ABSTRACT Title of Dissertation: OF FLESH AND FEATHERS: A STUDY OF ARTISTIC LABOR AND THE POLITICS OF THE SENSUOUS IN NEW YORK NEO- BURLESQUE Elisabeth T. Fallica, Doctor of Philosophy, 2020 Dissertation directed by: Associate Professor, Laurie Frederik, Theatre and Performance Studies This dissertation presents an ethnographic study of the neo-burlesque scene in New York City, a group of nightlife artists who perform theatrical striptease. Based on fieldwork conducted from 2015 to 2018, this study uses the lens of labor to explore issues of art making, aesthetics and materiality. Specifically, it focuses on the artistic labor of performers on and off the stage; how the concept of labor is evoked in performance; and the work of material objects on stage. Looking at labor in relationship to neo-burlesque hopes to advance discussions on costume and materiality, the artist’s relationship to concepts of work, and artistic process. In doing so, this project also seeks to broaden the scope of previous scholarship on burlesque and erotic performance that more often than not has read such performance as either oppressive or empowering. I begin by providing a contemporary history of the neo-burlesque scene in New York, a scene that emerged in the 1990s at late night parties and strip clubs, among performance artists and strippers. I then analyze the heated, emotional choreography in contemporary burlesque acts and consider its relationship to Post-Fordist work modes. In my discussion of neo-burlesque performance I also analyze the active role of costume, arguing that burlesque costumes are actants that cue performers choreographic choices. Finally, I offer an embodied approach to understanding the artistic practices of neo- burlesque in the classes offered through The New York School of Burlesque, illuminating the DIY ethos that undergirds the community. OF FLESH AND FEATHERS: A STUDY OF ARTISTIC LABOR AND THE POLITICS OF THE SENSUOUS IN NEW YORK NEO-BURLESQUE by Elisabeth T. Fallica Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2020 Advisory Committee: Dr. Laurie Frederik, Chair Dr. Faedra Carpenter Dr. James Harding Dr. Maura Keefe Dr. Jo Paoletti Dr. Jan Padios, Dean’s Representative © Copyright by Elisabeth T. Fallica 2020 Acknowledgements I would like to thank my committee members at the University of Maryland, Faedra Carpenter, James Harding, Maura Keefe, Jo Paoletti and Jan Padios; but especially my advisor Laurie Frederik, for her guidance, insight, and patience. I would also like to acknowledge Terry Williams at The New School for Social Research, who encouraged me to pursue the New York neo-burlesque scene early on, and in whose field methods class I first began my research. The exploration of costume in this dissertation benefitted from the talks I engaged in at the CUNY Theatre Department’s 2017 Graduate Student Conference, “Objects of Study: Methods and Materiality in Theatre and Performance Studies.” Thank you to my panel members for their feedback and suggestions. I also thought through sections of this dissertation at the 2018 Critical Costume Conference in Surrey, where I got to hang with a very cool group of scholars who like me, think costume is critical. By far, the best part of this process was learning from, connecting to, and creating with the performers who make up the New York neo-burlesque scene. I am continually awed and inspired by their fierceness. A special thank you to Jo Weldon, Darlinda Just Darlinda, Perle Noire, Nasty Canasta, Cheeky Cheetah, Angie Pontani, Bonnie Dunn, and Bambi the Mermaid for their contributions. I would also like to thank Nancy Green, who listened and helped me through the writing process; and my friends and colleagues at Spencer Pilates Arts, who lifted my spirits. Finally, thank you to my parents, who have been unwavering in their support of ii me, and their belief in the worthiness of intellectual pursuits. And although he might not know it, thank you to Francis, for never leaving my side. iii Table of Contents Acknowledgements……………………………..…………………………………..…......ii Table of Contents…………………………………………………………………………iv List of Figures……………………………………..………………...…………………....vi INTRODUCTION……………………………..….……………………………..……..…1 I. Anatomy of a Scene and Project Intentions…………………….………….1 II. 19th and 20th Century Burlesque…………………………….…………....11 III. Research Questions………………………………………………………17 IV. Literature Review………………………………………………………...18 i. Burlesque and Neo-Burlesque Historiography…………………...18 ii. Art and Labor………...…………………………………………..24 iii. Labor, Dance and Physicality……………………………….……26 iv. Emotional Labor and Affect Studies……………………………...29 v. Costume, Fashion and Object Theory………………………….…31 vi. DIY and Craft Studies……………………………………………35 V. Methodology…………………………………………………………..…36 VI. Chapter Overview………………………………………………………..39 CHAPTER ONE……………………………………………..………………………..…41 Wildcards to Revivalists: A History of New York Neo-Burlesque I. Bambi the Mermaid and Burlesque at the Beach……………….………...44 II. The World Famous *BOB*………………………………….…………...49 III. Bonnie Dunn and The Blue Angel………………………….…………….51 i. Press Coverage on The Blue Angel………………….…………...55 IV. Angie Pontani, The Pontani Sisters, and Dutch Weismann’s……………..60 V. Jo “Boobs” Weldon and the New York School of Burlesque…………..…68 VI. Neo-Burlesque Outside of New York…………………………………….75 i. The Burlesque Hall of Fame……………………………………...76 ii. Tease-O-Rama………….………………………………....……..77 VII. A Scene is (Re)Born…………………………………………………...…81 iv CHAPTER TWO……………………………………..……………………………..…...84 Material Moves: Costume and Choreography in Neo-Burlesque Performance I. Neo-Burlesque Costume – On Display and in Action…………………….86 i. Classic Costumes at Work………………………………………..88 ii. Neo-Costumes at Work…………………………………………..96 ii. Costume Care, Affect, and Materiality………………………….100 II. Choreography, Work, and the Performance of Exertion………………...103 i. Classic Showgirls: Hot Affective Flexibility………..…………..107 ii. Stilted Showgirls: Starts, Stops, and Feigned Fatigue…………...113 iii. Zany Showgirls: Hyper, Strained, and Precarious………………116 CHAPTER THREE…………………………………………………..…………...…….122 Act Development, Costuming, Floorwork: Learning to Make It at the New York School of Burlesque I. The Burlesque Essentials Series with Jo “Boobs” Weldon……………...127 II. Act Development Classes……………………………………………….135 i. Act Development with Jo Weldon………………………………135 ii. Intermediate Act Development with Dirty Martini……………...140 iii. Performance Art Burlesque with Darlinda Just Darlinda………..144 III. Costuming Classes……………………………………………………...150 i. Making Pasties with Cheeky Cheetah…………………………...150 ii. Dollar Store Showgirl with Nasty Canasta……………………...156 iii. Coney Island Mermaid Parade………………………………….158 IV. Floorwork Classes………………………………………………………162 i. Floorwork Seduction with Perle Noire……………………….....162 CONCLUSION………………………………………………………..……..…………168 Appendix……………………………………………………………..………………....177 Bibliography…………………………………………..……………..………...……….181 v List of Figures Chapter One Figure 1.1 Bambi the Mermaid playing card Figure 1.2 Bambi the Mermaid playing card Figure 1.3 Bambi the Mermaid playing card Figure 1.4 Bambi the Mermaid playing card Figure 1.5 Bambi the Mermaid playing card Figure 1.6 Bonnie Dunn on the cover of The Village Voice Figure 1.7 Bonnie Dunn on the cover of The Village Voice Figure 1.8 Pontani Sisters performing at Marion’s Continental, The Village Voice Figure 1.9 Jo Weldon in her centerfold days Figure 1.10 Tease-O-Rama 2001 event flyer Figure 1.11 The Burlesque Hall of Fame Museum in Las Vegas Figure 1.12 The Burlesque Hall of Fame Museum in Las Vegas Figure 1.13 The Burlesque Hall of Fame Museum in Las Vegas Chapter Two Figure 2.1 Peekaboo Point performing “Red Va Va Voom” at Burlesque Hall of Fame Figure 2.2 Peekaboo Point performing “Red Va Va Voom” at Burlesque Hall of Fame Figure 2.3 Lee Valone performing at Legion, Brooklyn Figure 2.4 Calamity Chang and her fans, House of YES, Brooklyn Figure 2.5 Perle Noire emoting at DROM, East Village Figure 2.6 Gigi Bonbon performing her “Cyclone” act at the Miss Coney Island Pageant Chapter Three Figure 3.1 Jo Weldon teaching about feather fans in the Essentials class Figure 3.2 Author performing in the Performance Art Showcase, Slipper Room Figure 3.3 Author performing in the Performance Art Showcase, Slipper Room Figure 3.4 Cardi B modeling crystal pasties in the film Hustlers Figure 3.5 Making Pasties with Cheeky Cheetah Figure 3.6 Making Pasties with Cheeky Cheetah Figure 3.7 Dress on manikin, from Cheeky Cheetah’s social media post Figure 3.8 Pasties, from Cheeky Cheetah’s social media post vi Figure 3.9 Sewing table set up, from Cheeky Cheetah’s social media post Figure 3.10 Completed costume, from Cheeky Cheetah’s social media post Figure 3.11 Constructing headpiece in Nasty Canasta’s Dollar Store Showgirl class Figure 3.12 Headpiece for the Mermaid Parade Figure 3.13 Coral costume pieces for the Mermaid Parade Figure 3.14 Performers preparing to walk in the Mermaid Parade Figure 3.15 Author in costume for the Mermaid Parade Conclusion Figure 4:1 Flyer for neo-burlesque show on Zoom vii Introduction I. Anatomy of a Scene and Project Intentions In the last twenty years, neo-burlesque has become an increasingly popular form of entertainment across the country and internationally. Almost every major city in the United States, including cities in Canada, Europe and Asia, now has a neo-burlesque