Abstract
Rebuilt annually in Nevada’s Black Rock Desert, Burning Man is a participatory arts event that has overcome considerable adversities in its three decades of operation. As Burning Man has grown from a small gathering to a large-scale event (Black Rock City) and a worldwide movement, collaborative art projects are among the primary means by which the “Burner” community negotiates challenges to its integrity. Since the mid-1990s, largely through the insistence of primary founder Larry Harvey, annual art themes have shaped the cultural aesthetic of Black Rock City, enabling its populace to navigate their own existential concerns. Drawing on research conducted on the Burning Man movement for the Burning Progeny project, the chapter explores repertoires intended to acculturate participants to a besieged event ethos called the “Ten Principles.” Victor Turner’s “social drama” model provides insight on the role of redressive art in cultural transmission in Black Rock City during a period of crisis. The case examined here is the 2016 art theme Da Vinci’s Workshop, partly triggered by a controversy (“sherpagate”) in which a culture of convenience threatened to undermine the Burner ethos. As this example illustrates, the Burning Man community has evolved a reflexive superliminal framework in which aesthetics across a spectrum of media reaffirm the value of beleaguered principles.
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Notes
- 1.
The Ten Principles are Radical Inclusion, Gifting, Decommodification, Radical Self-reliance, Radical Self-expression, Communal Effort, Civic Responsibility, Leave No Trace, Participation, and Immediacy. For an explanation of each, see https://burningman.org/culture/philosophical-center/10-principles. In this chapter, all principles are capitalized and italicized.
- 2.
The Swiss National Science Foundation project Burning Progeny (January 2016–December 2019), Department of Social Science, University of Fribourg, Switzerland: www.burningprogeny.org.
- 3.
As of 2020, there were 90+ official Regional Events in the Burning Man Regional Network: https://regionals.burningman.org/.
- 4.
Described as “a journalist living in San Francisco,” Darrel van Rhey—an anagram of Larry Harvey—is a literary device of Harvey and Burning Man Education Director Stuart Mangrum.
- 5.
And co-writer, Stuart Mangrum, from 2013.
- 6.
For a detailed discussion of BRC art themes, see St John (Forthcoming).
- 7.
With the exception of Hockett, who recognized the utility of the model. Yet, while Burning Man is considered “a highly elaborate, seven-day theatrical performance that seeks to redress the cultural crisis of postmodern fragmentation, cooptation, and assimilation” (Hockett 2004, 191), the application is poorly handled.
- 8.
- 9.
See Raiser (2014) for many examples.
- 10.
Decommodification: “In order to preserve the spirit of gifting, our community seeks to create social environments that are unmediated by commercial sponsorships, transactions, or advertising. We stand ready to protect our culture from such exploitation. We resist the substitution of consumption for participatory experience.” On-site vending is traditionally limited to ice and tea/coffee.
- 11.
How to Survive the Apocalypse: A Burning Opera featured the music of Mark Nichols, lyrics by Erik Davis, and was produced by Dana Harrison and directed by Christopher Fülling.
- 12.
For the list of placed Guild Workshops, see https://burningman.org/culture/history/brc-history/event-archives/2016-event-archive/2016-art-installations/?yyyy=&artType=P
- 13.
For Fundiversify, see https://www.fireinsideart.com/fundiversify.
- 14.
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St John, G. (2022). Sherpagate: Tourists and Cultural Drama at Burning Man. In: Nita, M., Kidwell, J.H. (eds) Festival Cultures. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-88392-8_8
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