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<p class="BasicParagraph"><b><span style="font-family:"Arial","sans-serif";color:black">Burlesque</span></b><i><span style="font-family:"Arial","sans-serif";color:black"><o:p></o:p></span></i></p>
<p class="BasicParagraph" style="margin-bottom:.25in"><i><span style="font-size:11.0pt;line-height:120%;font-family:"Arial","sans-serif";color:black">Edited by Shelley Scott and Reid Gilbert<o:p></o:p></span></i></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:11.0pt;font-family:"Arial","sans-serif"">CTR#158 offers an extended conversation about burlesque in Canada, from archival photos and historical contextualization to the most current interpretations of what neo-burlesque can be and what
it can do. The audacious urban experience of Montreal lives beside the off-the-grid exuberance of Lasqueti Island. The details of costume construction in ancouver are considered alongside legal definitions that dictatecostumes in Calgary.
<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">The issue offers an in-depth exploration of Toronto’s Operation Snatch, formerly The Scandelles, with two articles
that chart the company’s trajectory from burlesque to political cabaret, a Scandelles script, and an interview with founder Alexandra Tigchelaar. Also exclusively online, Adriana Disman has curated a dialogue among socially conscious performers using neo-burlesque
for social change. Whether conveying the experience of a male burlesque performer or drawing parallels with the community-building appeal of roller derby, the authors in this issue dissect, interrogate, and expand the definitions of burlesque.<b>
</b><span style="color:gray"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-size:11.0pt;font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">This issue contains:<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">The Politics of Burlesque: A Dialogue Among Dancers</span></b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">
<br>
Adriana Disman <o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-bottom-alt:auto;line-height:normal"><a href="http://bit.ly/CTR158a"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158a</span></a><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">“Teasing, Transgressing, Defining—Broadening the Spectrum of Sexy”</span></b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">
<br>
Shelley Scott and Reid Gilbert<br>
</span><span style="font-size:11.0pt;font-family:"Arial","sans-serif";color:red">Read the editorial for free!
</span><a href="http://bit.ly/CTR158edit"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Click here</span></a><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></b></p>
<p class="BasicParagraph" style="line-height:normal"><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif""></span></b><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">In Search of a Different History: The Remains of Burlesque
in Montreal<o:p></o:p></span></b></p>
<p class="BasicParagraph" style="line-height:normal"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Joanna Mansbridge<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><a href="http://bit.ly/CTR158b"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158b</span></a><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Taking Elin Diamond’s and Rebecca Schneider’s recent work in drama and performance studies as a starting point, this essay looks at two eras of burlesque in Montreal—the 1940s-50s and 2012—tracing
a shifting landscape of popular entertainment, politics, religion, and social attitudes toward female sexuality. There is a central question underlying this examination: Why burlesque? Why now (or, rather, again?). I argue that burlesque offers an archive
that evokes a different, more glamorous history than the one passed down to women by second-wave feminism. Burlesque also provides an alternative to popular culture’s commodification of female sexuality, technology’s mediation of social life, and heteronormative
culture’s privatization of sexuality, giving women—and men—a stage on which to make fun of our cultural fixation with sex and the female body. Both nostalgically looking back and eagerly reaching for the new, neo-burlesque repeats the past as it simultaneously
reinvents it.<b><o:p></o:p></b></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">“Well, Melody, what is your skirt gonna turn into now?”: An Interview with Melody Mangler<br>
</span></b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Ines Ortner</span><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><br>
</span></b><a href="http://bit.ly/CTR158c"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158c</span></a><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></b></p>
<p><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Melody Mangler is a highly acclaimed burlesque performer, teacher, costumer, and writer from Vancouver. In 2009, the Burlesque Hall of Fame recognized her talents with the “Best Debut” Award
for her outstanding performance piece <i>Venus in Spring</i>. As a founding member of the Screaming Chicken Theatrical Society and their current artistic director, she contributes significantly to the Vancouver burlesque scene.<o:p></o:p></span></p>
<p><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">This interview centres on the role costumes play in Melody Mangler’s performance process from their inspiration to their construction, and as a stage partner. The conversation covers various
aspects of costume design: the historical burlesque, the connotation of fashion-before-function, the ingenuity required during the building process, and the technical complexity in the creation and play all burlesque costumes involve.<o:p></o:p></span></p>
<p><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Mangler also speaks to the creative adjustments of conventions, the inherited satirical characteristic of the neo-burlesque as well as the significance of sex-positivity and body-positivity.<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Backwoods Burlesque: Off-the-Grid Tsk Tsk<o:p></o:p></span></b></p>
<p class="BasicParagraph" style="line-height:normal"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Bronwyn Preece<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><a href="http://bit.ly/CTR158d"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158d</span></a><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:11.0pt;font-family:"Arial","sans-serif"">The <i>Tsk Tsk Revue</i> has become an annual one-night event—perhaps now more accurately described as a phenomenon—in the 350-peopled, entirely off-the-grid island of Lasqueti, BC, developing
into a Gulf islands’ touring show. Teeming with brazen backwoods humour and localized, alternatively-powered erotics, the
<i>Tsk Tsk Revue</i> has rightfully earned a unique place on the national burlesque scene. The show spins both the term
<i>sexy</i> and the status quo on their heads, highlighting the often-absurd moments of choosing to live off-the-grid and translating the many challenges that face the islanders into comedic fodder. Staging innovative low-tech stage tropes, costumes, and black
light burlesque through a series of vignettes strung together by the colourful commentary of the show’s creator and hostess, Jenny Vester, the
<i>Tsk Tsk Revue</i> continually pushes the limits and tests one remote little island’s limits.<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Stuck to the Pole: Raven Virginia and the Redefinition of Burlesque in Calgary<o:p></o:p></span></b></p>
<p class="BasicParagraph" style="line-height:normal"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Jamie Dunsdon
<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><a href="http://bit.ly/CTR158e"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158e</span></a><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Raven Virginia thinks of burlesque and exotic dance as “sisters who come from the same rich and beautiful history” but cautions against confusion between the two forms. Raven and her ensemble,
The Garter Girls, gained experience vocalizing the distinction between their brand of revival burlesque and the style of stripping, or “exotic dance,” performed at strip clubs when, in 2010, the provincial liquor commission categorized both performance styles
as “nude entertainment” under its licensing guidelines. This article explores the impact of that decision on burlesque performance in Calgary, examines public (mis)perceptions of revival burlesque, and defines the artistic values and performance aesthetics
that differentiate revival burlesque from exotic dance, using the Calgary burlesque scene as a case study. It also outlines some of the challenges of setting standards of quality within an artistic practice that has little internal hierarchy and rarely receives
external review.<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Are You Staring at the Size of My Gimmick? Applying Burlesque Conventions to a Different Anatomy<o:p></o:p></span></b></p>
<p class="BasicParagraph" style="line-height:normal"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Jay Whitehead
<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><a href="http://bit.ly/CTR158f"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158f</span></a><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:11.0pt;font-family:"Arial","sans-serif"">A former “boylesque” performer explores his personal experiences within the Toronto-based male burlesque company Boylesque TO, examining the presentation of male bodies in traditional and contemporary
burlesque. Can men in Burlesque reclaim aesthetic dignity for the male body through the emulation of a traditionally female art form, or does their presence in the burlesque community simply serve to further “expose” the male physique, in all its shapes and
sizes, to socialized reactions from its audience? In popular culture, and the performing arts, the performer’s penis remains a source of shock or hilarity, a symbol of depravity or comedy. Does its presence in a traditionally female performance style simply
encourage this further, remaining appropriate for only size-jokes or covered eyes, or can it help the male member become a truly sensual object in the spirit of traditional burlesque?<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Neo-Burlesque and the Resurgence of Roller Derby: Empowerment, Play, and Community</span></b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">
<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">David Owen<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><a href="http://bit.ly/CTR158g"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158g</span></a><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:11.0pt;font-family:"Arial","sans-serif"">In both neo-burlesque and roller derby, there is a two-way communication between the audience (both male and female) and the performers/athletes that celebrates what the women (and sometimes men)
on stage and on the track are doing. Using interviews with several burlesque performers and derby players, I demonstrate that there is a sense of community at both events between performers and audience, and that the art form of burlesque is not about monetary
gain or exclusively for the pleasure of men. The burlesque performer is continually in communication with the audience through eye contact, performer-initiated physical contact, and invited audible response. I draw a parallel to roller derby as another outlet
for women to express themselves outside of a traditional patriarchal frame for an audience of both women and men, paying particular attention to the acceptance of a wide range of body types, the creation of community, and a celebration of strength and skill
not usually associated with women.<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Extinguishing the “Temptation of Monetary Inducements”: The State Regulation and Stigmatization of Adult Entertainment Recruiters on Post-secondary
Campuses in British Columbia<o:p></o:p></span></b></p>
<p class="BasicParagraph" style="line-height:normal"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Becki Ross and Oralia Gómez-Ramírez<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><a href="http://bit.ly/CTR158h"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158h</span></a><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:11.0pt;font-family:"Arial","sans-serif"">In this article, we explore the directive issued in August 2012 by the Minister of Advanced Education in British Columbia to ban “aggressive” adult entertainment recruiters from campus job fairs.
We argue that the Liberal minister’s move to differentiate “appropriate” and “safe” employment from the purportedly perilous behaviour intrinsic to “exotic dancing” deflects attention from the economic crisis facing most post-secondary students. We contend
that exotic dancing is being used as a convenient scapegoat, a bottomless container for fear and anxiety eminently exploitable in the service of moral governance masquerading as state advocacy. Some students already work in the sex industry, including the
world of commercial burlesque. The minister’s message to university and college presidents in British Columbia reads as a cynical, desperate ploy a) to exploit fear for political gain, and b) to obfuscate the grave, deepening crush of debt shouldered by post-secondary
students.<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Re-Vamping History: Neo-Burlesque and Historical Tradition</span></b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">
<b><o:p></o:p></b></span></p>
<p class="BasicParagraph" style="line-height:normal"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Alexis Butler
<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><a href="http://bit.ly/CTR158i"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158i</span></a><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Considering two performance trajectories that have emerged from the varied dramaturgical history of the burlesque genre, epitomized by superstar Dita Von Teese and by the Toronto collective The
Scandelles, this article demonstrates how neo-burlesque can usefully be divided into that which approaches burlesque as a noun and that which deploys it as a verb. Where Von Teese’s recreationist approach relies on, and reifies, notions of “the historical”
to contain and contextualize her act as more tasteful than contemporary stripping, The Scandelles’ active burlesquing, which relies on irony, camp, and social criticism, calls the very essence of such monolithic narratives into question. Ironically, while
the performance of The Scandelles has often been considered to be more akin to the “avant-garde” than to the neo-burlesque, I will show that it is, in fact, strikingly similar to the earliest, and least contemporarily familiar, years of North American burlesque.<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">An Interview with Alex Tigchelaar, Formerly Sasha Van Bon Bon of The Scandelles
<o:p></o:p></span></b></p>
<p class="BasicParagraph" style="line-height:normal"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Alexis Butler
<o:p></o:p></span></p>
<p class="BasicParagraph" style="line-height:normal"><a href="http://bit.ly/CTR158j"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158j</span></a><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Alex Tigchelaar, formerly Sasha Van Bon Bon of the Toronto neo-burlesque collective The Scandelles, discusses the early days of Toronto neo-burlesque, her classy vagina, social renegades & queering
history, sobriety, and other stops on her journey towards artistic confidence.<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">“You’re Just a Stripper that Came Out of a Time Machine”: Operation Snatch’s Queer World-Making and Sex-Working Class Politics”<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Sarah Mann
<o:p></o:p></span></p>
<p class="MsoNormal"><a href="http://bit.ly/CTR158k"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158k</span></a><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">This essay explores the queer world of Toronto’s Operation Snatch (formerly known as The Scandelles), focusing in
particular on two of their productions related to sex work, <i>Les Demimondes</i> and
<i>Neon Nightz</i>. The essay details the performances, which focus on prostitution and exotic dance, respectively, and discusses whether performances about sex work ought to be considered queer performance art. Arguing that Operation Snatch’s performances
constitute “queer world-making,” this essay considers how Operation Snatch leverages affect to engage their audiences in the composition of a queer “world” that critiques popular and burlesque images of sex workers, in which their critical self-representations
as sex workers can come to life. By adapting burlesque’s ironic “gaze back” to the “world-making” capacities of cabaret, Operation Snatch produces sex work-related performances that can critique sex workers’ marginalization in both popular and burlesque culture.<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Arial","sans-serif";color:gray">Script<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Neon Nightz<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Alexandra Tigchelaar<o:p></o:p></span></p>
<p class="MsoNormal"><a href="http://bit.ly/CTR158l"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158l</span></a><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></p>
<p><i><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Neon Nightz</span></i><span style="font-size:11.0pt;font-family:"Arial","sans-serif""> examines paradoxical notions of worship and intimacy in the sacred yet profane places in which we explore
the ideologically linked emotions of desire and shame. It asks the question, is the strip club so different from the holy confession? When oppression, rather than necessity, is viewed as the mother of invention, what do people invent to subvert its tyranny?<o:p></o:p></span></p>
<p><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">It brings together female archetypes that are simultaneously revered and reviled and exposes the myths used to typecast women and the modern applications of religious allegory. It reveals what
happens when The Virgin meets The Whore without interference of the masculine saviours who both contrive and condemn them. What happens when the whore speaks for herself, refuting what Louis Althusser would deem the imaginary relationships forced on the real
conditions of her existence? If we took this concept, and refused to present it through coy symbolism but insisted on an application where “whored” bodies were also front and centre, we would have to see these spaces for all their complexities.<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">Views and Reviews<o:p></o:p></span></b></p>
<p class="MsoNormal"><a href="http://bit.ly/CTR158m"><span style="font-size:11.0pt;font-family:"Arial","sans-serif"">http://bit.ly/CTR158m</span></a><span style="font-size:11.0pt;font-family:"Arial","sans-serif""><o:p></o:p></span></p>
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