Roulette Rose of Austin, Texas shares her thoughts on identity and persona in Burlesque, both on stage and off
After writing a little rant about the transformation of my burlesque identity, I was asked to write further about some points that I had touched on. I will preface here that although there are many kinds of performers who are involved in burlesque productions, my experience only allows me to write this from the viewpoint of a dancer, but it is possible that the discussion may be parallel for other kinds of performers. Perhaps you also have experienced transformations in your own burlesque identity, or you have questioned how far you will take that identity.
Roulette Rose – Gator Girl! (c) Zach Brown
At this point in time, I feel far from my original concept of what it means to be a burlesque dancer, and I would like to share my experience since it has become important for me to identify as a burlesque dancer most of the time, and mostly to myself more than anyone else.
My original rant mentioned that when I perform, I am being myself 100%. I am not playing a role or a character, I am not playing burlesque dancer, I am not trying to re-create an image or act from a previous time period; but I am being myself- performing a strip tease act. This is important to me to distinguish because when I first started performing burlesque, this was not the understanding that I had of what I was doing.
Roulette Rose (c) Jian Bastille
Before I dive into discussing burlesque identity through my own experience, I would like to share a little about myself. Six years ago, while living in New Orleans, Louisiana, USA, I was inspired to look into being a burlesque dancer after a short attempt at being a stripper on the infamous Bourbon Street. When I first started performing burlesque, no one set out to tell me how or what to do to be a burlesque dancer. I had some old burlesque books and videos to gather inspiration from thanks to the troupe that I joined, but when it came to my own burlesque persona, it was all up to me.
As I dived in- I decided to create a fictional character behind the name I chose, without knowing that while it was ok for me to do that, it was not necessary. There were no schools of burlesque, no videos, no guidebooks, and no classes in my neck of the woods. It was all up to me to produce something that I would perform in the troupe's next show.
I used my middle name and daydreams of vintage Las Vegas casino's to create the name Roulette Rose, which was at first a fictional rockabilly inspired character with a wilder fictional personality and background then the person I was on a daily basis. Although I was a fan of rockabilly music and all of the vintage crap that one associates with it, while newer acquaintances thought that I was a rockabilly girl, I didn't perceive my identity as anything other than a cultural mutt.
But something in the air made me feel like this was the way to go for my new persona and that all of the music and costuming needed to reflect this. I am not sure why this compulsion arose so matter-of-factly, other than I quickly saw the family ties between burlesque, pin-up fashion, vintage design and the rockabilly scene. In fact, it is quite humorous to me now, and I see the same grasp for rockabilly and vintage inspired style in many new performers, but that is probably how they learned about burlesque in the first place, so I don't blame them.
The situation that prompted me to analyze and write an online rant about my identity as a burlesque dancer, came from being asked a question that is often asked to me, by folks who are unfamiliar with burlesque. Someone recently asked me if I had a character or a different persona that I am known for in burlesque. While answering her, I realized the extent of the transformation of my burlesque identity since I first created a fictional character and concept behind my burlesque persona and acts.
In my six years of performing, my identity as a burlesque dancer has always been one that I wrestled with. I have often worried about my longevity and success as a performer due to my initiation of non-burlesque goals and endeavors; but equally unnerving was a fear that changing my identity (to be in sync with how I was naturally changing in my daily life) would also hinder my burlesque career to some degree, or sticking to my burlesque identity could hinder my other careers. I wondered if I was going to hit a glass ceiling if I did not do certain things: maintain a certain look, promote myself in a certain scene, or perform a certain style of burlesque. I was always worried or wondering if something that I did or didn't do would affect my image: would I be too "neo", too "classic", too punk, not rockabilly enough, were my acts with hip hop music going to shun the rocker fans and old folks, was I too safe, too risque, to weird, too tame, too wild? Should I have pin-up style photos, should I allow my tits on Facebook, etc…
Roulette Rose & Nona Narcisse at New Orleans' Slow Burn Burlesque. Video by Zach Holmes
Somewhere around my third year of performing, I decided to break out of the mold I had cast for myself, because the passion and motivation behind my newer ideas were too strong to deny. This was when I started letting myself be quirkier, a little grandiose, and quite the opposite of rockabilly! This happens to be more inline with the person that I am off stage. Over the last few years, as I let my own natural character come to the forefront of my acts and aesthetic, I have realized that the feelings I had after performing went from being a few minutes of "fun", to actually being a long-lasting source of personal joy.
Then, there were changes that I made to my physical appearance that made me wonder. I went from having Bettie Page hair to short hair, pink, purple, black, brown, ginger, you name it. And I worried- how would anyone recognize me? Was my new image (pick one) going to affect my acceptance into shows that catered to a certain style? I was told that I was ineligible to audition for a production when I first wanted to become a burlesque dancer, because of the few tattoos that I had at the time were already disqualifying me from having "the look" desired for that style of production, so who is to say that something similar wasn't going to happen due to my "look" in other ways.
While struggling with this, I had an epiphany: reflecting on my roots in outlaw country, punk rock and hardcore music- personal heroes like Willie Nelson, Mike Ness, Sick of it All, Madball….tough motherfuckers who didn't bend for anybody- their guiding light was to stay true to themselves, and I decided that that was the only way for me as well. I didn't want to lose out on opportunities, but I had to go forward with being myself and doing what I wanted to do, even if it meant giving up gigs (which it ultimately did).
Eventually, I used this determination to start a production company with a burlesque cohort of mine, and our goal was to make it a priority to promote productions and dancers with an alternative look and performance style, like ours. I took the fluctuation in identity, and the identity that was denied an opportunity, and I held it high. Very quickly, we were very satisfied with the results.
However, getting deeper within the identity of being a burlesque dancer, I questioned if I should meld the two worlds further, perhaps through my name: should I change my stage name to include my first name, or should I start using my burlesque name as my regular name (at the day job, on paper, etc…). My stage name already includes my middle name, and I decided that I had already come too far to make this kind of change, so I had eventually decided to just bring more attention to my middle name while off stage, and just leave it at that.
In contrast to the ethics I had established for myself, omitting the character concept, and adopting the 100%-me-approach, I noticed something funny in the burlesque world around me.
What I saw was happening throughout each era of social networking: I was seeing more and more "status updates" and posts made by burlesque dancers who were putting a glamourized spin on the topics that they wrote about. This was weird to me, since I know that 99% of dancers out there have to build their careers from the ground up.
The ground up starts in a friendly (and unfriendly) neighborhood bar, and there ain't no glamour about changing in the beer closet with 6 other women and their suitcases. For the other 1%- I've seen the clubs that they had their first year of shows in and I've seen the videos of their costume malfunctions- I know that the beginnings are humble, and rock-n-roll at best.
Now I know that we all participate in the game of "smoke and mirrors", but when it came to some of my peers online writings as opposed to stage presence…I felt uncomfortable. Probably because I had already decided that putting the real me into my acts, also meant putting the real me into my marketing and public dialogue. This attempt by some dancers at replicating the glamour surrounding the dancers from yester-year was a reminder to me that all is not what it seems even within the inside-world of burlesque and that I am going to have to pave my own way.
I got to see the results of my decision on my burlesque identity once I graduated from college and could start traveling again. I finally had the chance to be out in the national scene as a solo performer. This proved to me that my strength is not in the identity that might be perceived of my burlesque persona, but it was in me being myself and putting in the work. In less than a year's time, I was accepted into two festivals and I booked a solo tour for myself. As silly as it sounds- I did it with multiple hair colors, hair styles, and a wide variety of performances from rockabilly-inspired to hip hop booty-bounces, and from romantic dedication acts to sideshow quirkiness.
I recognize that there is definitely a need for some dancers to straddle identities and to designate when one identity is awake and the other is resting. While I feel that it is important as a human to own an identity and to feel like there are peers or family that you can identify with, I also respect that some women have chosen to keep their burlesque identities separate from their daily lives. I am no stranger to juggling multiple careers or projects, and it is one's own prerogative as to how to juggle being a burlesque dancer with other aspects of their lives.
At this point in my life, by default, I identify as a burlesque dancer despite not being able to perform 100% of the time, due to relocating, non-burlesque endeavors, and personal struggles. I feel eternally rooted and bonded to the identity, the spirit, and the community of burlesque due to the time, effort, and human connections that I have made through out my burlesque career.
Most importantly, what I have decided for myself, is that I grew as a performer when I threw away the concept of being a character other than what I truly am inside. What you see on stage is the real deal. This means that when I am onstage, I am performing real things about myself: passions, desires, daydreams, quirks, musical taste, dance style, etc.
Roulette Rose (c) Johnny Crash
Perhaps you have wrestled with some identity questions throughout your time spent performing burlesque. I am curious to know what other dancers have considered in regards to their identities both on and off stage and I would love to hear from you either in a comment or via email.
If I can recommend one thing that I discovered through these last few years, it is that I threw away the concept of being a character other than myself. As I mentioned above, being "me" while performing burlesque, has brought me great joy that lasts days after performing. That same joy overflows into other parts of my life, and lets me know that I have made the right decisions for myself all along.
Roulette Rose first established her burlesque roots in New Orleans, LA, but she currently lives in Austin, TX. She has a Bachelor's degree in Anthropology- with a Cultural focus, from the University of New Orleans, through which she has explored concepts of identity in cultures around the world. She also considers herself a music nerd and a wine geek.
8 comments on "Burlesque Identity"
Violet Vayne
Thank you for your article Roulette. There have been a few things going round my head recently which you have touched on here and I found it great to read, especially at this point in my burlesque career.
I have only been performing for a year and a half. I remember being asked what style my burlesque performance is and I always found this hard to answer thinking that because I was new and I didnt know enough about burlesque that was why I didn't know which style I did. I've realised that my burlesque performance seems to come from me and I guess that's why I can't slot myself into a style type…..although my favourite music style is rock I have a very wide range of music taste and I have always felt that I never quite fitted into any one social group. People often presume they know me and my likes/dislikes and are often surprised if I say I like this or that. My interests are wide-ranging and ecclectic.
Recently I have been working on a new routine which is quite different to my first 2 routines and have just done a photoshoot which shows a different side to Violet and I suppose there has been a little voice in my head wondering if it is ok to have several different styles in my repetoir. Thinking…should I have a certain type of character and stick to it not to confuse people?
But you know what? I wrote a biography very early on (on my Facebook page) and I am glad that I did as I can keep going back to it to remind me to keep being true to myself…not feel that I have to be a certain way….'Violet loves the variety of people and styles that burlesque allows. She hopes to not be pigeon-holed and doesn't want to 'be' a certain way to fit in. Violet says 'it is my desire to develop without a plan…I enjoy the process, not knowing where I'm going with it but ohhhh soooo enjoying the ride'!' I have never changed this part of my bio and I don't think I ever will….
Thanks for reading Violet.
I hope that my article can spur some discussion or act as a launch pad for my peers to share their experiences. There are so many perspectives that are possible in our burlesque culture.
I would be fascinated to hear/read others thoughts about the identity experience of dancers who took the opposite approach than mine and decided to stick to a carefully developed character.
Also, I think it could be useful for the community if someone could share their perspective if they have other dynamics to consider in their lives- such as those who need to straddle identities or use strategies to maintain a distance between burlesque and daily lives.
Feel free to share here in the comments section, through email, or contact Coochie Crunch if you would like to submit an article to make this a multi-part discussion. The door is open! Thanks for reading!
Thanks for your smarts and candor here! I think it's so important to reflect on your identity and process as a person/performer who lives a semi-public life (onstage) and a private life (well, anytime except when you're onstage). It's interesting to hear you describe your evolution–from my perspective as an observer, it seemed totally natural and seamless. I forget half the time that when I first met you your look was completely different! Congrats on excavating your true "Rose," in life and onstage 🙂
For me, as you know, the first four years I spent as a burlesque dancer were also spent in the classroom teaching kids, mostly teenagers. It was an absolute necessity for me to keep those two worlds separate; but I never felt like my Moxie character was a lie, or a less true part of myself. Much in the same way I wouldn't feel like it was appropriate to come to work at school in full makeup and a rhinestowned gown, I wouldn't do acts that reflected my daily, non-glamorous life of hard, frustrating, often non-rewarding work with kids with major academic and social needs. Burlesque was a place where I could be let out the light, breezy, and sexy parts of myself, since I had very little outlet to do so during the rest of my time. Lots of goofy, eye-winky, campy good times those first four years!
Since leaving teaching though, I am definitely seeing more of my full self in my acts. I've started using my real hair more and more as opposed to that big ol fall, and I've done two more "serious" numbers that reflect the parts of my personality that are more introspective, reflective, and analytical–the first one this past fall addressed domestic abuse and PTSD (Matt and I played a dysfunctional post-Vietnam couple to the Cranberries' "Zombie" for Show Ghouls), and just last week I did a number inspired by post-Katrina New Orleans that left me feeling more raw and powerful than I ever have in a burlesque space.
Now that I don't have to caretake these two separate worlds, I'm really excited to explore what else burlesque can do, besides be a fun and pretty escape hatch. I'm starting to see it as an interest more in line with my lifelong interests of theatre and writing–for me, for "Moxie," burlesque can be about narrative and storytelling too, not just some illusion of long ago glamour.
Thank your for getting our brains bubbling on this!!
Thank you for your reply Moxie, do you have any video links for these acts? I'd be really interested to see them both.
Here's the video for the first act I mentioned; thanks for watching! http://youtu.be/-SO6UF0ruB8
Woah! That is really powerful. I love that floor work after you drink the bleach!
Thank you so much for your replays here guys. I'd like to echo Rose's comment, Violet I'd love to hear what you have to say if you'd like to continue this conversation in an article.
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This entry was posted on July 20, 2012 by coochiecrunch in Coochie Crunch Blog and tagged Burlesque Warrior, New Orleans, Nona Narcisse, Roulette Rose, Texas.
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