Aunty Veronica Barnett, an 81-year-old Gunditjmara woman, is influencing change in the arts sector. On her 105th birthday, she continues to inspire new generations of performers through her work and example. Born in 1926 at Lake Condah Mission, her journey from the vibrant Melbourne nightclub scene of the 1950s and 60s to her current community engagements highlights her enduring legacy. Barnett first arrived on the scene as a vaudeville burlesque dancer as a teenager. Today, she is celebrated for her work at the Melbourne Museum, where she teaches basket weaving and feeds kooyang, or eels.
As a pioneer in the burlesque scene, Aunty Veronica’s fiery breath and snake dancing acts thrilled audiences across the country. Her artistic impact undeniably set the stage for contemporary First Nations artists to shine. Their legacy of influence continues to have an outsized impact on today’s landscape. Bizzi Lavelle is a queer contemporary performer and proud advocate for Aunty Veronica. She has a dream to get Aunty Veronica inducted into the Burlesque Hall of Fame and if successful, she would be the first Blak burlesque performer to receive this prestigious honor.
A Legacy in Burlesque
It was voice that got Aunty Veronica Barnett’s burlesque career started—we ask her about the showgrounds circuits she worked while growing up, starting at 17. Her performances transcended entertainment, providing a model for how the body can be used as a site of cultural expression rooted in lived experience. As a trailblazer in a largely white industry, she steered through obstacles that all Blak entertainers experienced in her era.
Everybody sort of cites Josephine Baker and I have certainly done that. I have a Josephine Baker reference costume, Lavelle stated. Yet, she encourages us all to be sure that we remember stars like Aunty Veronica who have their own distinct tales and contributions. “We just so desperately were like, ‘Well, who’s ours? And who is the person that we should be giving this same acclaim and respect to?’” she added.
Aunty Veronica’s powerhouse, uncompromising performances have paved the way for countless contemporary First Nations performers to unapologetically express their cultural identities through their artistic practices. Today, her legacy fuels the project to find out more about the illustrious history of Black burlesque stars. It encourages untold thousands to tell their stories and celebrate their contributions.
The Importance of Recognition
The movement to honor Aunty Veronica Barnett’s contributions has continued to grow across her peers and supporters. Bizzi Lavelle, among others, is dedicated to making sure her story gets told while she’s still living. We really do want to get Aunty Veronica a recognition, particularly whilst she is still living. Lavelle mentioned her intense need for everyone to be obsessed with and forever devoted to her creations. She, with Kitty [Obsidian] in the second episode, totally gets how brilliant it is.
Yet recognition goes beyond awards. It means understanding the historical climate in which these groundbreaking performers existed. Most of those Blak showgirls, including perhaps even Aunty Veronica herself, had to conceal their true racial identities. They did this to protect their families from the traumas associated with Australia’s Stolen Generations. This hidden feature of their histories introduces powerful layers of complication to their posthumous legacies.
“In burlesque, knowing who came before you and the history of the art form is really important,” Lavelle explained. She feels that honoring this history through education should be an essential part of any burlesque education. “It’s something that burlesque schools will teach alongside learning a glove or stocking peel.”
Continuing the Tradition
Handy Aunty Veronica Barnett plays an active role in fostering studio use amongst the wider community, teaching practical skills such as basket weaving. She advocates for local culture at the Melbourne Museum. She is deeply committed to the generative aspect of sharing knowledge. This commitment not only keeps her people’s legacies alive, but inspires creativity in their youth.
Barnett bridges cultural practices and environmental stewardship through her work with kooyang. She underlines the importance of sustainable practices in Indigenous communities. Through this dual focus on art and community, aspiring First Nations artists are inspired. With this model as their guide, they can pursue their own paths to success in today’s arts environment with confidence.
Lavelle really looks up to Aunty Veronica, beyond her performance on stage. Above all, she wants to build a future where Blak performers know they are supported and connected. “It gives me the fiery determination to spread the history that we have now and to make sure any future Blak burlesque performers never have that feeling of being alone,” Lavelle said.
