Burned for life

I'd always wanted to have a camp at the virtual Burning Man Festival, certainly after I learned of the Metaharpers and their camp, but all the way along. The festival idea is not a new one for me, most people know Idle Rogue's live music stages are designed to emulate outdoor festival stages. I have a long history of outdoor concerts and bike runs in my real life, to me it's the Australian Way.

In real life there's a good chance I'd avoid the Burning Man Festival. I don't actually care much for the heat, and it sure looks hot out there. Interestingly, the virtual festival coincided with local heatwaves and fires, so I didn't really escape by going virtual; but I enjoy that juxtaposition of the two environments, it makes the immersion more savoury.

Make no mistake, it is expensive to go to Burn 2. The parcel we procured through the generous donations of Idle Rogue supporters cost 12000 linden dollars - $48USD. For that we got a 1024m² parcel with 468 prims for roughly six weeks. The event itself runs for a week, and it runs on the same principles as the rl festival. There are no tips or other income. So that $48 bucks is spent for love.

But oh, Burn! How I loved you!

chry goes feral

The Idle Rogue community has been in a kind of recess, for one reason and another. The downsize meant we had to fore go the housing and the new resident program. The community has been languishing anyway while I licked my wounds by falling in love with another game. It's my belief that successful venues consist of a nucleus around which a wider community are loosely gathered. Those things are still very much part of Idle Rogue, and we wouldn't be who we are without Chewie, Jess, Di and Shippy. But some faces are gone, the flavour has changed, and we are in a form of stasis.

For me, the Burn2 project was a return, of sorts, to Second Life. I have spent more time there over the past month than I have for a long time, indeed, since The Big Ruckus of 2012. And it was good! It was fun!

Shippy's glorious Observation Tower, our home away from home on the playa

I talked to strangers, and watched them fashion beautiful things purely for the enjoyment of passersby. I learned their stories, I listened to them wax about their Burn experiences, their philosophical ideals, the ethics they have developed and how those are shaped by the Burn and by Second Life. I saw passion, I saw real joy, I saw kindness and spiritual generosity. I watched people transformed by their engagement with this virtual environment. I heard people cry at the Temple Burn, I saw them entranced as the man burned.

And then there was my team, Guerilla Burlesque, who grabbed hold of my vision and ran like bandits with it. They made beautiful, thought-provoking performance art and gave it to everyone who was interested to come and watch. They, also, met and engaged strangers, made people welcome and gave them memories. They were generous with their time and thoughtful with their energy. They were endearing, curious and made me full with love and pride.

Dance like everyone is watching

All of it, every bit of it, was the enchanting human at humanity's best. My humble thanks go, in no particular order (well except for first and last, who are first and first), to Thea Dee, GMetal, Meegan Danitz, GarGraVarr Rau, February Jinx, Cool Plasma, Jess Cauld, Gloriana Maertens, Azabella Alamar, Zahra Ethaniel, Huntress Cattaneo, Jordan Reyne, Maeve Branner, BabyPea von Phoenix, Knowledge Tomorrow, Biebi, Aubreya Joszpe, Deb Heron, Chewie Quixote, Tukso Okey, Padula Bing, Pol Arida, Jenna Dirvall, Darkshore, Mulder Watts, Leroy Horton, Mercutio Evanier, Diawa Bellic, Buttermilk Panacek, Eifachfilm Vacirca, Trinity Hunghi, and most especially, forever and always, Shippy.

criticism is good for character

I have simply got to stop reading the Dance Queens blog on the way to posting. Watching the Cutie Awards unravel and be repeatedly dismissed by someone who isn't actually game to use their own name is doing my head in.

Come out, come out, whoever you are. I take criticism very well, really I do.

At the end of the awards show, I was chatting to Jariah Yuhara, of A&M Mocap Animations and I told her this story:

When I danced for Virtual Burlesque, Cellandra Zon came to see our show. I was most honoured, and I really wanted to know if she liked us. I couldn't help it, though ... I mean ... Cellandra Zon! At that point she was the only name I knew, the only "star" I was aware of, and she was at our show! I had to find out what she thought.

Let me tell you, Cellandra, whom I now consider a friend, though we are not close, was not at all impressed. She gave it to me straight too, and it was very very humbling. When she was done, she gave me a landmark for A&M Mocap Animations.

And after that, I was a dancer.

I just finished saying, on the dance queens blog, that I am getting a little weary of hearing that the awards were "a high school prom where, nothing is based on merit, talent and skill". But you guys knew that anyway :-)

I share my little story in hopes that you might understand what drives me, at least a little, to require a high standard from Guerilla Burlesque. I still feel they deliver, in a way almost no other show does.

I keep coming here meaning to start a series that details my creative process, and I promise, that post is coming. Just as soon as I stop watching the car wreck they made of my statuettes.

chain of events

tip, noun, verb
a small present of money given directly to someone for performing a service or menial task; gratuity: He gave the waiter a dollar as a tip.

Things you may not know about me: In my country, "tipping" is not a cultural norm. Here, we are paid wages for work, and rarely, a gratuity for a job well done. I have many years of RL work history in the hospitality industry and can count the instances of tipping on one hand.

No matter where you are from, however, it only takes a few days in SL to realise that "tipping" forms the basis of the economy. At almost every venue and many shops, you will be invited to tip the venue, the performer, and sometimes the staff working for the venue. In every venue I have been to, this "tipping" is, in fact, the only payment for any entertainment enjoyed by people using the venue. There are no cover or door charges, and very few membership or subscription fees.

Since I started working inSecond Life, I have worked for tips. To me, from my cultural perspective, this means, in order to be tipped for my work, I must do a "better than usual" job; as an entertainer and as the owner of an entertainment venue, I have struggled at times to ensure that my work was the best it could possibly be. I did what I could to make sure my work as a performer was diligent and committed. I made sure my venue was competently run and outfitted.

As a performer, I was aware I was not to everyone's taste. Knowing I was "light" on the standard themes and practices (grrr@emoting). I always assumed I would appeal to a "niche" market, and was comfortable with that.

But lately my niche has dropped away. Lately I have made consistently less in tips than the other performers. And it has occurred to me, as I watched my ability to provide for my virtual life dwindle, that perhaps times or tastes have changed. Often, at shows, the audience would be filled with friends of one or another dancer. My friends either couldn't attend, or were broke. And I was not reaching the audiences who were in attendance.

On Saturday night I made a clear 500L less than the other dancers. All of them. I am well aware of how and why it occurred, and there IS reason, but let's pretend that I am wrong, and I am just 500L less quality than other dancers. That's a significant difference. Particularly at a Factory show. The Factory is supposed to be the flagship venue of Virtual Burlesque. In my opinion, if a dancer is 500L worse than the rest of the team, she is below the required standard.

So I retired.

And as I considered retiring from burlesque, I remembered that I took up burlesque to pay some of Idle Rogue's expenses. And that my work has not, for some time, come close to meeting the weekly outgoings of running Idle Rogue. And that was when I realised that Idle Rogue had to stop too.

more to come ...