Cascadia Serapeum to Now- by BICKLE in Most Cases, When a Work of Art Is Put to Fire, That’S That: There Are Ashes and a HERE Scar to Clear, but the Piece Is Gone
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Volunteer Appreciation Research Project
Volunteer Appreciation Research Project Volunteer Leadership Council March, 2021 Forward Why do we appreciate? There was a time before the 10 Principles existed when Burning Man was not so kind an organization. We valued hard work over being in the moment, critical feedback over empathy and diplomacy, and speaking over listening. We developed a culture of workaholism and fiefdoms. There was rarely a kind word to someone on another team and moving from team to team was actively discouraged. We had a “no poaching” of staff rule. It made for very difficult meetings, hard decision-making, many people leaving feeling burned out and used, and much unnecessary stress. Thankful were we the day we started to appreciate each other. If what we are creating are real communities the people will be in them for a long time, and the time we are spending making them are hours, days, years of our own lives. We found out the hard way that appreciation was the key to creating understanding, cooperation, and sound compromise, making the hours of our lives more rich and meaningful. How do you appreciate? Harley K. Dubois, Burning Man Co-Founder 1 1 Introduction 1.1 Volunteer Leadership Council The Volunteer Leadership Council (VLC) was initiated by Burning Man Co-founder Harley K. Dubois in 2015, and exists “to champion the human spirit of Volunteerism, creating a foundation for a culture of appreciation and empowerment within the Burning Man community and beyond.” The VLC is an advisory body, grounded in Burning Man’s 10 Principles, that supports the greater Burning Man community by providing guidance, resource sharing, and by identifying and sharing best practices in volunteer leadership. -
Doing Jewish at Burning Man: a Scholarly Personal Narrative On
DOING JEWISH AT BURNING MAN: A SCHOLARLY PERSONAL NARRATIVE ON IDENTITY, COMMUNITY, AND SPIRITUALITY By Becca Grumet ________________________________________________________________________ Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Jewish Nonprofit Management Hebrew Union College - Jewish Institute of Religion Spring 2016 HEBREW UNION COLLEGE - JEWISH INSTITUTE OF RELIGION LOS ANGELES SCHOOL ZELIKOW SCHOOL OF JEWISH NONPROFIT MANAGEMENT DOING JEWISH AT BURNING MAN: A SCHOLARLY PERSONAL NARRATIVE ON IDENTITY, COMMUNITY, AND SPIRITUALITY By Becca Grumet Approved By: ______________________ Advisor _______________________ ZSJNM Director Table of Contents Abstract 1 Acknowledgements 2 Introduction 3 Methodology 7 Background Overview of Burning Man 9 Religion and Spirituality in Popular Culture 11 Spirituality by the Numbers at Burning Man 14 Jews at Burning Man 15 What is Jewish Spirituality? 17 Chapter 1: Welcome Home 19 Chapter 2: Hitbotdedut 25 Chapter 3: Honey Moo-Moos Jewish identity among Honeys 30 Milk + Honey camp identity 34 Chapter 4: Let’s Get Spiritual Friday Night Shabbat 43 Spirituality Among Honey Moo-Moos 56 Spirituality at The Temple 59 Spirituality at The Man 62 Conclusions & Recommendations Milk + Honey as Valuable for Jewish Identity and Community 64 Burning Man as Spiritual Hub 66 No Tent Jewish Community 68 Outcomes of No Tent Jewish Community 71 Accepting of Fluid Organizational Identity 73 References 76 1 Abstract On August 30th, 2016, I boarded a tiny plane at LAX to Reno, Nevada, and then a packed bus to the Burning Man Festival in the Black Rock Desert. I stayed with a theme camp called Milk + Honey for one week, which is known for its giant Friday night Shabbat service and dinner open to all. -
2017 Census All About Kiwiburn’S Paddock Dwellers the CENSUS DATA from KIWIBURN 2017 Kiwiburn 2017 Was Held in Hunterville, New Zealand from 25 – 30 January
2017 census all about Kiwiburn’s Paddock dwellers THE CENSUS DATA FROM KIWIBURN 2017 Kiwiburn 2017 was held in Hunterville, New Zealand from 25 – 30 January. The community consisted of 1635 burners; 440 of whom completed our online census. Thank you to everyone who took the time to do this. It’s kind of cool to get all this info – it’s fun to see how things shift and change and the info helps us to learn more about Kiwiburn, the community, your likes and dislikes, which in turn helps us grow and develop Kiwiburn going forward. Grab a cuppa tea and let’s have a look at the results for our 2017 census. There are lots of charts and we all know that charts are fun! Census compiled by Anne Starkey Taylor and Shelley Watson Cover photo: Peter Jennings Poster design: Tara Fowler / Will Bennett Photo above left: Paul Chaffe Photo above right: Peter Jennings www.kiwiburn.com BURN HISTORY GEOGRAPHY HOW MANY TIMES HAVE YOU BEEN REGIONAL BURNS – HAVE YOU BEEN? THERE ARE TEN GUIDING PRINCIPLES WHERE ARE YOU FROM? TO KIWIBURN? ARE YOU PLANNING TO GO THIS YEAR? OF KIWIBURN AND BURNING MAN. DO 76% of our respsondents currently live in Our population shifts subtly every year and – 80% of our population have not been to YOU KNOW THEM? New Zealand. That’s a very similar number we get to see lots of the same beloved faces any other Regional Burning Man events to last year giving us a relatively stable ratio year after year and make a whole lot of new (maybe Kiwiburn gives us everything we I took a cursory glance 3.5% between Kiwis and overseas visitors. -
PIP CLOO an Explorative Study On
From passive behavior to creative inclusion PIP CLOO An explorative study on From passiveaudience involvement behavior in the organization of festivals in The Netherlands to creative inclusion University of Amsterdam Master’s Thesis Business Administration Entrepreneurship & Innovation Statement of originality This document is written by Pip Cloo who declares to take full responsibility for the contents of this document. Author: Pip Cloo (10083863) I declare that the text and the work presented in this document Supervisor: dhr. drs. A.C.C. Gruijters is original and that no sources other than those mentioned in the text and its references have been used in creating it. Second Supervisor: dhr. dr. W. van der Aa The Faculty of Economics and Business is responsible solely for the supervision of completion of the work, not for the contents. Date: June 29, 2015 ABSTRACT There is a high amount of competition in the festival market these days and festivals are trying to come up with unique, new concepts in order to compete. However, inventing something truly new has become more difficult (Schiermer, 2014; Gursoy et al., 2009). Co-innovation seems to be the solution for this problem as it is difficult to imitate because of the experience, co-creation and engagement which form its core (Lee et al., 2012). Burning Man is a festival organized in America which is completely based on co-creation and could offer as an example for the Dutch festival market. This research has been conducted with the goal to formulate recommendations for Dutch festival organizations regarding the use of co-creation. -
Black Rock City an Urban Morphological Point of View
Die approbierte Originalversion dieser Diplom-/ Masterarbeit ist in der Hauptbibliothek der Tech- nischen Universität Wien aufgestellt und zugänglich. http://www.ub.tuwien.ac.at The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology. Diplomarbeit http://www.ub.tuwien.ac.at/eng Black Rock City An Urban Morphological Point of View ausgeführt zum Zwecke der Erlangung des akademischen Grades eines Diplom-Ingenieurs unter der Leitung von Ao. Univ. Prof. Arch. Dipl.-Ing. Dr. Erich Raith E 260, Institute für Städtebau, Landschaftsarchitektur und Entwerfen, Fachbereich Städtebau eingereicht an der Technischen Universität Wien - Fakultät für Architektur und Raumplanung von Melinda Sara Rustad 0426445 Wien, am 3. November, 2016 3 Abstract Black Rock City, Nevada, is a recurring temporary city which blossoms and resources drawn upon in order to establish evidence explaining for one week each year in Black Rock Desert within the context of the why the city manifests as it does. Such factors include: socio-spatial Burning Man Festival. As opposed to other festivals, Burning Man does relationships, climate, geology, geographical location, politics and not provide consumer services, products or performances, but rather power structure relationships, spatial hierarchies, view axes, fields of creates a tabula rasa onto which the revelers are invited to create a tension between different urban functions, and relationship between week-long experimental society based on participation rather than culture and nature, to name a few. Maps, observations on location, observation. The participative quality of the society is transformative, and interviews are used to gather information and form hypotheses converting it into an actual city as opposed to merely a large-scale about the condition and evolution of the urban structure. -
Utopias De Eros: Por Uma Sociologia Dos Espaços Eróticos
UNIVERSIDADE DE BRASÍLIA INSTITUTO DE CIÊNCIAS SOCIAIS DEPARTAMENTO DE SOCIOLOGIA Utopias de Eros: Por uma sociologia dos espaços eróticos. Autor: Marcelo Augusto de Almeida Teixeira Brasília, março de 2018 UNIVERSIDADE DE BRASÍLIA INSTITUTO DE CIÊNCIAS SOCIAIS DEPARTAMENTO DE SOCIOLOGIA PROGRAMA DE PÓS-GRADUAÇÃO EM SOCIOLOGIA TESE DE DOUTORADO Utopias de Eros: Por uma sociologia dos espaços eróticos. Autor: Marcelo Augusto de Almeida Teixeira Tese apresentada ao Departamento de Sociologia da Universidade de Brasilia como parte dos requisitos para obtenção do título de doutor. Brasília, março de 2018 2 UNIVERSIDADE DE BRASÍLIA INSTITUTO DE CIÊNCIAS SOCIAIS DEPARTAMENTO DE SOCIOLOGIA PROGRAMA DE PÓS-GRADUAÇÃO EM SOCIOLOGIA TESE DE DOUTORADO Utopias de Eros: Por uma sociologia dos espaços eróticos. Autor: Marcelo Augusto de Almeida Teixeira Orientadora: Mariza Veloso (PPG-Sol-UnB) Banca: Prof. Doutora: Angelica Madeira (UnB) Prof. Doutora: Elane Peixoto (FAU-UnB) Prof. Doutor: Denilson Lopes (UFRJ) Prof. Doutor: Edson Farias (SOL-UnB- suplente) 3 Para Brasilmar Nunes Ferreira. 4 Agradecimentos Em primeiro lugar, ao meu saudoso pai, Osandy Ribeiro Teixeira, economista e intelectual, que me ensinou o valor do estudo, dos livros e incitou a curiosidade a respeito do mundo e da sociedade, e a minha mãe, professora Carmen Teixeira, incansável em suas pesquisas genealógicas e históricas, me ensinando sempre que enquanto há vida, há aprendizado. Ambos, muito cedo em minha vida, me presentearam com uma biblioteca, transformando meu mundo. Em segundo lugar, aos meus irmãos, Gustavo e Ricardo, estudiosos, pesquisadores e parceiros de acaloradas discussões políticas, sempre frutíferas. Aos meus amigos acadêmicos André Costa e Lucas Brasil, parceiros de discussões, mesas redondas, palestras, cafés. -
2000 Black Rock Gazette
Monday, 28 August 2000 Black Rock City Population Count: Every Single One of Us Gate Edition, Volume IX • Burning Man 2000 to e Welcome NO er … h FIND W Waldo! Each day, a participant will be randomly selected (without their knowledge) to be Black Rock City’s “Waldo!” If you see him/her in the crowd, shower them with gifts, hugs, food, invitations, and your best Jerry Lewis impression. Make Waldo! happy. If you can find our Waldo! and have made him/her truly happy, drop by to tell us. The post-apocalypse is no place for tree-hug- (Bring us a melon.) We might even give you gers. In fact, there are no trees to hug. In Black a prize: Waldo’s Angel Wings, a beer, or a Rock City, there are no facilities that billow toxic hug or something like that. gases on the masses. The only fumes here are from artifacts we ignite in the name of psychic release. Yet, here where there are no endangered species to protect, lies a clarity beyond the buzzwords of A Message from contemporary environmentalism. Media Mecca Here, true modern environmentalism All film, video and DVD (motion-capturing) makes us radical deserters, for there truly is HMS Love Boat, 2:00 playa, Burning Man 1999 (WHO TOOK THIS PHOTO?) cameras must be tagged, and a use agree- “nothing” here to protect. Removed from force- we are forced to confront our own stream of also call the desert playa home, then only with ment signed, whether for public or private fed consumerism, we decompress in the stark waste, and must choose to take responsibility, hypocrisy might we expect our freedom to use. -
2004 Blacktop Gazette
Pre Event 2004 Town Hall Edition Vol. 3 Issue#4 Do you REALLY want to drive at Burning Man? TEXT ALI HAWXHURST As cities evolve, so does transportation. “Driving is a privilege at Burning Man, sary to create the whimsically beautiful The car was intimidating because it had the Unlike most cities, Black Rock City’s survival not a right,”says Jewelz Cody,aka Grits, Head mutant vehicles. Other vehicles, shallowly- potential to cause damage, was dark and we depends on participants rejecting the prevail- of the DMV.With the survival of the event at disguised convenience vehicles, evidenced the had to be very careful about where we were ing car culture of the default world and stake, 2004 will see an enforcement team and persistence of car culture in our society. going.”Photos and video can be viewed at embracing alternative transportation. impound lots for unauthorized or unsafely The difference between convenience http://www.kildall.com/installations/ Public safety concerns are reason operated vehicles. vehicles and true Mutant pyrocycles.html enough for Burning Man to be a pedestrian Vehicles is sometimes subtle The survival of Burning Man relies on its /bicycle city.When the event first moved out and most clearly lies in the participants embracing the pedestrian/bicycle to the playa in 1990,there were no rules about intention behind it.Will that nature of the event and leaving the car culture vehicles.By 1996,with still only 8,000 participants, golf cart with a bit of fuzzy in the default world. Similar to the potty crisis the dust problems and hazards of casual and fabric zip-tied to it really of recent years, the survival of Burning Man recreational driving had become extreme. -
Lessons of Burning Man: a Case Study of the Gathering and Its Audience Development Practices
LESSONS OF BURNING MAN: A CASE STUDY OF THE GATHERING AND ITS AUDIENCE DEVELOPMENT PRACTICES A Thesis Submitted to the Faculty of Drexel University by Naima L. Murphy in partial fulfillment of the requirements for the degree of Master of Science in Arts Administration September 2015 ACKNOWLEDGEMENTS I would like to thank Andrew Zitcer and Julie GoodmanHawkins for their support during the development and completion of this thesis. Their guidance encouraged me to unpack themes and find research in unexpected areas. Thank you to interview participants Will Gardner, Alexandra Kirsch, Lauren Christianson, Laura Oxenfeld, and Olga Grigorenko who graciously and uninhibitedly shared their stories of the Playa. This same group, including Alexandra Piacquad and Jenny Lykken, assisted in my preparation for travelling to Burning Man in 2014 and equipped me with several packing lists, costumes, coconut water, and endless memories. Thank you to the many people I met on the Playa, all of which exemplified the strongest themes or Burning Man and helped to expand my perspective and remember that if you can build a vehicle shaped like an octopus shooting flames from each tentacles, you can build absolutely anything. 1 TABLE OF CONTENTS LIST OF FIGURES ...................................................................................................................... 3 ABSTRACT ................................................................................................................................... 4 INTRODUCTION ........................................................................................................................ -
Theatre of Affect and Burning Man a Dissertation
UNIVERSITY OF CALIFORNIA, SAN DIEGO Performing Black Rock City: Theatre of Affect and Burning Man A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Drama and Theatre by Heather Lee Ramey Committee in charge: University of California, San Diego Professor Marianne McDonald, Chair Professor Richard S. Cohen Professor Nadine George-Graves Professor Emily Roxworthy University of California, Irvine Professor Stephen Barker Professor Anthony Kubiak 2014 © Heather Lee Ramey, 2014 All rights reserved. The Dissertation of Heather Lee Ramey is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Chair University of California, San Diego 2014 iii EPIGRAPH And now, I, the amazing Mumford, will pull a rabbit out of this hat. First, I wave my magic wand and say the magic words. Ah la peanut butter sandwiches!... Nothing. This trick never works. The Amazing Mumford, Sesame Street The heart of a place is the home, in the heart of the home is the fire pit, the hearth. All tentative explorations go outward from there, and it is back to the -
Burning Man » : Transposition Des Happenings Contre-Culturels Des Années Soixante ?
Cercles 36 (2019 LE FESTIVAL « BURNING MAN » : TRANSPOSITION DES HAPPENINGS CONTRE-CULTURELS DES ANNÉES SOIXANTE ? Frédéric Robert Université Jean Moulin, Lyon III Some consider Burning Man’s countercultural principles and activities a decommodified haven from conventional society1. If you have never been to Burning Man, your perception is likely this: a white-hot desert filled with 50,000 stoned, half-naked hippies doing sun salutations while techno music thumps through the air2. La contestation peut être politique et/ou culturelle. Les années soixante en sont un parfait exemple. En effet, après une contestation politique stricto sensu orchestrée par des mouvements de transformation sociale tels le Civil Rights Movement, les mouvements estudiantins, féministes, homosexuels et minoritaires se réclamant de la Nouvelle Gauche américaine, le domaine de la culture est devenu, essentiellement à partir de 1967, le nouveau théâtre de la remise en cause de l’ordre établi. La contre-culture hippie des années soixante a ainsi permis l’éclosion de nouvelles formes artistiques avant-gardistes comme des troupes de théâtre contestataire (Bread and Puppet Theater, San Francisco Mime Troupe), des festivals 1 Katherine K. Chen, Enabling Creative Chaos: The Organization Behind the Burning Man Event, Chicago, Chicago University Press, 2009, p. 67. 2 Citation extraite de l’article de Nick Bilton intitulé « A Line is Drawn in the Desert », The New York Times, August 20, 2014, consulté à l’adresse suivante : http://www.nytimes.com/2014/08/21/fashion/at-burning-man-the- tech-elite-one-up-one-another.html?_r=0, le 2 septembre 2017. Frédéric Robert , « Le festival “Burning Man” : transposition des happenings contre-culturel ders années soixante », Cercles (36) 2019 : 195-216. -
Nowhere Census 2018
Nowhere Census 2018 Participants 2018: 3664 Census responses (total): 675 Census responses (percent): 18.4% Table of contents Page About you / Sobre ti / À propos de vous 2 Geography / Geofrafia / Géographie 7 Language / Idiomas / Langues 8 Going Nowhere / Yendo a Nowhere / Aller au Nowhere 9 Expenses / Gastos / Dépenses 12 Services / Servicios / Services 13 Camping / Campement 16 Sound / Sonido / Son 19 Consent / Consentimiento / Consentement 22 Art / Arte 25 Toilets / Baños / Toilettes 26 ICE ICE Baby 27 Your thoughts / Tus ideas / Vos idées 29 Volunteering / Voluntariado / Volontariat 30 Health / Salud / Santé 36 Highs and Lows / Altos y Bajos / Les plus et les moins 38 Bus 40 EN: How old are you? ES: ¿Cuántos años tienes? FR: Quel âge avez-vous? [667 people / personas / personnes] 8.00% 7.00% 6.00% 5.00% 4.00% 3.00% 2.00% 1.00% 0.00% 15 21 37 53 69 17 19 23 25 27 29 31 33 35 39 41 43 45 47 49 51 55 57 59 61 63 65 67 - 0 Mean age: 35 Most frequent age: 30 Age Range 2018 Age Range 2017 Age Range 2016 Age Range 2015 21-25 years 10% 8% 10% 12% 26-30 years 26% 27% 31% 31% 31-35 years 23% 24% 24% 26% Over time, Nowhere is slowly but gradually getting older. 64% of people are over the age of 30 (62% in 2017) and while only 3% are under the age of 23 (unchanged from 2017), people over the age of 40 are on the rise (26%, up from 20% in 2017). Still, there is a lack of burners over the age of 50 (9%, up from 7% in 2017).