This spring, in a desert halfway around the world from Black Rock, another Man will burn. The second Midburn, the official Israel regional event, is May 20–24, 2015. The theme is Transcendence. There is now a beacon of Burning Man culture in the Middle East, and may it be a force for peace.
Ha’ish (the Man) burns on the night of Shavuot. It’s the holiday of the gathering at Mount Sinai, the giving of the Ten Commandments to Moses, the bonding together of a holy community through an earth-shaking mass revelation in the desert. This Biblical event underlies all the faiths — Islam, Christianity and Judaism alike — that call these flowering deserts the Holy Land. People of all those faiths — and plenty of people from non-faiths — Israelis, Palestinians, and international travelers will share the burn that night. (more…)
Burning Man Founder and Chief Transition Officer, Harley K. Dubois, spoke at the 2014 Conference of The Feast in Brooklyn, New York. The speakers in 2014 were asked to address building new skills, offering and receiving each other’s new perspectives, and supporting projects and innovators in realizing the future together.
The mission of The Feast is to connect makers, doers and innovators around shared vision and to work together to transform each other, communities and the world.
Harley began her talk (which you can watch online) by asking how many attendees had been to Burning Man, and if they had not, had they heard of it. Lots of hands went up in the audience.
In her presentation, Harley referenced the image of Black Rock City, and how the horseshoe shape of the City centers around the Man as a constant reminder to be present and participate. And she explored the 10 Principles and how they infuse themselves into daily life in Black Rock City and beyond.
Harley noted that most of the attendees were at the conference because of a shared desire to make the world a better place — when you met someone in the hall, you could assume you have this mission in common.
That should ideally be the case at Burning Man as well. The 10 Principles are the same kind of shared context, making it easier for Burners to trust each other’s intentions and strike up an interesting relationship. And in their various, sometimes counter-intuitive ways, they’re also all about improving the world.
“Interactive Community Collaboration is the context for creativity that blurs the distinction between audience and art form. People are transformed from spectator to participant and are given permission to become active contributors to a creative process. Gifting the experience of interactive art to a community is a way that is inclusive rather than exclusive, that permits spontaneous and immediate opportunities to interact with the art and to create ritual around such engagement.”
I was joined on the panel by David Best, the great sculptor who created the Temple at Burning Man, Sean Orlando from Five Tone Crane Arts Group, and Delaney Martin of New Orleans Airlift. We discussed the ideal vessel or receptacle for allowing interactive collaboration to flourish — be it Black Rock City or a public square in New Orleans — as well as the art of setting your art on fire, a practice of impermanence that’s far from the norm in the art world.
While in New Orleans, we also had an opportunity to take a tour of the Public Art of the City, which I truly enjoyed.
We always think of the principle of “Leave No Trace” as applying to things. To garbage. To left over zip ties. To empty cans on the ground.
But does it apply to people?
Do we want it to?
I was struck, this week, by an email that “This is Burning Man” author Brian Doherty sent out encouraging people in the Bay Area to see a show produced in large part by burners this Friday at the Castro Theatre.
The show is about a woman of whom there was no trace. Whose life was, literally, thrown in the garbage.
While hunting for a place to illegally dump some trash at three in the morning, an old-time Burner (Chicken John) found a magnificent leather scrap book at the bottom of a dumpster. It was, all but literally, the life of a woman named Margaret Rucker. It had her birth certificate, pictures of her life, clippings from news articles about tragic things that befell her, and excerpts from poetry magazines of verse she’d had published. It ended with her death certificate.
It was all there. At the bottom of a dumpster. If he hadn’t found it, it would have been destroyed.
What happened? He had no idea. Nobody knew. For maybe 15 years he carried this scrapbook around with him, read from it, shared it with people – put on shows devoted to Margaret’s poetry and the mystery of her life.
No answers. Except insofar as we all know, deep down, that people are disposable. That at some point all we are will be left in a trash bin. That no trace will be left. (more…)
Burning Man founder Crimson Rose attended the 2014 World Cities Culture Forum and Summit in Amsterdam and brought back insights from some of the world’s greatest cities. These insights can help us think about Black Rock City in new ways, of course. But they’re also lessons Burners can bring to any city at any time, just as we do with the art and the values we’ve developed in our home of Black Rock City.
The overarching issues discussed at this year’s summit were remarkably relevant to Burning Man culture, and it’s a good thing a Burning Man founder was there to offer reactions. Crimson reports that there was a pervasive attitude among the representatives in attendance that the culture of a place can be “branded” and sold like any other economic product. Crimson’s response was that culture is more like a living organism; it must grow, eat, breathe, and change, or else it will die. Black Rock City residents know this well.
In another example, Amsterdam is attempting to change the word “tourist” to “visitor” in its tourism culture. We know this “no tourists!” problem well enough to understand that changing the word for it is not enough. All the norms around integrating newcomers into the city have to change, and that extends to all residents, not just official policy. That challenge is going to be harder in Amsterdam than it is in BRC; the Netherlands is starting to see anti-tourism protests during big events.
Cities are also often hosts to spectacular cultural events, like sports and performances, which have a tried and true formula for how they run: people buy tickets, buy concessions, sit down, watch the show, and leave. Crimson was pleased to see that some cities, particularly Montreal, are beginning to push for more interactive and participatory events.
Crimson herself appeared on a panel called “Transformational Outdoor Creative Projects.” The other panelists were Pep Gattell of La Fura dels Baus, Helen Marriage of Artichoke (a Burning Man Project partner), and Mark Ball from Lift. The moderator was Ruth MacKenzie, director of the Holland Festival. It was an open, free event attended by Summit attendees and locals. In further conversation after the panel, Crimson introduced Daniela from the Amsterdam Regional Group to some of the officials and guests at the Summit, many of whom didn’t know about the Burning Man Decompression event happening in Amsterdam two days later. These kind of serendipitous connections are just waiting to happen at a summit like this.
Crimson says Amsterdam was delightful, bike-friendly, and arts and culture were bursting into the streets. Sound like a dusty city you know?
Perhaps you’ve still never heard of the Cacophony Society, Burning Man’s parent group.
Pardon the cliche, but for history’s sake, we’re going to have to talk about fight club.
Fight Club is a book written in 1996 and then turned into a movie released 15 years ago this fall (we won’t provide any spoilers if we can help it). Author Chuck Pahlaniuk confirmed at several book-release events last year the “Project Mayhem” group in Fight Club’s story is indeed the Cacophony Society in real life … a wackier bunch of people, without the men-only Iron John subplot or all the property destruction and violence. (Well, serious violence, anyway.)
“But Larry Harvey invented Burning Man,” you may be saying to yourself. No, he and his homeys Jerry and Dan brought the statue to a “Zone Trip” the Cacophony Society had already planned to take to the Black Rock Desert.
The rest of the event didn’t spring, Godlike, from one man’s mind, and materialize like so much ganja in Shiva’s dreadlocks. Cacophony built Black Rock City. It was a group whim — a hive-mind good time which snowballed and splintered, glittering, like breaking mirrorglass.
Even if you don’t know it, Burning Man is and will always be the Cacophony Society’s yearly extended-family check-in and show-and-tell. It’s a fight club convention where old-timers don’t make a big deal about showing up to tweak and observe the city they created. This product of new collectivist activity reads like a neotribal Kumbh Mela which embraces chaos as spirituality. The event requires, and has always required, a dark army of dirtbags to make it all go flash bang boom.
Burning Man’s blank slate started as an anarcho-cyberpunk paradise away from the squares, on the moon. A living, breathing Internet, this equalizing Paper Street Soap Company in the dust churned art, analog, digital, fire, lust, danger, meetings, and magic into a whirlwind of construction and yelling. (more…)
Building art for Burning Man always seemed to be part of my yearly cycle. I love what I have been a part of creating in Black Rock City; I have grown up and cut my teeth building art out on that remarkable desert canvas. Over the last several years, though, I’ve found myself bringing more art to life out here, “beyond the fence.” Thanks to the efforts of so many, we can now cite several instances of Burning Man art in many cities around the world.
At FLUX we have created 12 works of art in our 4 years of existence. This is something we are truly proud of. We’ve successfully made interactive art accessible to a wide audience, and we use this art as a platform to engage people in the core values we have cultivated as Burning Man artists. Our works have been experienced by people in Oakland, Minneapolis, Philadelphia, Las Vegas, and now, San Francisco. Sometimes, we are so busy building we forget to take a moment to celebrate and share what we’re creating. In this case, we are celebrating our newest interactive sculpture, Carousel.
Inspired by the shared experience and wonder of the swing rides of childhood carnivals, Carousel uses a variety of materials, a playful color palette and communal interaction to create an immersive environment. In this space, people will contribute to a cumulative visual expanse, reflect on inspiration, and engage in conversation. Participants will return to a sense of wonder as they sit beneath and contribute to its creation.
Right now a Bay Area group consisting of a number of past and present Burners is putting together an event so ambitious that I am thrilled to be part of it.
I can’t tell you anything about it. Not what it is, or where, or who else is involved. I can tell you when, but that’s only mostly true. We’re revealing so little, in fact, that we actually sent out a press release announcing that we’ve created the least informative Kickstarter in history.
But what I can tell you … and what makes this an interesting experiment with Burning Man principles … is that there’s only one way to get a ticket. And that’s to be given one by somebody else.
You can’t buy a ticket for yourself.
It might be possible to engage in round-robins where a group of people buy tickets for each other, but we’ll be watching out for that. (I can’t tell you how.) Because the hope, the ideal, is that it will make the experience of going to an arts event more like getting a surprise gift: you have no idea it’s coming, it’s a gesture of thoughtfulness and goodwill because somebody cared enough to think of you, and you honestly don’t know what’s going to be there when you open it up.
Will it have that affect? Will it be possible to actually fund a high-infrastructure event this way?
We’ll find out.
In the interest of full disclosure, I should admit that I was against the whole idea. (more…)