Reclaiming Burlesque - What is Influence?

It's Indigenous History Month, Baby!!!

Indigenous performers are everywhere in burlesque, and our impacts on the industry are vast. But what does it even mean to be Indigenous in this Art form? What influence have our people had on vaudeville and the art of the Tease? Who even is Indigenous? For a demographic so widespread, at times it can feel like our stories and people are some of the least known or understood. Well... it's time to bring our stories forward from the shadows.

This year, I will be sharing a series of posts here and on Social Media throughout June dedicated to those who have transformed burlesque and continue to do so today. Everyone performs on Indigenous Land, so let's know its People's history.

From how to perform what's authentic to us while respecting protocol to reviving our cultures and reconnecting... our experiences are distinct and multi-layered. Our cultures, languages, and traditions are unique from one another. And each of us brings something special to our art that creates ripples for future generations - We are our ancestors' wildest dreams and the medicine for our future.

What is Influence?

Before I dive into any post for Indigenous History Month, I want to explore the concept of "influence" and how I plan to ground into its roots in the industry. Influence is something I see discussed frequently in burlesque, whether as individuals leading the way as “the first” or as cultural blending as people from different cultures exist alongside one another. For Indigenous Peoples, our influence in burlesque can be... complicated.

We are no strangers to our cultures being appropriated or Pan-Indianized. From sports teams with Red Face mascots and war cries, to dream catchers being sold at many crystal shops, to colloquialism like "Let's have a pow wow"- Indigenous appropriation is everywhere. But to me, that's not influence. That's modern day colonization through stereotyping combined with ignorance. But at times, appropriation can lead to influence. When something has been appropriated for so long, eventually it can become part of normal everyday society. Some examples of this include yoga, belly dance, tiki lounges or the existence of popular music such as hip-hop, jazz, or rock n roll... music styles which originated in Black communities. When something is taken from another culture without consideration, it quickly becomes watered down and something to profit off of. It loses its cultural meaning while erasing the voices that created it. We can't forget the roots and who were the originators of any cultural practices.

On the other hand, influence can also come as a result of cross-cultural blending - twisting something foreign into your own. Beaded earrings are not traditional to most Indigenous communities... however, we see them everywhere on Indigenous people and allies across the globe. Depending on the region, traditionally Nations would have used elements of the land such as shells, leather, cedar or feathers to adorn themselves, and each of these pieces held different significant meanings. When items such as glass beads and satin ribbon were introduced in North America, Nations adapted how they were used to fit their respective styles. Even though beaded earrings are not necessarily "traditional," today they are inherently Indigenous.

What is Reclaiming Burlesque?

Moving through this series, I will be using the two above realities to help guide the connections being made. When I

Cherry Cheeks (Tahltan/Tlingit) by Mkm Photography

consider Indigenous influence on the burlesque industry, we cannot remove either the stealing of culture or its adaptation. Similarly, we have to recognize both the intentional and unintentional forms of reclamation.

This series for June 2026 will focus mainly on experiences within North America, as that is where my personal knowledge and experience lies. However, I will be touching on other global Indigenous performers and experiences where I can, because Indigenous Peoples have no borders. Despite being widely diverse, we are each connected by being the First Peoples.

Indigenous performers throughout history have always existed at a cross roads. Many of our Legends from North America performed during the peak of colonization and cultural genocide. Some having to leave their home to perform on the Vaudeville circuits for their own safety, while others choosing to use it as a platform to make money to give to their families and advocate for their people. This will be a common theme throughout many of the posts. I will be sharing some concrete histories and experiences, I will touch on some of the realities of colonization and its affects on Indigenous Peoples across the globe, you will read some of my personal perspectives on complex topics relating to this, and you will also learn about our strength and passion that we bring to burlesque.

Like many, our experiences are multi-faceted and I hope I am able to inspire and bring our stories - past, present, and future - into the light to help revive people's curiosity, knowledge, and respect of Indigenous performers. I am not the first to speak on these realities, and I am excited to add my voice to this conversation others have been carrying long before myself. So let's get ready to Reclaim Burlesque.