rez Magazine May 2015 - Page 57

people’s gifts of time, talent and money. As I dug deeper and attended more and more performances, I began to learn that most of the dancers in Second Life burlesque have significant dance experience in real life. I also discovered artists are typically underappreciated, undervalued and even exploited. Tips are often unevenly distributed, or not distributed at all. The concept of providing artists with a safe environment for their art, or nurturing an individual artist is virtually nonexistent in Second Life. I admit these issues exist in the arts in both worlds. Success in the field requires a delicate balancing act where the business and artistic sectors of the industry perfectly complement one another, and the ultimate goal is to build a community where all stakeholders are totally committed to the success of each individual performer, as well as to the enterprise. Community ... that’s what we’re all after isn’t it? Sharing important moments with others in a communal setting, and being a part of something bigger than ourselves. I think there’s great hope for cross-pollination in the two arts worlds, and I grow more interested in exploring the possibility of producing in Second Life every day. I’m certain that I can learn new lessons that might be transformative to my work in real life, and I think I can bring some things to Second Life