Tribal Superstars: Performance DVD Review

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:

1. 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.
2. Zoe Jakes & Issam Houshan drum solo, Bellydance Superstars: 3D Volume 2
3. Sharon Kihara, "Bear Hides and Buffalo/Proper Hoodidge" from Tribal Fusions
4. Kami Liddle & Sabrina, "Inars" from Tribal Fusions
5. Fat Chance Bellydance, "Tin Tin" from Tribal LA: Live in Los Angeles
6. Elizabeth Strong, "Romski Cocek" from Tribal LA: Live in Los Angeles
7. Mardi Love, "Whiskey Sunrise" from Tribal Fusions
8. Tribal Superstars, "The Dude" from The Art of Bellydance: Live from Shanghai
9. Samantha, "Wayward Farewell" from The Art of Bellydance: Live from Shanghai
10. 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.
11. Zoe Jakes & Elizabeth Strong, "Dope Crunk" from Tribal LA: Live in Los Angeles
12. 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.
13. 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.
14. 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!

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

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

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.

Ren Faire Saturday Performance

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 :)

Preparing for the Faire

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.