Cervid Dance

Baby Steps

2011-03-28T16:04:00.000-04:00

I've been in a serious rut for the past several months, hence the lack of blog posts. Depression is something I've had to deal with for most of my life, but lately it's been worse than usual. Over the years I've become slightly better at allowing myself to be thrown headlong into projects so that I simply don't have the extra time to dwell on it (this is actually one instance where having so many hobbies and interests turns out to be useful), but there are times when this strategy doesn't work and the gravity of the depression is just too strong. Like an unavoidable undertow it drags me under and threatens to drown me. I end up consumed by guilt and anxiety, in a state of mental/emotional paralysis, mired down by a lack of motivation. Outside of my necessary interactions with people at work and grocery store, etc. I try to be entirely cut off from others and wished to remain that way.

My interest in bellydance, along with my interest in essentially everything else, suffered and came to a virtual standstill. I had paid for a whole 12 week session of Tribal classes and couldn't bring myself to attend even half of them, I wasn't seeking out more Cabaret classes or workshops, I didn't want to attend any events (if I hadn't paid for my BDSS tickets months in advance I probably wouldn't have gone to the show), and obviously my blogs were not updated.

I'm just starting to return to the surface, although there are still the occasional days when depression's grip is unusually strong, and I've been missing my involvement in dance. A few weeks ago I began my second set of American Cabaret classes with Mirjana and have been doing okay. I'm not yet ready to return to Tribal classes though due to the high level of interaction required. Depression leaves me especially sensitive and rather agoraphobic, and while I can currently cope with being in a class with others, I could not handle the lead-and-follow and mirroring/silhouetting exercises which are a huge part of learning ITS. Right now it's just baby steps (with hip drops perhaps?) for me.

On a more positive note, as the depression-related apathy wears off I'm also gaining more of an interest in art-making, which has been even more chronically neglected than my bellydance activities, so I'll probably be taking a break from classes to work on art. I have a whole slew of bellydance DVDs I should be working with anyways I suppose.

Tribal Superstars: Performance DVD Review

2010-11-03T23:32:00.001-04:00

not as described | 2 out of 5 stars
Available via: Bellydance Superstars Shop, Amazon

The BDSS website describes this as a "best of" collection, however what isn't made clear is that the content of this DVD consists only of what Copeland and Co. might consider to be the "best of" what they have previously included on their own releases. There is no new performance material included here, instead this DVD is a compilation of various Tribal style pieces spanning from the very first Bellydance Superstars to the latest Bellydance Superstars: 3D Volume 2. If you have seen or happen to own a number of BDSS DVDs, chances are you will already be familiar with all of the performances on Tribal Superstars:

Rachel Brice, "Saraab" from Bellydance Superstars

This is classic Rachel in all her dark, snakey glory. Unfortunately the camera work is classic to the original Bellydance Superstars DVD meaning that the angles may include prop items from the set partially obscuring the dancer, and shots are often cropped to exclude a significant part of her body.

Zoe Jakes & Issam Houshan drum solo, Bellydance Superstars: 3D Volume 2
Sharon Kihara, "Bear Hides and Buffalo/Proper Hoodidge" from Tribal Fusions
Kami Liddle & Sabrina, "Inars" from Tribal Fusions
Fat Chance Bellydance, "Tin Tin" from Tribal LA: Live in Los Angeles
Elizabeth Strong, "Romski Cocek" from Tribal LA: Live in Los Angeles
Mardi Love, "Whiskey Sunrise" from Tribal Fusions
Tribal Superstars, "The Dude" from The Art of Bellydance: Live from Shanghai
Samantha, "Wayward Farewell" from The Art of Bellydance: Live from Shanghai
Tribal Superstars, "Saiidi" from Bellydance Superstars: Live in Paris at the Folies Bergere

This was when the Tribal Superstars included Rachel Brice, Mardi Love, and Sharon Kihara. The other group piece included on this DVD is the newer incarnation of the troupe with Kami Liddle, Samantha, Sabrina, and Moria Chappell.

Zoe Jakes & Elizabeth Strong, "Dope Crunk" from Tribal LA: Live in Los Angeles
Kami Liddle, "A Necessary End" from Tribal Fusions: Volume 2

Note: The music is cited as "Saltillo" by A Necessary End but in fact the song title and artist are reversed. I discovered this when I went to search for the song on iTunes.

Moria Chappell, "Engrish Bwudd" from Tribal Fusions: Volume 2

Note: The credits claim the music as "Ping Heng/Sleeping Somber" by Solace but this is definitely not the case.

Urban Tribal, "Derivations" from Tribal Fusions: Volume 2

Although this is from a newer release in the BDSS catalog, this particular recording also seems to suffer from a lot of periodic cropping which is especially egregious in this case since Urban Tribal rely so much on the overall composition and interaction of their troupe. You cannot appreciate this when forcibly focused on just the upper body of one dancer.

If you have not previously been exposed to these particular pieces, or if you enjoyed some of them but do not already own the original DVDs on which they appeared, this might be a worthwhile investment, but otherwise I don't think it is really worth the purchase price. I felt mislead both by the descriptions on the BDSS online shop and the Amazon website into buying it, believing it to have at least some never-before-professionally-released performance footage from the impressive roster of dancers listed on the cover. Although this is a very subjective assessment, I cannot help but feel this DVD really does not represent the best work of these dancers as captured in the pre-existing BDSS collection. I also get the impression that there may have been a rush to release this DVD, considering all the typos and incorrect information in the credits.

The only worthwhile, new material included on this release are several interviews with various Tribal dancers and Miles Copeland. These are substantial interviews too, not just a few stolen, hectic moments before a show in the dressing room — this section rivals (or exceeds) the length of the performance portion of the DVD. The dancers describe their influences, the challenges of being in an internationally touring bellydance troupe, and some of their experiences from the road among other things. I particularly enjoyed hearing Carolena Nericcio talk about how she came up with the cue system for ATS dance. Almost all of the Tribal Superstars discuss the fact that unlike their Cabaret comrades who have a plethora of bellydance fashion designers from whom to commission costumes for each show, the Tribal Superstars craft their own costumes and are responsible for their own extensive hair and makeup. Moria actually displays the belt and bra is is working on to coordinate with the color scheme of the other Superstars and tells the story behind some of the components. It was also interesting to see most of the dancers without stage makeup (Zoe, Kami, and Sabrina seemed to be only wearing very light makeup. Moria was interviewed still in her stage makeup and elaborately-done hair). The contrast is striking and it allows for a better realization of all the time that must go into preparing for a show.

Behold, we have video!

2010-09-23T23:17:00.005-04:00

One of my fellow Daughters of the Hip members uploaded a high-definition video of our performance to You Tube:

(Tribal Spirit's aforementioned performance can be seen here.)

I got started a little late during one part of the choreography section since my compulsive shaking was making it difficult to get my scimitar properly in place, and as I previously surmised, I definitely looked too stiff during the sword balancing segment. My range of motion is normally not that limited. The improv section was a little better and I did loosen up some, but you can still tell I was not really at ease up on stage. I can in fact layer a 3/4 shimmy over my Turkish but my body just wasn't cooperating that day.

I wish there was some way to simulate the presence of an audience during practice so I could work at surmounting my fears, but to my knowledge there is no such way other than actually dancing in front of live people. While there are strategies and exercises for overcoming stage fright and developing a strong stage presence, I think you can only truly "practice" performance by actually performing. There is no substitute for the real experience.

This brings up the dilemma of a dancer's readiness to perform versus his or her desire and intent to do so. A few other bellydance bloggers have posted recently about this issue (Tempest and Miischelle for example) and I think it is a worthy one. I agree with the other bloggers in that I do not think baby beginner dancers should be performing for the general public, especially without the explicit caveat that they are beginning or student dancers. In other words, beginners or even intermediate level dancers shouldn't be masquerading as professional performers.

However, once a dancer has gotten a fair amount of learning under her belt* and has the go-ahead from her teacher, I think it is beneficial to perform as a student at haflas or events for fellow dancers, friends, and family. Practice, both on and off stage, makes perfect, and amateur dancers should have appropriate venues to practice their performance skills so they can improve.

Just to clarify (and so I don't sound like a giant hypocrite), our performance at the DE Hafla was as a student troupe. Our non-professional status was noted as such both in the printed program and by the announcement immediately prior to our performance.

*

I don't think there is a hard and fast universal rule as to what the proper time period of study might be prior to performance at the type of events I suggest would be appropriate for amateur dancers — it would vary from dancer to dancer depending upon how long the dancer has been taking classes, how many classes per week he or she takes, how much time outside of class the dancer devotes to practice, the innate ability of the dancer to learn the movements.

Sweet Relief

2010-08-31T00:43:00.000-04:00

Yesterday was quite a day. My boyfriend and I arrived about an hour early (we anticipated that the drive to Delaware would take longer than it did) so we decided to take a walk on Main Street. It was a pleasant walk, however it had to be one of the hottest days I recall in this already sweltering summer so by the time we got back to the restaurant I was already drenched in sweat and exhausted.

I was told our performance went well and that even during the choreographed section the four of us were in-sync with each other. None of us dropped our swords and we did not miss our cues from what I can tell. I'd still like to see the video footage to critique my own performance though.

Danielle, Colleen, Kristin & I in mid-"swashbuckler" move. I'm all the way on the left.

Personally, I was so nervous that I was physically shaking — so much so that I feared it might be perceptible by the audience, but apparently it wasn't from those I queried afterwords. The shaking did make sword balancing that much more difficult though, even with the added stickiness provided by the hairspray on my head and beeswax on the blade that I did not use during the rehearsals. As a result I wasn't able to articulate as much as I would have liked while the sword was on my head and probably looked a little stiff. In addition to that, the space had a row of skylights which shed direct sunlight into my face virtually the entire time. I found that mentally I wasn't afraid of the audience and having them so close while dancing despite my body's reaction, but with sun being so bright I could not see them anyways. In most of the photos from the event, at least one of us was completely obscured by the blinding light. If you happen to be on Facebook, you can view my full album here and observe the phenomenon yourself.

I'm in the lead position here for the Tribal improv section of our piece. I think I was just thankful to be able to see for a moment.

There were a number of other great performances that took place that evening. Tribal Spirit did a delicious improv piece which included a lot of cute moves I don't think I've ever seen them do before. They seem so at ease performing and they give the impression that they are dancing not mainly for the spectator's enjoyment but for their own. I am jealous :) I'm hoping a video gets posted of their performance also.

Fatima Bassmah was the headlining dancer this month. I think she would make a perfect Snow White with her raven hair, red lips, and flawless fair skin. She danced twice that evening with a number of props. During one piece she balanced a bejeweled sword on her head while standing on glass goblets. I've never seen wine glasses used as a dance prop in person and was duly impressed. She later did an encore dance with an expertly weilded cane and then a final, upbeat dance to what I believe was a Sha'abi song.

Black Dragon Bellydance did a lovely skirt dance with lots of flourishes and spins. Naja Haje took the part of a serpent emerging from the snake-charmer's vessel: complete with huge basket, a bearded, flute-bearing snake-charmer, and a veil with a design evoking the brown and white pattern on a cobra's head. The music fittingly featured the ney as the prominent instrument. I wish I could have better seen the work of the dancers who immediately preceded and followed ours but I think I was so distracted about our own performance that I didn't get a chance to properly appreciate theirs.

I hope I have the opportunity to perform again in the relatively near future, though my preference would either be without a prop or with one that wouldn't impale my foot if I accidentally dropped it. I'm grateful to Vikki of Hipnosis who wrote the choreography and guided us through the rehearsals and for the three other ladies who danced with me.

Crossing my fingers

2010-08-29T00:24:00.000-04:00

Tomorrow will be my second official performance. Needless to say I'm really nervous (just writing about it makes me anxious).

Three other ladies and I will be dancing a hybrid sword choreography/Tribal improvisation piece at the monthly Drum & Dance Hafla hosted by Lorelei in Newark, Delaware. We are dancing as Daughters of the Hip, the student troupe from the Tribal Bellies Studio. Later in the evening Tribal Spirit, who is sort of like the "big sister" troupe to Daughters of the Hip, will also be dancing.

Other than the workshop where we actually learned the choreographed portion, we've rehearsed four times. I think I have the choreography section down, but whether I can remember it when on stage will be another matter entirely. Being rather new to balancing and dancing with a sword, I've been trying to forge a friendship with my new dance partner, a Balady Scimitar, and hopefully we will get along well tomorrow. Almost everything about this performance is fairly new to me, which makes this one more nerve-wracking than the previous one. I should really be more positive!

From what I understand, two people will be videotaping the performance, so in the not too distant future there will likely be some YouTube footage to reference.

Dance Styles, Class Styles

2010-07-30T00:06:00.006-04:00

I am really enjoying taking two classes per week, each in a different style of bellydance. Pragmatically I need the exercise, but I find that Cabaret and ITS (i.e. Improvisational Tribal Style) classes balance each other out quite nicely. It is not just the more obvious contrasts between the dance styles that offer a pleasing variety, although that is certainly part of it, but the differing manner in which they are taught and the cultures that have grown around them. Each class style has its benefits and its frustrations. In the past when I have just taken one style of bellydance at a time, I either found myself craving more creativity or more structure whereas in taking both styles I am able to better satisfy both desires.

My Tribal classes provide a very consistent regimen: there are only a limited amount of movements we learn in a session, the drills are the same throughout the class, the order of and the general instruction style is the same. We even tend to use the same music throughout the course. Even if I do not know the move we will be learning that day, I usually know what to expect and in what order things will occur: warm-up, drills, zill practice, instruction, practice incorporating the new move, and a cool-down. The entire program of Tribal classes follows a very specific path with each class building directly upon the next. The whole number levels (Level 1, 2, 3, 4) focus on increasing the dance vocabulary while the interim levels (Level 1.5, 2.5, 3.5) focus on group formations, dynamics, and practicing the moves more in the context of the group dance.

My Cabaret classes on the other hand are more fluid. We do start with the same stretching routine and generally do some similar drills (we almost always do shimmy drills), and we end with more stretching, but the main bulk of the class is much more open. My teacher takes suggestions from students as to what we might like to work on that day and the instruction itself can end up taking different avenues depending upon the class's reaction or aesthetic reasons, for example if we are practicing a combination and the sequence or transitions are not flowing nicely the combination is altered to address the issue. These classes are not nearly as stratified and are usually just divided into Beginner, Intermediate, and Advanced level courses.

The varying class styles are largely a natural outgrowth of the two different approaches to the dance. Of course this is not to say that all ITS classes are as highly organized as mine have been or that all Cabaret classes leave as much room for interpretation as those I have taken, but there is an internal logic which guides the class style based upon the dance style.

ITS/ATS by necessity needs to be structured so that the students learn the proper form and timing to dance as a unified group without choreography. One of the things I learned in my Graphic Design classes in college was that the goal of a successful typeface was to create a "beautiful set of letters, not a set of beautiful letters" and the same is true for an ITS troupe and its component dancers. The format does not work if the cues are not clear and people deviate from the standard movements. The group formations are not determined just by what will appeal to a spectator but primarily to allow each of the followers to have a clear sight-line to the current leader. The downside to this is that ITS is some ways can hinder personal expression since the aim of the dance is to be a harmonious group. If a dancer puts too much of her own spin on a step it makes her stand out and distracts from the audience's perception of the group as a whole. (Carolena Nericcio discusses this idea a bit in one of her recent blog entries.) For those that primarily find the joy in dance by connecting with and interpreting the music, ITS may not be the best choice since the format does not cater to music with many quick transitions and tempo changes. In some cases the music in ITS may largely serve as an aural backdrop where only the main beat or phrasing of the music determines the movements (e.g. fast, slow) rather than the emotional content or the meaning of the lyrics, etc. On a positive note, the nature of ITS as a group dance fosters a unique closeness among those who regularly dance together. The constant group practice provides direct interaction with your class peers. Unlike in choreographed group dance as found in Cabaret style, you are not simply dancing with each other but in response to each other — you must constantly be aware of what your leader and troupe-mates are doing and react accordingly.

Since Cabaret is not restricted to a set vocabulary it is able to more easily accommodate the teaching of many variations of a movement. For example a basic hip lift can be presenting with various ways to frame the hips with the arms, it can incorporate a kick, twist, or level change etc. An educated teacher might also be able to advise what variation is more typical to Egyptian or Turkish style bellydance, for instance. Cabaret classes are free to explore these tangents and can afford to be a little more spontaneous. However, this same openness could potentially lend itself to a less effective learning environment where the presentation of so many possibilities may not allow time to adequately drill the core movement and ingrain it properly into muscle memory. Without a set class progression complete with a specific roster of movements per session, you may find that certain ones are either repeated or not discussed at all, and it can be more difficult to gauge what you have accomplished in that session. In addition, if the instructor tends to create combinations on the spot and you happen to like one in particular, you must be sure to write it down or commit it to memory as that exact same combination may never occur again. As this style of dance tends to highlight solo dancers, it is more encouraging of dancers to develop their own style as distinct from the whole class group and even that of the instructor. I have had numerous Cabaret teachers emphasize that the point of learning to dance was not to become a clone of the teacher but to gain the tools to hone one's own voice as a dancer.

I think there are more interesting parallels to be drawn between the style of dance and the way it is taught, and I find the contemplation of the similarities and differences between dance/class styles fascinating so there may be other entries down the line which continue to explore this topic. As I've only taken Tribal classes with one studio, I'd be interesting in hearing what others have to say about the setup of their Tribal classes and if your experiences are congruent with mine. I've taken Cabaret classes with four different teachers over the years so I have a better idea as to what might actually be dictated by the dance style and not just the individual teacher's own preferences, but I'd still like to know about those experiences too. I imagine a more specific Cabaret format like Suhaila or Jamila Salimpour's might more resemble the arrangement of my Tribal classes but that level of structure doesn't seem to be typical of most Cabaret classes.

New Cabaret Classes

2010-06-09T14:24:00.000-04:00

I started a new round of classes in AmCab style bellydance last evening with a new teacher.* Mirjana was offering both beginner and intermediate level classes Monday evenings and I agonized over the class for which I should register. At this point, I'm beyond hip slides and snake arms and would like some more varied material, but I'm extremely hesitant about considering myself an intermediate level dancer.

As there is no universal standard of what distinguishes a beginner from an intermediate level class (a class with one instructor could be much more challenging and involve such different material than one with another instructor) it is difficult to gauge where one might be properly situated within a certain teacher's curriculum unless you are already very familiar with it. I did not want to assume that I would have the skills and knowledge necessary for an intermediate class. To be honest, there is also the fear of overestimating my abilities and constantly embarrassing myself in front of more experienced dancers should I choose the higher level class. I'm reminded of a quotation which was posted on the cork board at the Tribal Bellies studio which, to paraphrase, says: "Beginning dancer: knows nothing & is willing to learn from anyone. Intermediate dancer: thinks she knows everything & only wants to learn from masters. Advanced dancer: realizes that there is always more to learn, is willing to dance with & learn from everyone." Although this is only a generalization, it definitely does hold some truth in my experience, and I do not wish to find myself in the middle category.

So I wrote to Mirjana, explained my dilemma, gave her some background on my previous classes, and asked which class would be more appropriate for me. She recommended the intermediate level so the decision was made, but the anguish was not over on my part. After actually registering for the classes I had nightmares akin to those I had prior to the first day of school. I realized how much I had been working myself up over the "intermediate" issue, beyond the conscious and into the subconscious level.

I arrived to class, which strangely enough is held in a building which was once my father's elementary school, very nervous and unsure of what to expect. The room where the class was held looked like it was converted into a wrestling practice space complete with thick, plastic-coated padding covering nearly the entirety of the floor. I wasn't really prepared for that and during class my bare feet kept sticking to it, but where the chalkboards once were are now large mirrors which is a plus. The class itself was not as intimidating as I had feared. Most things I picked up quickly however there were one or two things I struggled with, but that also seemed to be the case with the other students so I didn't feel hopelessly inferior. It's hard to make an assessment after just one class, but for the moment I'm glad to say that my fears were probably just an overreaction.

* A few months prior I was taking Cabaret classes with Suffiyah Monday evenings and was really enjoying them, but the person she was renting the space from apparently was months behind on paying his rent to the landlord and was subsequently evicted so we lost the studio space. A few weeks went by and no suitable alternative was found. Most of the other students were able to move to Wednesday nights which wasn't an option for me since my Tribal classes are that evening, so I've been on the lookout for other Cabaret on Monday classes.

Serpentine: Belly Dance with Rachel Brice 2-DVD Set

2010-05-09T00:47:00.001-04:00

On pre-order. Enough said.

Honestly, I didn't even have a choice in the matter. It was like the button clicked itself, and Paypal magically dispensed the money from my account of its own volition.

I'm surprised by the pairing of WDNY and Ms.Brice since she has been so closely tied with Copeland and BDSS productions in the past, but I for one am glad for the partnership. I have her first instructional DVD, Tribal Fusion Belly Dance, and it is good overall, but the production quality is not stellar (and the editing in the brief performance was awful). WDNY DVDs in my experience tend to have much better lighting, uncluttered sets, and just have a general clean, crisp appearance to them. Plus the pricing cannot be beat: on the WDNY website the 2-DVD set is only $24.98 with free shipping (at least to the US). You can't beat it with a bejeweled cane.

Costume in Progress

2010-04-15T16:07:00.000-04:00

A few months ago I decided to take it upon myself to make a costume. Lately I've been really fond of pewter gray and decided that I would love to have a costume primarily in that color. I have not seen too many gray costumes (although Black Lotus Clothing and Dahlal [see "Lightning Strikes" by Hoda] have ones I adore) so I like the idea of having something slightly out-of-the-ordinary as most Tribal and Tribal fusion costumes have black as the base.

Since I've been taking both Cabaret and Tribal classes and have been finding that my own personal style lies somewhere in between, I also wanted to make a costume which could potentially be worn in either context. It will end up being more eclectic than standard Cabaret costumes but more glittery than standard Tribal costumes. Hopefully though it won't feel as out of place as a turban and a tassel belt among Egyptian bedlahs (or the reverse situation of a sparkly hipscarf and pink chiffon skirt among an ATS troupe).

Thankfully a belt-making workshop was held a little after this idea came to mind, so this time I had some initial help in designing and creating a sturdy belt base. The first belt I made was really an experiment where I had only a nebulous idea of what I was doing. It turned out okay nevertheless, but the workshop was exceedingly helpful and my previous belt would have turned out much better had I known some of the things taught in the workshop. For example, fusible interfacing is a godsend for reinforcing the base and making it easier to hand sew embellishments. Heavier fabric is not enough in and of itself. I also learned how to make a customized belt pattern which wraps around the hips without gapping, which is necessary for a girl like me with a curvy figure.

I don't consider myself an ambitious person, especially not in work and social environments where I'm happy to remain relatively unnoticed, but in the realm of arts & crafts it is a different matter entirely. This costume is proving to be no exception. The other girls in the workshop with me created some lovely Tribal style belts with just an assortment of trims and accents like Kuchi buttons, etc., and their belts were almost completed with the embellishment phase by the end. Most of my work, on the other hand, really began when I took the belt home. The vast majority of work on this costume must be done by hand. In the photo above all the sequins, glass pearls, beads, crystals, Turkman buttons, Victorian-style buttons, etc. were all sewn by hand. Since this photo was taken a few days ago I've already removed the large beaded medallion in the upper left corner of the image (removing it took just about as long as beading it in the first place) and have replaced it with a large, round Turkman pendant which better balances the complexity of the bead and sequin embroidery flanking it. I've also removed a line of sequins because the iridescent coating on them ended up being too overwhelmingly pink and clashed with the rest of the design. I purchased some silver Egyptian beaded fringe to line the bottom which I need to figure out how to securely attach. And this photo only shows the left half of the back of the belt!

Once I finish the belt, I have to work on the corresponding gray bra base I commissioned from BelliPhat.

I now realize that I must indeed be a crazy person to have voluntarily taken on this project of making a costume. Even with help with elements like the bra and belt base, it's still an amazing amount of work. $600+ for an Eman Zaki or Pharaonics of Egypt costume might seem like a large chunk of change, but I think after all the labor and materials going into this costume are accounted for it will add up to at least that amount.

Catching Up

2010-02-25T23:25:00.000-05:00

Although I've been quiet on the blog front lately, a lot has been occurring in my little corner of bellydanceland. I've taken a couple of workshops I've been remiss in writing about, added a number of new instructional DVDs to my growing collection, and I'm now taking two classes per week, each with a different teacher in a different style.

Back in November I took workshops with DC area dancers Asharah and Belladonna. Based on the extensive warm-ups and drills on Asharah's DVD, I was really expecting to be utterly decimated by her workshop, but it was surprisingly one of the less strenuous workshops I've taken so far. I'd like to pretend that's because I might be in better shape than I was for previous workshops (ha!) but I think it's more likely that Asharah was able to gauge the overall level of the participants and was merciful :) The particular workshop I took with her revolved around the sort of almost mechanized, hip-hop influenced movements (e.g. ticking, strobing, etc.) which are part of her signature style. Much of the main material was similar to what is taught on the DVD. It was very internal and involved a lot of fine muscular control. We did a great deal of working with the glutes and used variations of Suhaila's drills to help sharpen hipwork and make it look more staccato. For some reason that is unclear to me I've never had a problem isolating those muscles (quite the contrary actually), but I'm not used to contracting them in such a deliberate way while standing and simultaneously executing hip movements. Asharah was a very enthusiastic, almost bubbly, teacher and I liked that she frequently walked around to give attention to specific individuals during the workshop. I got to purchase a lovely headdress from her which she actually wore in the first Gothic Bellydance DVD which made my inner fangirl squee with joy.

Belladonna taught us one of her signature combinations, in this case a flirty, burlesque-influenced number. She primarily teaches a version of improvisational bellydance using longer combinations which may last for 16+ counts (an approach similar to Unmata's) in addition to the standard 8-count moves typically used in the ATS vocabulary. This one in particular cued from Arabic. It took nearly the entire workshop to cover the whole combination and the material was presented very quickly. I wish I could remember more of it, but my learning style and short term memory issues makes these types of workshops very difficult for me.

A week or two ago I got to take a short workshop with Jasmine, a dancer of Middle Eastern descent who performs in Las Vegas. She taught us a simplified version of debke and the beginnings of a cane choreography. I really appreciated learning about her firsthand experiences at family gatherings where debke is actually performed. The cane portion was honestly out of my range as I have zero experience dancing any sort of raks assaya while the other people in the workshop seemed to have prior knowledge. Of course it would have helped if I had a suitable cane. The only one I could locate on such short notice was an actual walking cane which was far too heavy and cumbersome to be of actual use.

I really want to touch upon the new weekly classes I'm taking, but I think I'll save that for the next entry.

Golden Age, Silver Screen - ACEO

2009-10-24T03:38:00.001-04:00

Inspired by footage in vintage films from the Golden Age of Egyptian cinema, this little piece of art will be sure to delight appreciators of classic Raqs Sharqi. I was drawn to create a small homage to the elegant ladies of the silver screen after viewing some clips of such notable bellydancers as Tahiya Karioka, Samia Gamal, and Naima Akef. The particular dancer depicted here has just made her entrance accompanied by a swirling veil. Her smile is contagious.

This image is nearly monochromatic in shades of soft, warm greys, sparkles of antique white, and black linework overlaid on toned paper, evoking the look of an aged black & white movie.

Available at my Etsy shop!

Ren Faire Saturday Performance

2009-09-19T23:00:00.005-04:00

Today was the first day of the Wrightstown Renaissance Faire which was my first real performance. One of the ladies from the studio already has sections of it up on YouTube. I hope to write a little more about the experience when I'm not so tired (we have another performance tomorrow, so it might have to wait for Monday at least), but it wasn't as nerve wracking as I thought.

Our Level II group performance starts at 0:46 and lasts until about 1:45. I'm all the way on the right in the yellow-orange fringe :)

Report from the NE BD Competition Gala

2009-08-30T20:12:00.001-04:00

Last night I had the pleasure of attending the Northeast Belly Dance Competition Gala to see a lovely array of performances and a decent selection of vendors. The entire event lasted approximately two hours including a brief intermission. The Grand Ballroom of the Best Western Lehigh Valley was the perfect space for the size of the event: the stage was set up on the far side of the room with ample seating and the vendors were set up at the rear. The event itself was on the smaller side, perhaps since it is the first time it was held, but that suited me just fine. Both the performances and vendors were almost exclusively Cabaret oriented, however I did actually manage to find a nice Kuchi metal belt at the table belonging to Salome's Tent that fit me well (it will serve as my "back up belt" in case I'm unable to finish the belt I'm working on making for the Faire).

It seemed to me as if the event organizers arranged the order of the performances to have the less-experienced dancers perform first, followed by the more seasoned performers after the intermission. I was pleased to find that virtually all of the dancers had a healthy sense of humor and were even willing to have a laugh at their own expense (it's good not to take yourself too seriously all the time).

Amartia danced first in a bedlah spangled with dozens of compact-sized round mirrors, sending spots of reflected light whirling around the room as she moved. At one point in her performance during a long section of shimmying, she withdrew a stick of lipstick from her costume and proceeded to apply it by looking in one of the large mirrors on her arm band. Afterwords she tossed the lipstick into the audience and continued dancing.

Tasha was not only very talented but also quite comical. The event program featured an advertisement for her classes, touting that she had been dancing professionally for more than thirty years which I found surprising since the photo was of a very youthful, dark-haired dancer. When she emerged from behind the stage curtain, she was still just as elegant but had long silver locks. She did an interesting technique with her zills which was akin to a roll on the drum that I want to figure out for myself (I think it involved slightly shaking or rapidly moving the thumb to achieve a quick, staccato sound). As she was dancing, she caught sight of an older man in the front row and sauntered toward him, planting a big kiss on his bare head and leaving her vivid red lipstick behind. My boyfriend and I thought it might be her husband and that it had been arranged beforehand, but a little later, she spotted another bald gentleman and approached him with same intent. When he hesitated she declared, "It will make your hair grow" and he allowed her to kiss him on the top of his head. During a veil segment, she found another male victim, only this time she wrapped the veil around his neck and while doing so questioned his wife if it was tight enough. She twisted it up and around his head to form a makeshift turban and headed back to the stage. The man with the new turban apparently loved the attention and stood up and started dancing too. When she caught sight of him wiggling around she quickly ran back, brought him foreword and danced with him on the stage.

Two dancers from Hipnosis were the only Tribal style representatives in the gala and as always I look foreword to their pieces. Unfortunately, there was a serious technical difficulty and for some reason the CD they brought with their music would not play on that particular sound system. There were evidently no drummers in the audience to accompany them, but determined to perform and with the help of some guests who had purchased some CDs from a vendor that very evening, they did a great dance to a song neither of them had probably heard before. The song wasn't even Middle Eastern in origin with familiar rhythms to rely on — it was an upbeat techno/R&B tune with several false endings. This my friends is the glory of improvisation.

My favorite dancers were actually the ones I wasn't familiar with before the show including Kalaa, Azhia, Tasha, Lotus Niraja, etc. although it was great seeing Neon of WDNY perform just a few yards away. I cannot wait for next year's competition as I would like to see the actual competition pieces too. I hope it will be held at the same venue.

Some Upcoming Events

2009-08-28T13:02:00.004-04:00

The following event is actually tomorrow and Sunday (sorry for the late notice!):

Northeast Belly Dance Competition: Gala Show
Date & Time: Saturday August 29, 2009, starting at 8:00pm
Location: Best Western Lehigh Valley Hotel & Conference Center
Grand Ballroom
300 Gateway Dr
Bethlehem, PA 18017
Price: $15.00 (I'm checking to see if tickets can still be purchased at the door. They don't seem to be sold out, but I'm unable to select the tickets to still purchase them online at this point.)
For more information, visit their website: Northeast Belly Dance Competition

There are thirteen performers lined up for this event including the girls of Hipnosis Tribal, Neon and Tanna Valentine of World Dance New York, Lotus Niraja, and Embers & Emeralds. There will also be some vendors present both before and after the show as well as during intermission.

I also wanted to highlight a series of workshops in November featuring Washington DC area dancers Asharah and Belladonna (I believe Mavi was originally slated to participate too but that doesn't seem to be the case any longer):

Workshops with Asharah & Belladonna
Date & Time: Saturday November 14 and Sunday November 15, 2009, workshops begin at noon
Location: to be announced
Price: Single Class: $40.00, Full Day (Saturday or Sunday): $70.00, Entire Weekend: $120
For more detailed information on the workshops and registration, please visit the Events Calender.

I'm really looking foreword to these workshops. I've met Belladonna before and she seemed like a very warm, outgoing person and a great dancer, not to mention her amazing sword-wielding skills. I've been wanting to take classes from Asharah too as I've been admiring her dancing and writing for some time, although I will admit that I do find the prospect of meeting her more than a little intimidating.

Experimenting with Tribal Makeup

2009-08-22T00:51:00.000-04:00

I finally added a profile photo, a larger version is shown above. After a productive trip to Target (pronounced Tar·zhay for the uninitiated) I played around with some makeup ideas to use for the performance. I still need to work on what to do with my hair. I'm not skilled in that department at all.

I picked up some brown kohl in the HIP line made by L'Oreal which came in a lovely little bottle reminiscent of a perfume vial. I've used kohl before, but I just recently learned to apply it in the Middle Eastern fashion and although it was awkward, the first time it worked perfectly and got the look I've been striving for with liquid and pencil eyeliners for some time. It rims the inner eye, including the waterlines, perfectly and stays there. The only issue I've had so far — and I've been wearing it for hours while sweating in a hot apartment — is that some of it tends to gather near the tearduct and when I tried to wipe the excess off the lining tended to come off with it. It was expensive for such a little bottle (even the cashier commented on the price), but I'm tempted to buy more in different colors because I adore how it looks. I also picked up some ColorStay Overtime lipstick by Revlon in Relentless Raisin which really lives up to its title. It consists of a color stain and a clear, moisturizing topcoat that can re re-applied as desired to make it look more like a lip gloss. The topcoat wears off fairly quickly but the stain won't budge. You obviously cannot tell in the photo but in addition to the kohl I used some earthy, shimmery colors from my Shimmer Cube palette made by The Body Shop applied with Ecotools brushes on the lid and out from the edges of my eye. I really had to compensate with my brows with an eyebrow pencil so they weren't visually washed out by my eyes. I added some small faux facial tattoos near my eyes with liquid eyeliner and wore my Big Ass Bindi for the first time too. I think this was more makeup than I ever worn in my lifetime, except perhaps for Halloween.

Adventures in Belt-Making

2009-08-16T23:16:00.005-04:00

The costume components for our upcoming performance include: banjara choli halter top (aka the Hipno-Halter), black 10 yard skirt, long fringe, pantaloons, "bits belt," and of course various accessories. What has been termed the "bits belt" is essentially a basic, long rectangle embellished with shisha mirrorwork, some traditional Tribal jewelry, and/or other odds and ends. All but one of the components I either own or have arranged to borrow. The piece I lack is an appropriate belt which of course is one of the most fundamental items in a good tribal costume.

I looked at buying or borrowing a suitable one from the studio, but most of the belt bases available are much too short and yet two of them linked together end up being too long. I've always wanted a two panel belt so I figure now would be a good time to try to make one. The vision in my head was of a dual piece belt which secures on either side by long ties looped through metal rings — something like this awesome belt worn by Molly Mitchell or Sara Beaman's belt although I'm sure mine won't be quite the degree of awesome as either of those examples.

The first thing I obtained was some mirror trim to serve as the central focal point, and I was lucky enough to scavenge some scraps of nicely coordinating fabric from the "free stuff" bin at the studio. Then it was off to the fabric store to find a sturdy base fabric and some large O rings. I found some fabric that works well and picks up on the peculiar golden color of the fringe belt I'll be wearing beneath it, but I had no luck finding O rings with a large enough diameter (there were plenty of D rings though, but even they were on the smaller side). I had to venture to the Tandy Leather Factory in Allentown to find the O rings I wanted, and find them I did: hefty, solid, 3" diameter rings that are practically bangles.

My mom was kind enough to assist me with the basic machine sewing as I have no machine currently, and even if I did, sewing a straight line is something of a challenge for me (actually drawing a straight line without a ruler or triangle is a challenge for me which is why you'll notice I really don't do much drawing involving architecture!). We discussed the pattern and the first step in actually making the belt involved me hemming the edges of the mirror trim by hand, and that certainly won't be the end of the handiwork on this belt despite having access to a machine. We were able to get the basic skeleton sewn together on the machine and now I'm working on sewing some Turkman buttons near the upper and lower borders. The use of a curved needle helps but they are still a pain in the ass to securely sew to the base, but I think it will be worth it in the end. The Faire is less than a month away, so I hope I can finish it by then!

Tribal Fusionista - ACEO

2009-08-01T23:34:00.004-04:00

This ACEO features a feisty tribal fusion bellydancer. She's adorned her arms with fishnet gauntlets and kuchi cuffs and her hair with a peacock feather and a vibrant poppy. Her burgundy hair and costume forms a striking combination with the teal background, and her figure is accented with a bright shade of lime green. I do not encounter too many fusion dancers who play zills in their performances, but I love zills and have a habit of incorporating them into my work.

Dancing the Tides

2009-07-30T21:28:00.004-04:00

Poet Joshua Gage has written pieces inspired by my artwork before, this time he took my little drawing Drum Solo in Blue as a muse (and was kind enough to mention it). You can find his poem published in the Summer 2009 issue of Goblin Fruit: Raqs Sharqi. Enjoy some bellydance-themed verse :)

Preparing for the Faire

2009-07-27T23:11:00.006-04:00

After approximately three years of taking classes, a handful of workshops, and a slew of bellydance DVD purchases later, I'm actually going to perform*.

Before the official start of last week's class there was a flurry of activity involving the experimental whirling of tiered black skirts, and the pairing of colorful fringe with bits of banjara textiles that glinted like disco balls in the light. It was a little dizzying to observe, but the giddy atmosphere aroused by the splay of costumery was infectious. I was almost immediately addressed as the only person who didn't provide an official response regarding the upcoming performance opportunity (that would explain the unusually intense fuss over tribal gear before class). I vaguely remembered receiving an e-mail about it but sheepishly declined, partially because I assumed that it was intended for students in higher class levels, but also because I instinctively feel that Desirée and performance do not belong in the same sentence.

The bulk of the class was essentially a rehearsal where we danced to the actual piece being used in the show, which is blessedly brief, practicing changing designated leaders at the appropriate spot in the music. It was so much fun that I was beginning to regret my knee-jerk initial denial. My teacher and a few of my classmates were trying to persuade me to reconsider. They had some good points: I don't have to lead, and the song is only about 2 and a half minutes long. It would also be a really good excuse to wear some of the nifty things I've accrued since my bellydance addiction began. By the end of class, I had succumbed to the peer pressure (it's not just for kids anymore!) and was added to the list for the Level II performance piece.

The performance will be at the Wrightstown Renaissance Faire as part of a line-up featuring other levels of dancers from Hipnosis' studio on the two days before my birthday, thankfully giving us some time to rehearse and pull together a costume.

I've been fitted for my banjara choli halter, and my fringe is in the mail. I'm going to attempt to make a belt from some of the supplies of coins, Turkman buttons, guls, and other goodies I've been hoarding. My hair and makeup are still up in the air, but I did get an awesome bindi and I would love to make and wear a nath, which is apparently the word for the chain that drapes from a nose ring around the side of the face and attaches to an earring, since I think this might be the only type of occasion where I could actually get away with wearing one!

* Technically, I did perform a short veil choreography with classmates at Casablanca, a Middle Eastern Restaurant in Warrington, when I first started taking classes, but it didn't feel like a real performance to me. Instead I felt more like a tutu-bedecked toddler at a dance recital being patronized by my parents and other onlookers for my endearing awkwardness and incoordination.

Spring 2009 Bellyjam & Zafira Workshops

2009-05-26T14:01:00.008-04:00

It's been a few weeks since I attended Hipnosis' Spring 2009 Bellyjam and the Zafira workshops, and I need to get some thoughts down before I lose all recollection of them completely. Both the hafla and the workshops were held at the Elkins Estate, a sprawling property dotted with grandiose mansions in Elkins Park, PA. Entering through a tall wrought-iron gate and down an impressive driveway accented with statuary, you knew that this event was going to be special. The property was formerly owned and maintained by a convent of nuns, and the Bellyjam was held in a large room they had converted into a chapel complete with confessional booths at the rear. The stage was set on a slightly elevated portion of the room and was swathed in a lovely array of draped fabric, floor pillows, and lanterns.

The show opened with a performance by the band One combining doumbek, guitar and Indian tabla, and then the ladies of Hipnosis took the stage for two improvisational pieces. Following them were a series of soloists from the area. The ones I remember enjoying the most was a medley by a Cabaret-style dancer from New Jersey who took turns dancing with veil and zills, a tribal fusion solo to Amon Tobin's Easy Muffin by Laura Boyd, and an energetic Indian dance. Olivia and Maria from Zafira Dance Company performed twice, once immediately before the intermission and once at the very end of the show. After the intermission the student troupes performed and Vikki's Tribal Fusion class danced to the piece on which they had been working. As usual it was a great time. There were some vendors in the large foyer area and I purchased a hoop from one of them. I'm not doing very well with it, but the amount of time I can keep it turning (which isn't very long at all) is fun.

The Zafira workshops the following day (I was only able to attend the Sunday classes) were held in the same grand space as the Bellyjam. The first workshop focused on various types of shimmies (primarily 2/4, 3/4, and even 4/4 shimmies) and was taught by Maria Hamer. I wasn't sure I was going to survive Maria's pilates/yoga-inspired warm-up. It's not that she was a stern taskmaster (far from it actually! she was encouraging and comical throughout the entire process) but my abs and thighs were simply not prepared for that kind of work, and evidently there were many others in the workshop who weren't prepared for it either. After a break for lunch Olivia Kissel took over for a workshop focused on fluid movements and turns. I sensed a significant ballet influence in her teaching. Olivia also did a warm-up but it was of a completely different nature than Maria's: it consisted of a meditation technique called "bee's breath" which I thought was very unique and effective.

Unlike some other workshops I've attended, I really felt that Maria and Olivia were honestly welcoming of everyone who attended, despite the varying levels of skill and experience. They were also willing to be more spontaneous with the teaching material and respond to the desires and needs of the students rather than to stick staunchly to one specific plan. I would definitely say that although I was certainly in over my head with these workshops, I was left with a great deal to contemplate and I had a great time. I would not hesitate to take another set of workshops with them if given the opportunity.

Zafira Workshops

2009-03-20T01:15:00.004-04:00

Hipnosis is hosting a series of workshops with Pittsburgh-based Zafira Dance Company the weekend of April 18th and 19th. Four workshops (two on Saturday and two on Sunday) will be held at the Elkins Estate in Elkins Park, PA.

I was not familiar with Zafira prior to seeing the flyer posted at the dance studio, but after seeing some of their clips on YouTube it seems like a great investment to learn from them. I like the fact that they achieve a vintage, circus feel without being Indigo clones. Their partner and troupe interactions are also interesting — not the typical ATS arrangements. Take a look: You can read descriptions of the workshops and register online at this location.

Zils & Lilies - ACEO

2009-03-20T00:23:00.008-04:00

A sister drawing to the previously-posted Gold & Paisley image, this delightful little piece of original art depicts a tribal style bellydancer with lily-adorned hair zilling away to a Middle Eastern rhythm. A sweet shade of sunset pink highlights the dancer and some details in her costume, and a border of purple frames the image.

Both this ACEO and Gold & Paisley utilize the same techniques and are similar in style; they were created almost as a pair within days of each other. I'm not thrilled with this piece (the hands, although intended to be highly stylized turned out really wonky) but it was fun to make.

media • pen and ink; markers; watercolor; acrylic
size • 2.5 x 3.5 inches

Gold & Paisley - ACEO

2009-03-16T23:36:00.009-04:00

Tribal bellydance is often described as being very earthy and grounded, and I feel this little piece of art expresses those aspects of the dance well. Warm colors and organic patterns inspired by paisley designs lend themselves to that theme.

The essential line work forming the dancer was drawn with a large bamboo pen dipped in dark blue ink which was then shaded with markers in hues of brown and terra cotta. The image was then accented with acrylic paint in a sunny shade of goldenrod.

This drawing is in a slightly different style than my previous bellydance-themed ACEOs. It is not as tight and precise. The bamboo pen lends a very loose, fluid quality to the drawing which I really enjoy.

media • pen and ink; markers; acrylic
size • 2.5 x 3.5 inches

Step, Wiggle, Step, Wiggle, Step....

2009-03-10T00:10:00.005-04:00

...that's one way to think of doing a three-quarter shimmy. Probably not the most eloquent or technical definition, but in a pinch it works.

I began my Tribal level II class last Wednesday and one of our drills for this level is a series of exercises featuring three-quarter shimmies at progressively greater speeds. I'm glad that I've been trying to work on this move on my own for a while, otherwise it might have just looked like I was doing part of the chicken dance while walking. The introduction my teacher gave was surprisingly brief but almost everyone seemed to get it right off the bat, at least at a slower pace. I can do a passable three-quarter shimmy at moderate speed on flat feet, but to my great chagrin, once I'm on my toes it dribbles off into nothingness. Likewise I have difficulty incorporating it into other steps like Turkish (thankfully I've been told that's level III material) and even doing a complete 360 degree turn is difficult while maintaining that desirable wiggle. I love the three-quarter shimmy, it just hasn't fully "clicked" for me yet.

What proved to be most challenging for me in that first session was a fairly basic variation of a move already in our repertoire: the Ghawazee Box. I'm not sure what the Ghawazee is called in other forms of Tribal bellydance but essentially it is two hip bumps on one side, followed by two hip bumps on the other side. It can be done in place or while traveling foreword or backward. The hip performing the bumps is twisted slightly toward the front (it's almost like the training wheels you use before progressing to the three-quarter shimmy).

In the Ghawazee Box, the move is performed in a tight turn and the feet alternate in touching the four corners of the imaginary "dance box" which surrounds you. In this case, the turn is not on one static, central pivot point, and the pattern of the footwork for some reason just befuddles me. It was embarrassing being as I seemed the only one who didn't consistently get it. There were times when I did do it correctly a few times in a row, but it never lasted. Drawing up a little diagram and practicing the footwork using the grid work of the linoleum in my kitchen hasn't even fully solved the issue for me. My main puzzlement now is if the move should be bringing me back to my original starting position (a full 360 degrees) and if so how does that fit into the 8-counts the move is (I believe) supposed to take? I feel like I'm missing something obvious and essential, and I'm sure that I am.

Perhaps I need to watch others perform it and see it from an outside perspective. It was only demonstrated to me that way once or twice before we actually began attempting it ourselves, and it's a lot harder for me to watch what the instructor is doing if both she and I are constantly turning. We'll see!

Update: Evidently the Ghawazee Box does not bring you back to your initial starting position on the 8th beat; on the next 1 count you either shift slightly to return to regular Ghawazee position (facing front) or you angle once again towards the upper right corner of your dance box to continue turning for the next 8 counts.

Promising Instructional DVD

2009-02-22T21:47:00.007-05:00

I was recently at the World Dance New York website looking at their newer releases and came across Bellydance: Beautiful Technique from Step One with Autumn Ward. All of the reviews from Amazon so far have been extremely positive, and from viewing the sample it seems like Autumn's instruction is really in-depth and well-structured. It claims to be geared towards beginners, but the really thorough treatment of the techniques would be of benefit to any bellydance student — it's always good to brush up on the basics. I also like how Autumn's focus is on bellydance as personalized artistic expression rather than strict adherence to one regional or ethnic style.

It looks really promising, and I think that the structure will benefit my learning style, so I've ordered a copy and hope to offer a review soon!

Back in the Coin-Bedecked Saddle

2009-02-06T20:31:00.001-05:00

As you can probably surmise by the lack of entries, I look a break from blogging and my bellydance classes as well. Mostly this hiatus was due to financial reasons, but also simply because I've been wearing myself too thin (mentally, emotionally) over the past year or so and something(s) had to give. Bellydance wasn't the only thing which I chose to put on hold, but it was one of the things I've missed the most. I've been keeping an eye on the class schedules over at Hipnosis Studio, anticipating the posting of the Spring 2009 session, and last night the new classes were listed. I did not hesitate to register for Tribal Bellydance Level II and I'm very excited to start classes again.

However, I'm going to try my best to ensure that this time around won't be precisely like the last; I don't want to get caught in the same rut in which I found myself a few months ago. Many things fascinate me, and I'm voracious and determined in learning about those things, spending time and money which should be used more judiciously (I really should keep something in my savings account). Unfortunately, being pulled simultameously in so many directions takes its toll. There are certainly worse things to be afflicted by than an intense interest in so many subjects and activities — I wish I had the funds and opportunity to explore every one of them fully — but I need to strike a balance. As much as I'd love to try to throw myself back into bellydance with the same fervor I once had, I know I have to rein it in.

So, I suppose my New Year's bellydance resolution is to simply focus on being a better amateur. By amateur I'm not just referring to someone who does not do something on a professional level or as his/her career, but to someone who does something for its own sake out of the joy it provides. My profound level of interest in things causes me to want to become an expert in a very short amount of time, and I need to learn to be comfortable with learning at a less frantic pace. It's going to be difficult, but ultimately I think I'll be a better dancer for it.

I have two sessions of Level 1.5 behind me, and I truly think the concept of cueing, leading, and following has actually stuck, but I know after a roughly three-month hiatus I'm going to be rusty. Really rusty. Here comes the humility again....

Report from the Double Trouble Workshop

2008-09-11T14:45:00.006-04:00

Life has been keeping me so busy that I haven't had the opportunity to post about the Double Trouble Workshop hosted by the ladies of Dancers' Oasis on August 24th. It was exactly what a workshop should be in my opinion: a few hours packed with a whole lot of fun and knowledge.

The first segment was dedicated to double veils. Going into the workshop I wasn't sure exactly how this topic would be explored since I've seen different types of double veil performances, all I really knew was that it was involving two semi-circular veils.

I have a rather ambivalent attitude towards the use of veils in bellydance. On one hand I think they are fun to twirl around for my own personal amusement, but on the other hand I'm typically not fond of veil performances. I'm drawn to bellydance by the technique: fluid undulations, sharp and percussive pops and locks, precise muscular control and isolations, and reverberating shimmies. Honestly in most veil performances the focus ends up being on the veil itself and less on the movements of the dancer, although ideally they should be equal partners in the dance. Sometimes I think veils and other props are used to try to distract from or even hide poor technique. Veils can be very pretty, but for the most part I don't find veil dances to be engaging on a personal level.

The two sorts of double veil pieces I've encountered have either been languid, slow dances where the two veils were used almost like Isis wings: each veil comprising a "wing" by being tucked into the belt while the other end was held with the fingers as in single veil work, and a decidedly more energetic dance à la Petite Jamilla of BDSS fame. Her double veil performance on the Live in Paris at the Folies Bergere DVD was the first one to really catch my eye and show me that veilwork can be fast-paced and exciting. Thankfully the workshop focused on the second sort of double veil dancing. Unfortunately, my spinning tolerance is extremely low and I have practically no experience spotting. Suffiya mentioned that it took her three years of practice to be able to spin for three minutes straight, and I think it may take me even longer. Surprisingly (at least for me), I did fairly well with the techniques which were taught. The class was co-taught by Suffiya and one of her troupe-mates (I cannot remember her name offhand and I feel badly about it, I'll have to check my notes again!) who is acclimating to spinning for longer periods of time, and they were really great.

I went into the double veil workshop a bit uneasy, but left with a higher regard for these flowing sweeps of fabric. I even purchased a set of matching silk veils in gorgeous peacock colors. Too bad my small apartment doesn't afford me with enough room to really spin to their full potential.

There was a break after the double veil workshop for a yummy Middle Eastern lunch, and then the double fan-veil workshop began. Suffiya was the first dancer I had seen to perform with fan-veils so it seemed appropriate that my first instruction in their use was taught by her.

I purchased two fan-veils prior to the workshop but unfortunately they ended up being both right-handed* so I could not use them. Luckily Suffiya had matching sets to borrow. My borrowed set proved to be a bit unwieldy and did not like to open and close cleanly, but despite that I was introduced to a lot of great techniques. I really appreciated the information provided on troubleshooting and what to do when the fan-veils get stuck or are otherwise misbehaving. There doesn't seem to be enough instructional material or advice available on what-to-do-when-something-goes-wrong on most DVDs, books, etc. I've been exposed to.

I really wanted to take classes with Suffiya prior to the workshop, but now even more so. Her enthusiasm is really contagious and I miss Cabaret style classes. I just need to find the right niche in my schedule which always seems to be in flux.

* I figured out a way to easily convert a right-handed fan-veil into a left-handed one, so not having a matching set no longer an issue now. I hope to post a little tutorial on how to do it for those with a similar dilemma!

Drum Solo in Blue - ACEO

2008-08-28T22:22:00.006-04:00

I've illustrated some Tribal style bellydancers, and I thought it was time to turn my attention to a more traditional Raks Sharqi theme and draw inspiration from lovely Cabaret style bellydancers.

This dancer in a blue, turquoise, and teal bedlah displays some of the exuberance I've seen in live performances where the dancer is truly enveloped in the music. As the title indicates, it's meant to illustrate my favorite type of bellydance pieces, the drum solo. The powerful rhythm of the doumbek becomes a visual pattern emanating from the drum, and nothing exists but the beat and the dance.

Although it cannot be appreciated in the digital version of the artwork, there is a special treat which can be experienced when you see the original. I used touches of slightly metallic acrylic paint to highlight some line work in the image, so that when you see the original from different angles it has a pretty shimmer effect. This touch seemed really appropriate for a Cabaret style dancer to suggest the glitter of the sequins and the sparkle of the beads their costumes.

Media: pen and ink; watercolor; acrylic
Size: 2.5 x 3.5 inches

Vintage Exotica

2008-08-25T15:05:00.010-04:00

My paternal grandfather, Richard Isphording {pictured at left}, was in the US Army during the time period of the Second World War and was stationed in various far-away and exotic places including the Middle East, the India/Burma theatre (as it is described in one military document), and likely the Far East as well. A well-worn, leather-bound photo album is all I have remaining of his ventures in those foreign lands. There is a scene embossed on its cover which speaks of the album's origins: dancers and musicians of ancient Egypt, arranged in registers with convolted attempts at hieroglyphic script to accompany them. The album is filled with many photos of his travels along with a few typeset letters relating to his military service and an old map of Germany.

I wanted to post some images from this album, specifically those which I know are and those which I believe to be from the Middle East and Northern Africa, in this blog because of their beauty and hopefully to as a way to gain more information about the people and scenes they depict. My grandfather passed away more than a decade ago so unfortunately I cannot ask him for details myself. If you have any additional information regarding these photos, for instance anything regarding the culture, location, or content depicted, I would greatly appreciate it if you could comment on this entry or e-mail me.

You can view the photos in the slideshow in the left column of this blog, or visit:

Vintage Exotica

Ruminations on Learning Tribal Style

2008-08-21T16:09:00.005-04:00

I’ve come to the end of my 12 week session of Level 1.5 Tribal Bellydance, and I made the decision to retake it. Could I handle Level 2? Probably, but it likely would not be the smoothest of transitions and I would prefer to solidify the current Tribal vocabulary I have under my belt before being introduced to a new set of moves and variations. I knew going in that Tribal would not be easy, but not being personally familiar with the improvisational format meant that there are some aspects that I simply did not know how to anticipate.

There are many trains of thought which need to be harmonized in order to make this form of dance flow beautifully as it should, to make it seem to the unknowing observer like a choreographed piece. I imagine many of those separate threads become like second-nature in time, freeing the dancer to be more enveloped in the moment, responding almost subconsciously to the subtle cues of her fellow dancers and to the nuances of the music, but I’m not at that point yet. Right now those various trains of thought are on fairly distinct tracks and I have to make sure they keep pace with each other without colliding in a gory tangle. This is especially the case for me when leading. Keeping pace with the 8-count phrasing in the music and cueing appropriately, prying my brain for a different move to cue while not messing up the current one, paying attention to technique so the movement actually looks like it should be part of a dance and not a half-hearted aerobic routine, and desperately trying to keep my dyslexic tendencies* in check among other things is not an uncomplicated thing. I would love to hug the person who invented the masmoudi rhythm as being able to recognize it is extremely helpful with counting and cueing (that was a figurative statement, by the way. I realize that the specific person, or more likely persons, who "invented" the rhythm are lost to the sands of time).

And yet, even with the slight panic caused by attempting to keep all those trains on track, it’s bizarrely enjoyable and invigorating. Gods know, I need the exercise too.

* Although I’ve never actually been diagnosed, after doing some research it seems pretty clear to me that I have dycalculia or something closely related (www.as.wvu.edu/~scidis/dyscalcula.html, www.en.wikipedia.org/wiki/Dyscalculia). I have always had difficulty with basic arithmetic and mental math skills like addition, subtraction, etc., yet I did very well in my math and science classes (I was even given an award in High School for outstanding performance in my Probability & Statistics class). From a very young age I also have had serious trouble confusing my left and right (don’t ask me to give you directions) and writing letters backwards; I had to have a paper with the alphabet taped to my desk early in elementary school to help me remember which way letters and numbers properly faced, and I still sometimes find myself staring at the numbers 3 or 7 and the letter z perplexed, feeling that they should face in the opposite direction. It also takes me an inordinate amount of time to read an analog clock, and asking me to give someone change in a monetary transaction is pure torture. I get easily disoriented in places I’m not familiar with (and sometimes in places I know) which makes me mortally afraid to drive to places I’ve never been to before, even with a map. Alas, I also have difficulty with following and imitating a series of movements, especially when mirrors are involved, which can make learning to dance very challenging. That, along with my distaste for the music, was why I only took ballet for about a month or so when I was very young. When I could mimic the teacher, it was usually in a backwards fashion. Thankfully I've been blessed with a number of great bellydance teachers who can manage to teach a bass-ackwards person such as myself.

Upcoming Double Trouble Workshop

2008-08-18T18:47:00.007-04:00

For anyone in the Quakertown or Upper Bucks County area, Suffiya of Dancers' Oasis is hosting a 4 hour workshop called Double Trouble this Sunday the 24th. Below is some basic information:

Date: August 24th 2008
Time: 10:00am - 4:00pm
Location: Slim & Tone/Simply Fit 641 S. West End Blvd. (Route 309) Quakertown PA 18951
Price: $50.00 pre-registration before August 20th
Description: 4 hrs of class + Free Yoga class + Free Light refreshments. Double Veils 10-12pm | Double Fans 1-3pm, start and end the day with Yoga. Limited to 15 participants. Fans & Veils available for purchase along with other boutique items.
Contact: Suffiyah at dancersoasis@hotmail.com

I was advised by Suffiya that the Double Veil workshop would focus on dancing with two semi-circular veils, but that the same techniques could be used with a single veil and that a rectangular veil could substitute for a semi-circular one if need be. The Double Fan workshop will be utilizing fan/veils but normal fans would suffice.

I'm not sure how many spaces remain, but apparently she ran an ad for it in this week's newspaper so I imagine there must still be some space available. I'm attending of course :) Luckily this workshop is actually on one of my days off.

Sword Dancer - ACEO

2008-08-04T19:39:00.008-04:00

This ACEO is inspired by some Tribal bellydance sword performances I have seen recently, namely a double sword piece that Belladonna performed at the BellyJam last month. I've seen dancers use swords before, of course, but none of the previous ones I've seen were that dynamic; the other performances I've encountered typically followed a formula of "pick up sword, balance on head for a few minutes while doing some slow moves, remove sword and continue." I was so impressed that I bought Belladonna's DVD Sword Stylizations to try to incorporate a sword into my own practice. It would help to actually have a sword though - and I'm working on that part! I purchased a lovely copper-colored saber from Audrena's International Bazaar and have been patiently (okay, maybe not so patiently) awaiting its arrival for a few weeks. If the blasted doorbell for my apartment was actually functional, I believe I would have received it today but alas I have to wait until tomorrow when DHL redelivers it, but I digress...

In this image, a dancer decked out in her finery of cowries and coins displays her saber. This piece's subtitle is "brought to you by the number seven." My boyfriend noted while this piece was in progress that the negative space around the dancer is in the shape of a seven.

I really love the color scheme of this piece. I've been obsessed with orange as of late, and this piece provided me with an excuse to indulge in that color family. A delicate line of nearly florescent orange traces its way around the figure and sword. Elsewhere in the image there are rich vermilion, burgundy, and gold tones.

Media: pen and ink; markers (highlighter and Sharpie); watercolor; acrylic
Size: 2.5 x 3.5 inches

An Introduction

2008-08-02T00:14:00.006-04:00

My bellydance-related entries, reviews, etc. have up until this point been strewn in various places across the web: on my Tribe account, in my personal Livejournal, etc. I have decided that they should have a place all their own, hence the creation of this blog. Although it is a very new creation (I set this blog into motion only yesterday), I have been adding entries which were formerly in alternate locations and I've been back-dating them to reflect the time of their original posting.

As I mention in my profile, I've only been involved in bellydance for approximately two years, and I do still consider myself a beginner or "baby dancer." In that relatively short time though bellydance has become a cherished part of my life and I hope this blog will exude that sincerity of interest and my passion to learn more about this art form.

The blog description reveals a general idea as to how I plan for this blog to evolve, and its current contents provide a taste of the varieties of entries I intend to include: personal experiences; music, book, and DVD reviews; artwork celebrating bellydance; opinion pieces, and information on the local bellydance scene in my geographical area.

Welcome to Cervid Dance!

Unmata Workshops & Belly Jam

2008-07-17T13:32:00.004-04:00

Amy Sigil of Unmata kicked my ass this past weekend. I knew this was going to be the case, and I knew that as a "baby dancer" (I hope at this point I'm more like a toddler dancer and less like an infant one!) I was probably in way over my head taking two Unmata workshops, but the opportunity doesn't present itself every day so I figured I would take the workshops despite my shortcomings. If I could learn something from the workshops, then it would be worth it to me. Seeing Unmata perform live at the Hipnosis Belly Jam the day prior really heightened my own apprehensions though. They have some amazing endurance to keep up such fast-paced, intense dancing for so many songs on end.

I got to the first workshop on Sunday about 10 minutes late due to traffic. I felt really bad about it, not only because I was missing the class, but because I did not want to seem disrespectful to the instructor or other dancers. I tried to slip in as quietly as possbile so not to disturb anyone. Unfortunately, the music was so loud that I could barely hear Amy over it; most of the time it was just watching and imitating her movements as best as I could. When the music was not playing, I could hear her just fine, so it wasn't an issue with her volume or my position in the room. I was exhausted after the first session, practically decimated after the second, and it was not helpful that the studio where the workshops were taking place had large windows which overlooked a tranquil indoor pool below. Even with the profuse sweating and post-workshop aches though, it was very enjoyable and it provided a unique perspective on fusion bellydance. I don't plan on trying to utilize the exact combinations we were taught (not that I can remember them in their entirety) but I will definitely be trying to apply some of the principles from Unmata's combination construction to my own experiments.

The evening before was a BellyJam hosted by Hipnosis at the same location as the workshops, the B&R Fitness Club in Feasterville. I was not expecting it to be such a large, highly-organized gathering - it was like a mini-Rakkasah! I was really impressed and enjoyed all of the performances. Hipnosis and their student troupes Daughters of the Hip and Tribal Spirit performed, of course, but there were also solos by out-of-state dancers like Tempest and Belladonna and other great troupes like Fringe Benefit (bad website, great dancers) of New Jersey who danced to "These Boots Are Made for Walking". The final act was Unmata, and as I mentioned previously, it was an extremely high-energy, charismatic performance. I am really looking foreword to the next one!

Arabic Journeys: CD Review

2008-06-23T22:49:00.002-04:00

a collection of downtempo electronica laced with Middle Eastern samples | 2 out of 5 stars

The cover states that this two CD set is a "journey into the world of global beats" which indicated to me that it would be a collection of down-tempo, contemporary electronica with some hint of Middle Eastern inspiration throughout, and that is exactly what this set is. It is not intended to instruct on genuine Middle Eastern rhythms, and in fact some of its content is very weak in Middle Eastern influence (a lot of pieces, especially on the second CD, actually seemed to have an Indian rather than Middle Eastern inspiration), but that was my impression when I bought it, so I cannot claim I was misled into purchasing it. However, if one is not familiar with what terms like "global beats" often implies I can completely understand how someone would be disappointed with this album because they were expecting Arabic drum solos or more traditional Middle Eastern pieces. I believe it would be extremely helpful for the publisher to place some sort of descriptive blurb on the packaging clarifying the contents of this set.

With that being said, if you do understand the type of music actually included in this compilation and enjoy ambient, chill-out style music with an international or ethnic flair, you will probably enjoy this collection. Each of the two CDs contain twenty songs apiece, so you do get a lot for the purchase price.

However, I do have to mention that there is some sort of error on the first CD in the set. Songs number 11 and 19 are exactly the same (Amazon reflects this in their sound samples so my copy must not be a fluke), even though they are labeled on the packaging as different songs by different artists, so in reality the first CD has only nineteen songs. I thought song 11/19 sounded extremely familiar, and in fact it appears on Putumayo's CD World Lounge as the tenth track: "Trance Dance (DJ Krush Mix)" by Hamid Baroudi. Arabic Journeys is evidently doubly in error because it not only has the same song twice but it is labeled incorrectly on both accounts!

Virtually all of the songs in this set are rather dreamy electronic pieces which utilize Middle Eastern samples. Some of the weaker songs are just layerings of canned electronic beats and rather cheesy synthesizer effects. The most common type of samples used are either of percussion instruments, typically the doumbek, or of Oriental style string arrangements. I recognized some of the samples from other CDs in my collection, and on the second CD, I heard the same oud piece sampled in two different songs. Most of the songs are probably not dynamic enough to use for bellydance performance pieces, even by fusion style dancers, but I think this set might be useful as a backdrop for warm-up exercises, slow movement drills, and stretching in a bellydance class format.

If you enjoy this particular CD, you may also like Chill in Arabia because it contains very downtempo electronic music with the occasional Middle Eastern samples thrown in. Chill in Arabia also features female vocals and definitely leans in the direction of trip hop. If, on the other hand, you're looking for robust, upbeat electronic music with a more significant Middle Eastern influence, I would highly recommend Arabesque, Arabian Travels: A Six Degrees Collection, and Electric Oasis: Exotic Arabian Grooves.You can also view my Listmania list Traditional-Modern Fusion Music for Bellydance for other suggestions.

Modern Orientalism - ACEO

2008-06-03T12:59:00.005-04:00

This is an ACEO, an acronym which stands for Art Cards, Editions and Originals and denote small pieces of artwork 2.5 inches x 3.5 inches in size, I began late Sunday night and completed Monday. It's a homage to contemporary Tribal Fusion belly dancers and to the Orientalist trends in art over the past few centuries, particularly in Art Nouveau style pieces and in the art of people like Erté.

I really enjoy the theme and hope to explore it a bit further in future ACEOs. I don't think this is my best work, but I wanted to show that I am in fact still alive and making artwork! While this particular piece has been purchased, I do have other bellydance-related ACEOs in progress.

Humility, New Beginnings, and Dance

2008-05-26T20:15:00.002-04:00

I feel that cultivating a sense of humility is important. By humility, I am referring to its definition in being unpretending, unpretentious, not arrogant rather than to self-abasement, humiliation, and being deemed low in importance or status. The sense in which I am utilizing the word is perhaps closer to its etymological origins in the Latin humilis which literally means "on the ground." Humilis was in turn evidently derived from humus or "earth." There was a time when I felt this so strongly that I was blind to my own virtues and found that nothing I was capable of doing was of any worth (i.e. the negative aspects of humility as listed above). Needless to say, it was a period in my life where I was wading through a deep depression. Thankfully, those times have past and I can acknowledge some of my strengths and feel fulfilled in my work, however, I still believe that it is dangerous to become complacent. To be smug and overly self-assured is to invoke a type of blindness, a sort of sensual suicide, which I feel is antithetical to the soul of Art. If you don't realize that you are capable of improvement and are closed to the ever-unfolding world, you are likely not to improve and just stagnate in your current position.

Humility, in my own view, is highly associated with sensitivity. Being humble indicates an openness and a willingness to accept new information and reevaluate what you think you know. In a previous incarnation of this blog, I included the statement "sensitivity is a double-edged blade" in a prominent position because I believe that phrase encapsulates something significant about myself and my own understanding. It's not a coincidence that the parts of our bodies through which we receive the most sensation are also the most delicate: our eyes, ears, tongues, the soft tissues of our fingertips and erogenous zones. What allows us to experience a world of sound is a fragile membrane. It will vibrate with the low purr of a bow being drawn across a cello's string, but it is easily ruptured.

Man is not to be an intellectual porcupine, meeting his environment with a surface of spikes. Man meets the world outside with soft skin, with a delicate eyeball and eardrum, and finds communion with it through warm, melting, vaguely defined, and caressing touch whereby the world is not set at a distance like an enemy to be shot, but embraced to become one flesh, like a beloved wife. After all, the whole possibility of clear knowledge depends upon sensitive organs which, as it were, bring the outside world into our bodies, and give us knowledge in the form of our own bodily states.¹

To be sensitive to beauty and pleasure is to be sensitive to ugliness and pain. "Is not the lute that soothes your spirit, the very wood that was hollowed with knifes?²" Humility and sensitivity thus inherently involve vulnerability, to understand and be aware that there is a risk involved in honestly encountering the world, including oneself and one's own skills.

In my estimation, one of the best ways to keep humility intact is to try something new, to accept the profound task of being a beginner again. Dance is such an endeavor for me. Although I've now been studying bellydance in various forms for about two years and apparently have at least some of the basics down, the nature of my personal journey in learning to dance is a constant revelation. My only previous experience in dance was about a month's worth of ballet classes in kindergarten or thereabouts, and though I attended but handful of social "dances" in middle school, I was far too self-conscious to do more than tap my feet along with the music. Bellydance has given me a sumptuous vocabulary of movement for expression, and in that way has increased my self-confidence, but at the same time it offers a humbling perspective on my whole Art practice. I have always found that you cannot truly comprehend the distance exceptional artists have traveled without setting foot on the path yourself, and I think this is why non-artists sometimes easily dismiss good (and often deceptively simple) work by claiming "even I could do that!"

I attended a Girls' Night Out Halfa with my current bellydance teacher back on May 2nd which took place at the Casablanca Moroccan restaurant in Warrington, PA. There were two bellydancers, one female and one male, providing the entertainment that night, Matika and Omar {photos of these dancers and the event can be found on my Flickr page}. At one point after standing up to tuck a tip in Matika's bejeweled belt, I actually danced for perhaps a minute or so in front of an entire room full of people, including my mom who I had brought along with me. For that brief flash of time, it was just the music and the dance and I was so totally enveloped that self-consciousness was not an issue. Of course, when I realized that I was not self-conscious I immediately became self-conscious and went to sit back down. I now have a better appreciation of what it must take to allow yourself to be one with the music and movement, engage the audience, and continue in spite of a welling of self-doubt. I am reminded of how far I have come as an artist and human being, and acutely aware of how far there is yet to go.

Footnotes and Bibliography

1) Watts, Alan. Nature, Man, and Woman. New York: Vintage Books, 1958. 81.
2) Gibran, Kahlil. The Prophet. Sydney, Australia: Phone Media. 29. ISBN 0-646-26642-X.

Tribal Bellydance in Art

2008-05-25T16:26:00.004-04:00

I discovered the following lovely drawing on the blog of Portuguese illustrator Joao Lemos. It features a sequential art/comic book format line drawing of some tribal bellydancers (judging by the costuming and coordinated movements at least, but you never know) balancing swords in the lower panel and a dancer in the upper panel who, I think, is working with a veil. On close inspection, one of the dancers in the lower panel is also playing zils! Yay for beautiful representations of bellydance in the graphic arts!

You can see more of Joao's work by visiting his blog.

Diving into ATS Waters

2008-05-08T19:51:00.003-04:00

Today began my official foray into the world of American Tribal Style (ATS) Belly Dance. My first introduction to belly dance was actually through a book/DVD set authored by Carolena Nericcio, the founder of Fat Chance Belly Dance, so I suppose maybe that predisposed me to seek it out. I'm still continuing with my Cabaret style classes with Shoaleh which I really enjoy, but today I started some private lessons with the lovely Vikki of Hipnosis to hopefully get me up to speed with their Level II group classes beginning in June. There wasn't a Level I group class which was going to fit into my current schedule, so the theory is to catch up with a higher level group class which will fit my schedule.

Today we basically went over virtually all of the faster moves in the Level I repertoire. It was quite a workout, to say the least. Essentially everything we covered involved basic movements with which I was already familiar, but he format, timing, associated arm positions, etc. were new to me. Tribal places so much emphasis on the arms being in very controlled, yet graceful, positions which usually means that they are held in arcs at ribcage level or above. If you're not used to holding your arms in that position, and I'm certainly not, it doesn't take too long for them to want to fall off at the shoulder joint and crash to the ground. It's comparable to continuously holding up a veil (they seem so light and diaphanous - don't be fooled, that's what they want you to think!). The different movements are also generally set to a particular count, generally 8 beats, which is a bit of an adjustment for me, especially concerning the rotations and turns. I've already started to draft my personal cheat sheet (I discovered one person's cheat sheet online a little while ago and it seemed like a great idea. I want to have my own version based on my understandings of the moves) with descriptions of the movements and arm positions, etc. and I hope to flesh it out a bit more as lessons go on.

Wish me luck!

Catching Up

2008-04-21T14:34:00.004-04:00

There have been lots of upheavals and a handful of pleasant things to occur in my personal life over the past year or so, notably a tattoo apprenticeship that sadly had to be left by the wayside (not of my own choosing), moving into my first apartment, taking lessons on the Celtic harp, seeing my artwork appear on a book cover, and a very hectic few months at my full-time day job. I've already modified my profile to reflect some of these changes. My physical appearance has also been altered in that time. I now have a large tattoo of a traditional Japanese woodblock print depicting a geisha reading a scroll on my left lower leg, a cherry blossom on my right ankle which I tattooed on myself, and I have had my septum, navel, and upper cartilage pierced (I have had my left nostril pierced since 2002).

In that time I was unable to continue with my belly dance classes as my schedule was already brimming with other obligations, and my body and soul missed them sorely. I continued to study on my own, of course, but as one of the few things in my life that fills me with such delight, it deserves a more significant part of my life. Thankfully, I now have the time to devote to taking classes again and I jumped back in as soon as I was able. I had been taking classes with Simone at Cloud Hands in Ottsville for at least six months straight in 2006. A few months prior to that I was learning on my own with the aid of DVDs, books, and the internet. I used to live within a ten minute drive of Cloud Hands, but two months ago I moved from the Quakertown area to Sellersville, so I was looking for something a bit closer. Fitness Plus in Perkasie seemed to be the answer. Their website indicates that Simone would be teaching classes there, but when I called to register, apparently this is no longer the case (their website still hasn't been appropriately updated). So I signed up for classes with Shoaleh, and started two weeks ago.

It's interesting to compare the way two different teachers approach similar movements. Actually, I think it is beneficial to see their different modes of teaching snake arms among other things. The class I am taking currently is for beginners, so there is going to be a great deal of review for me, but it's always good to brush up on the basics again. I was a bit embarrassed during the first class when Shoaleh had me demonstrate some of the techniques in front of the class though, but since I'm pretty serious about belly dancing, I guess I'll have to get over dancing in front of others!

I really want to take some classes in American Tribal Style, but the closest place I can find, Hipnosis Studio, to learn is a good 45 minute drive away, and I would have to wait for their new sessions to start which I think will be early May. If they offer classes in their next session which would coincide with my days off, I think I'm going to take the plunge and sign up for them, despite obscene gas prices and my dislike of commuting. FatChanceBellyDance offers some DVDs, but I find that it's preferable to learn from a teacher directly if at all possible.

On to the Halfa!
Yesterday I had the pleasure of attending a halfa hosted by Suffiya of Dancers' Oasis at Casablanca Restaurant in Warrington, PA. I had a great time, and it's been so long since I've eaten there. The food, as usual, was delicious (my favorite courses are the first three: hummus, baba ganouj, the salads, and the B'stilla. I think those constitute whole meal!), and we were entertained by five different dancers instead of the usual single dancer. Suffiya herself performed both before and after the meal. She danced with various props including zils, Isis wings, and a saber. I've included a photo of Suffiya dancing with these awesome fan/veil thingies which I covet. They moved like liquid fire and were really expressive. Must get a pair for myself! I generally am not a huge fan (no pun intended!) of props, but those fan/veils were fantastic (again, no pun intended).

In between, four of the dancers of the Dancers' Oasis troupe did solos and a group performance (I didn't keep the program, so unfortunately I do not have their names offhand). I was only able to get photos of Suffiya since I was too occupied stuffing my face to grab a camera for the other performances! Three of the other four dancers danced to some interesting contemporary American music including selections from Fleetwood Mac, Justin Timberlake, and the Violent Femmes. The Fleetwood Mac piece was a veil number which was okay as far as veil dances go. The dancer really looked the Steve Nick's part though. The Justin Timberlake piece was actually really well done, and I enjoyed it enough for it to offset my internal cringe at the subject of Justin Timberlake ;-) The fourth dancer used a more traditional, Middle Eastern music selection, and despite encountering some technical difficulties at first with the sound system, she did a beautiful, slower piece. All in all, it was a fun time. I look foreword to returning to Casablanca for a girls' night out with Shoaleh! I have two more photos from this halfa at this location.

Lunar Zils

2006-05-18T10:34:00.007-04:00

I've been taking bellydance classes for the past few months (prior to that I had been teaching myself via books and DVDs), and I absolutely love it both as an artform and as exercise. The other day I discovered that my bellydance teacher Simone has a website for herself under construction called "Moon Goddess Bellydance" and I found the title really inspiring. I have numerous sketches for graphics, like this one, as well as logos relating to it. I may actually show them to my teacher one of these days, but in the meantime they've provided me with an interesting personal assignment to get my creative juices flowing. In this case, the circular form of a zil, or finger cymbal, cradles a lunar crescent.

The original is pen and ink which has been refined in Photoshop.