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Stuck to the Pole: Raven Virginia and the Redefinition of Burlesque in Calgary

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Abstract: 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.
University of Toronto Press Inc. (UTPress)
Title: Stuck to the Pole: Raven Virginia and the Redefinition of Burlesque in Calgary
Description:
Abstract: 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.

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