industry (even though it, like Facebook, can be censored and unfriendly to nightlife, so make sure to back everything up -- this why we have websites as well), and you can feed your Instagram to your Facebook (see how to do so in Instagram's help center). People love to see performances come together. Your journey is the most unique thing about you, so be as authentic as you can -- if some of your inspirations aren't burlesque, share that too. Talk about your excitement, your nervousness, your antipation. Talk about your pets! Look at the instagrams of working burlesquers and see how varied they are. Of course if they're established they have fewer concerns about attracting an audience, because the REAL key to getting booked in the long run is repeat engagements -- but you can still see by any burlesquer's Instagram that they are all using their true interests and aesthetics and inspirations to build their online presence.</P>
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<p>It's best to have a separate Facebook account for all your burlesque activity. Post your favorite burlesque photos and other media of yourself, whether in costume, in rehearsal, or candid.</p><p>A list of useful groups are at the end of this article. Feel free to add others you've found in the comments. </p><p>Read the group guidelines through the posts going back a few months before you introduce yourself. It's easy to get bounced out of a group if you don't follow the guidelines.</p><p>It's up to you to decide what's petty and what's professional -- honestly, those are personal standards and boundaries. If you do your best to live up to your professional standards, you'll find people who share your values. </p><p>Make sure you have clear contact information available.</p><p>Remember that producers will be able to see every single thing you post. If your page is intended to be professional, start there. If you want to be a performer who shares more intimate details and feelings, again, that is valid and will help you find people with whom you are compatible. If you want to keep personal experiences out of it, that's valid in the exact same way. It's up to you, who you want to work with and perform for and meet. </p><p>No matter how imperfect you are, some people will want to work with you.</p><p>No matter how perfect you are, some people won't want to work with you.</p><p>If you're new, it's okay to be new. There are those who cannot wait to work with new performers, just as there are those who would rather not. It's about compatibility. Not everyone has to love what you do. You just want to do your best to find everyone who will.</p><p>If you're experienced in another field of performance, know that although your experience adds to your value, it doesn't secure your position in burlesque. You may have to take a little time to get known.</p><p>Complaining on Facebook about not getting booked, unless it's a social justice issue, is unlikely to get you booked.</p><p>One caveat for all social media: Remember that all personal messages are admissible in a court of law. Do not repeat anything negative that you encounter, especially in print in any form of media, including email and video, unless you are sure it is true, even if others have freely done so.</p>
<P>Use multiple search terms and key words to find what you're looking for. Try "queer burlesque" "LGBTQIA+ burlesque" "LGBT burlesque" etc.; "global burlesque" "international burlesque" "traveling burlesque performers" etc.; "online shows" "virtual shows" "zoom shows" "live on zoom shows" "prerecorded shows.," etc. Keep going -- whatever you're looking for, it's out there!</P>
<P>In order to find Facebook groups relevant to your region, remember to search for variations of your region plus the world burlesque. For instance, "New York Burlesque" "NY Burlesque" "New York City Burlesque" "NYC Burlesque" "NYC Online Burlesque" "Manhattan Burlesque" "Queens Burlesque" "Brooklyn Burlesque" etc.</P>
<P>Below are a few NYC-oriented and national groups. Go in and scroll down and study the posts, make sure you conform to each group's individual guidelines for use, and above all, take your time. No need to jump in with a barrage of questions -- take your time, see who's posting there, see what they're like. And remember, many, many producers aren't there -- but many are!</P>
<p><br /></p><p>The New York School of Burlesque</p><p><a href="https://www.facebook.com/newyorkschoolofburlesque">https://www.facebook.com/newyorkschoolofburlesque</a></p><p><br /></p><p>NYC Burlesque Shows</p><p><a href="https://www.facebook.com/groups/356367644381716">https://www.facebook.com/groups/356367644381716</a></p><p><br /></p><p>NYC Burlesque Performers</p><p><a href="https://www.facebook.com/groups/194865880548920">https://www.facebook.com/groups/194865880548920</a></p><p><br /></p><p>The Burlesque Hall of Fame:</p><p><a href="https://www.facebook.com/groups/burlesquehalloffame">https://www.facebook.com/groups/burlesquehalloffame</a></p><p><br /></p><p>BurlyCon:</p><p><a href="https://www.facebook.com/burlyconorg">https://www.facebook.com/burlyconorg</a></p>
<p>Ecdysiast Costumer:</p><p><a href="https://www.facebook.com/groups/270027843120189/">https://www.facebook.com/groups/270027843120189/</a></p>
<p><br /></p><p>Feel free to suggest other groups in the comments! This blog is oriented toward New York City and the New York School of Burlesque Community, but people from all over the world use it. Which groups have you found useful, or would like to find? Have you created a group?</p><p><br /></p></div></div>Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-30468401414697177402022-01-02T15:41:00.006-05:002023-01-19T13:00:36.387-05:00Types of Shows and How To Audition for Them (Business of Burlesque)<p> </p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgVlMDn52ciHiAsjpyfv5InQcRK1VC5081u_zF15Xdnop2n7vu4I1mtpXL-EwveZwvLL4yaZdDjthU7y14jMnZenlsHYewPkxW3776Cct3TVSg0z-xEu0KbbasAOjLRGPsl8khyQy7lDDCmeyNe6M49a6ipuTQF7_FNsHN-7yGGbdiSUm2q50SIcQll=s640" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="640" height="301" src="https://blogger.googleusercontent.com/img/a/AVvXsEgVlMDn52ciHiAsjpyfv5InQcRK1VC5081u_zF15Xdnop2n7vu4I1mtpXL-EwveZwvLL4yaZdDjthU7y14jMnZenlsHYewPkxW3776Cct3TVSg0z-xEu0KbbasAOjLRGPsl8khyQy7lDDCmeyNe6M49a6ipuTQF7_FNsHN-7yGGbdiSUm2q50SIcQll=w450-h301" width="450" /></a></div><div class="separator" style="clear: both; text-align: center;">Above: Stanley Tucci and Cher in the audition scene in <i>Burlesque.</i></div><p><br /></p>Many burlesquers ask me how to get started in their burlesque careers, and I tell them it depends on their goals. For many of them, the first goal after preparing their first numbers is to get stage time for them. Even knowing that, however, in order to give advice I need to know more about what kinds of shows they have in mind.<p></p><p>If you have developed a few numbers that you think will shine, go for it -- start looking for producers who want what you have! There is no show so settled and established that they can resist a performer who makes the audience happy.</p><p>This article describes a few kinds of shows that are common (depending on the pandemic situation) in New York City, and some ways that they get booked. This is not a definitive list, either of types of shows of ways each show gets booked, but I hope it will offer helpful perspectives for new and ambitious performers looking to get the stage time they dream of -- and stage time that will always lead to them becoming better, more polished performers.</p><p>Please correct me or let me know where I've left out important information! If you're a student or fan, what kinds of shows have you seen? If you're a professional, what kinds of shows do you produce or perform in? If you'd like to add to this article, please give your insights in the comments! These articles go out to students, and you can influence them by contributing here, and even share your contact or website for them. On Facebook your comments will just get lost in the feed eventually, and on your own social media they might never see it if they don't know to follow you; but here, you can reach new performers every month, and help contribute to those performers becoming the kind of professionals you want in your community. </p><p>...</p><p>1) <b>Friends producing with friends. </b>This is pretty much how the neo-burlesque movement got started in New York City. People with a shared interest in burlesque got together and produced shows, often just for fun but sometimes with specific professional goals.</p><p>If a show is made up mostly of friends, it may or may not be open to additional performers. If it remains a neighborhoody show, one that tends to serve a crowd of other friends or venue regulars, this is usually not an issue. Often audience members may end up performing in the show occasionally. However, if people in the audience or in the community begin to assign status to the show, it may come to be seen as exclusive and problematic. At that time the show may have to examine the effects of its presence on a larger community than it originally had in mind, and start looking to diversify and open up in order to be accountable to the community in which the show is occurring.</p><p>2) <b>Troupes.</b> These can be the structural equivalent of rock bands, and as such may not be looking for new members. A group of performers may create a troupe and produce shows together. They may audition occasionally for new troupemates, or invite performers with whom they are acquainted, or who are touring, as guest performers in some shows.</p><p>3) <b>Festivals.</b> These come in so many forms that it is hard to describe them. Generally speaking, they are annual events given by a set of producers to network and showcase performers and instructors. Festivals tend to be have clear information on their websites and social media about how they are booking their shows. They may be application-based or they may be invitation-only. Some pay, some don't; there are various ethical iterations of professionalism at this level. Performing at a festival is fun, and it's also an investment -- it's a networking opportunity and a chance to show your work to new people. They may also have a competition element. It is up to you to decide if you like to compete -- many people do, and every art form has competitions. However, some find it too stressful, and too painful if they don't live up to their own standards, so approach competitions with care.</p>
<P>Check out the <a href="https://docs.google.com/document/d/1c7s4Bv03ozUQthIfCw-iCKlWKBIkxYov5fyJXc65OEI/edit?usp=sharing" target="_blank">NYSB list of burlesque festivals</a>.<p>4) <b>Dedicated Burlesque Venues.</b> These are actually pretty rare. For instance, in New York there are a lot of venues that have burlesque nights, and some that have them regularly, but very few venues whose primary jam is burlesque. Duane Park and The Slipper Room are the most established, if not the only, ones. These may have some features of a troupe, or they may have a pool of performers; it is pretty rare for them to reach out or announce auditions for new performers, but they usually are open to meeting potential stage helpers or guest performers. Just be aware that it can be a difficult fit, since these venues may have an established audience. Make sure the venue's style, aesthetic, professionalism, and social structure really work for you, and don't be fooled by status or pay--if it's not a good fit, you'll have major problems eventually.</p><p>5) <b>Corporate Gigs. </b>I once gave a presentation to a packed house of over 200 performers at BurlyCon, and I asked how many of them had done more than two corporate gigs in the past year. One person raised their hand. </p><p>The reality is that many corporate gigs do not want strippers; many brands are courting a family audience, even at events where alcohol is served, and don't want adult entertainment. ( <a href="https://www.dailymail.co.uk/news/article-3525728/WACA-s-Laurie-Sawle-Medal-attendees-outrage-burlesque-dancer-cricket-awards-night.html" target="_blank">check out this article to see the kind of response they're trying to avoid</a> ) Many corporate event producers who say they want burlesque simply want wandering performers in fancy costumes, with whom the attendees can take selfies, rather than performers on a stage. While they occasionally pay ever so much money, they do not often pay ever so much money. </p><p>However, if you have a gut feeling that corporate gigs are your jam, go for it. Look for others that do corporate gigs -- follow them -- support them, and eventually ask them if they can mentor you, and offer to give them professional services or money to do it. There is a performer in New York, Abby Hertz, who was giving courses in getting high-paying gigs at corporate a big media events. Look her up and offer to pay for a consultation!</p><p>...</p><p>Not all shows are open to additional performers. They may simply have an existing cast. This applies to many kinds of shows. However, if they are open to adding performers, they will make casting calls. Most of the ones who are open to developing performers will make casting calls on social media. If you want to find those casting calls, you will have to do some leg work. Search for shows online or in your physical locale and follow them on social media. There is no equivalent to Variety for burlesque (although occasionally you'll see ads for burlesque performers there.) Also look for information on their websites to see if they have an audition process.</p><p>Lots of shows will make announcements on their social media that they are interested in newer performers. Others will make it clear they prefer developed or established performers. </p><p>Make sure you see their shows to see if what you want to do is what they hire. If what they want is not what you do, don't sweat it -- why should you create art you don't feel passionate about for an audience that isn't passionate about the art you like to do? In addition, they may require specific themes, acrobatic ability, or high-end costuming, and it is up to you to watch their shows and figure out not only if you're for them, but if they're for you.</p><p>One thing to keep in mind is that producing is difficult and expensive. Producers have a tendency to work with people they know are reliable, ethical, and pleasant to have backstage. This may be perceived as cliquey, and occasionally it is cliquey -- but often it's purely for the survival of the show and the producer's sanity. You want to become a person who is great to work with so that once you've gotten the gig you can get asked back to shows rather than continuously have to hustle for new gigs.</p><p><br /></p><p>Coming soon: my article on the discussions about performance fees and rates in the burlesque community.</p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p>Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-68894914342577910252021-12-29T10:47:00.002-05:002021-12-29T10:47:14.191-05:00Free Confidence Workshop Through January 7, 2022<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh60HtysWbWOmoSfwLPTKzN5WOxmiJjBN9FUM7aN6o3kGFst4eq-Xd3K7BFKOQPe46vCY4ipHtwzZ3ojlTKwTqX5yrdOK7ZjXbhdYQKoNyG7xE2ng26Vh3y2FINj9G78Ia1plDyghAiAQZsh0ehFTz-mDA1gUkXSbVQrLKfMKeUvu5dSaWtpeBSwSPQ=s804" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="804" data-original-width="804" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEh60HtysWbWOmoSfwLPTKzN5WOxmiJjBN9FUM7aN6o3kGFst4eq-Xd3K7BFKOQPe46vCY4ipHtwzZ3ojlTKwTqX5yrdOK7ZjXbhdYQKoNyG7xE2ng26Vh3y2FINj9G78Ia1plDyghAiAQZsh0ehFTz-mDA1gUkXSbVQrLKfMKeUvu5dSaWtpeBSwSPQ=s320" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Ever wonder how to burlesque performers get and stay so confident?</div><div class="separator" style="clear: both; text-align: center;">Ever think you'd try a class or performance if only you felt more sure of yourself?</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">You can watch Jo Weldon's confidence workshop for FREE</div><div class="separator" style="clear: both; text-align: center;">if you send your request by January 7, 2022.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">To request it, email schoolofburlesque@gmail.com</div><div class="separator" style="clear: both; text-align: center;">with the words "Confidence Workshop"</div><div class="separator" style="clear: both; text-align: center;">in the subject line of your email.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">You'll receive a link to a pre-recorded live workshop</div><div class="separator" style="clear: both; text-align: center;">on confidence and stage presence.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">The link is good for 72 hours.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Wishing you good luck, good health,</div><div class="separator" style="clear: both; text-align: center;">and the best possible New Year in 2022!</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /> <p></p>Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0tag:blogger.com,1999:blog-1074472538052710757.post-18946215598200375662021-11-23T09:43:00.005-05:002021-11-23T09:46:00.940-05:00School of Burlesque Classes in New York City and Online!<p><span style="background-color: black;"><span style="color: white;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv8nWX7PhkHGlIEn8QtRE49bCz_hO0J3OX4KHnOHRU5brqc9nj40v3_yWrDlQgABYQ-7Zw7oHMsKSgyOeJd_IP1DMnyXcrDwA7g-0AS2aNKShNYdXahDO2UjhyphenhyphennyOez4K5zxACCXzGrBU/s2048/unnamed.jpg" style="background-color: black; margin-left: 1em; margin-right: 1em;"><span style="color: white;"><img border="0" data-original-height="1536" data-original-width="2048" height="369" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv8nWX7PhkHGlIEn8QtRE49bCz_hO0J3OX4KHnOHRU5brqc9nj40v3_yWrDlQgABYQ-7Zw7oHMsKSgyOeJd_IP1DMnyXcrDwA7g-0AS2aNKShNYdXahDO2UjhyphenhyphennyOez4K5zxACCXzGrBU/w492-h369/unnamed.jpg" width="492" /></span></a></div><p><span style="background-color: black;"><span style="color: white;"> Above: Students in the September Fan Dance Workshop</span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;">Want to find out more about any of the classes listed below? </span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;">Head over to <a href="http://schoolofburlesque.com">schoolofburlesque.com</a>!</span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;"><b>FLIRTING WITH BURLESQUE</b><br />Are you Burlesque-Curious?<br />Get acquainted with our fancy performing art in this fun and friendly class, featuring simple moves that will get you into the burlesque groove!<br /><br /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"></p><p><span style="background-color: black;"><span style="color: white;"><br style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;" /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;"><b>BURLESQUE IMPROV AND CHOREOGRAPHY</b><br />Dress for movement!<br />Gigi Holliday will teach you basic burlesque moves and get you into showgirl form in this introductory class! Designed for all levels, it's the perfect way to begin your journey into this sexy and playful performing art.<br /><br /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"></p><p><span style="background-color: black;"><span style="color: white;"><br style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;" /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;"><b>PERFORMANCE FUNDAMENTALS!</b><br />Thinking about performing? Get a crash course in what goes into Burlesque Act Development! You'll learn about coming up with an effective stage name, generating ideas, getting into character, choosing music, developing choreography, incorporating striptease, and basic costuming techniques and concerns.<br />Perfect for beginners or experienced performers who want a to renew their inspiration.<br />Lecture-based with acting and choreography exercises, dress for comfort and movement.<br /><br /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"></p><p><span style="background-color: black;"><span style="color: white;"><br style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;" /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;"><b>STRIPTEASE EXPERTISE!</b><br />Striptease is the most unique element of neo-burlesque performances, and often the most misunderstood. Learn the psychology and logistics of theatrical striptease with a master. Bring a button-down shirt, a pair of stockings, and a bath towel. Jo will provide elbow-length gloves for students to borrow, or bring your own. Recommended wear: leotards or dance shorts layered with leggings, jeans, or skirts.<br />This is an extended version of the first class in the Essential Burlesque series.<br />Lecture-based with acting and choreography exercises, dress for comfort and movement.<br /><br /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"></p><p><span style="background-color: black;"><span style="color: white;"><br style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;" /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;"><b>HEALING THROUGH SEDUCTION</b><br />Experience Perle Noire's provocative guide to seducing your reflection without regrets or guilt. Ultimately, the full program serves as a transformation through the art of self-seduction and self-love absolutely guilt-free. This 90-minute workshop will introduce you to an experience that can change your life.<br /><br /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"></p><p><span style="background-color: black;"><span style="color: white;"><br style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;" /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;"><b>ACT DEVELOPMENT IN 2022!</b><br />Join Jo Weldon, author of The Burlesque Handbook, as she takes students though every element of creating a solo burlesque routine, from choosing music to putting together a costume to interacting with a live audience. Each participant will also receive individual attention and guidance. Students will have the option of performing their routine live in a student showcase!<br /><br /></span></span></p><p><span style="background-color: black;"><span style="color: white;"><br style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;" /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;"><b>Burlesque: Air, Water, Earth, Fire</b><br />Jo Weldon, Headmistress of The New York School of Burlesque, presents a new online series in collaboration with the world-renowned scholars at Morbid Anatomy.<br />The series guides students into exploration of seductive dance movement through literal and mystical interpretations of the four elements of air, water, earth, and fire. Air dancing will incorporate inspiration, stillness, and lightness. Water movement will address undulating, smooth, shimmering dance, exploring both water’s surface and depths. Earth movement will focus on balance, grounding, and floor moves. Fire movement will incorporate passion, speed, seduction, and brightness. Ultimately students will access the fifth element of Spirit!<br />Throughout, students will discover which elements they wish to embody, and essential burlesque details about music, costuming, and props will be part of the discussions.</span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;"><br /></span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;">Want to find out more about any of these classes? </span></span></p><p style="font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><span style="background-color: black;"><span style="color: white;">Head over to <a href="http://schoolofburlesque.com">schoolofburlesque.com</a>!</span></span></p><p style="background-color: white; font-family: Georgia, "Times New Roman", Times, serif; font-size: 16px;"><br /></p>Jo Weldon's New York School of Burlesque Bloghttp://www.blogger.com/profile/16757310890319782743noreply@blogger.com0