I'm acquainted with a number of lovely folks in my general area who are either actively teaching bellydance classes or who are starting up new sessions in June. Unfortunately I do not have the time and financial resources to support them all directly myself, but I want to boost knowledge of them in some way. Hopefully some free advertising will be appreciated. Bellydance is awesome and if you've been curious about learning, you are lucky to have a very vibrant local community to start your journey (or experiment with a new style).
These listings are limited to classes within about an hour's drive from upper Bucks County and to teachers I either know personally, or who I have seen perform and have positive reputations. I also had to limit this list to teachers whose web presence regarding classes was fairly up-to-date. There's lots of ITS and Tribal-style classes to consider but unfortunately I could not locate many active Oriental/Cabaret style classes this time around (Amala Gameela is now in Hawaii, and I could not find current information to confirm if Suffiyah or Bridgette are teaching).
The information listed was gleaned from the dancer's/studio's respective websites but I still recommend confirming the information and registration process with them directly if you are interested.
If you are from the area and happen to know of other new or on-going classes, please let me know!
Alexia/Kim Leary – American Cabaret, fusion, props: multi-level
• Drum & Dance Learning Center | 4054 Quakerbridge Road, Lawrenceville, NJ 08648 | 609-324-7383
• Various days
Brigid LaGuardia – Hipnosis format ITS: multi-level
Tasha – American Cabaret, Egyptian (?)
• Dance Phillipsburg | 474 South Main Street, Phillipsburg, NJ 08865 | 908-387-0116
• Various days
Brigid LaGuardia – Hipnosis format ITS: multi-level
• Shanti Yoga Center | 112 Delaware Road, Riegelsville, PA 18077 | riegelsvilleyoga@gmail.com
• Tuesdays 6:00pm, 7:00pm, 8:30pm (session begins June 2nd)
Gabrielle Joella – Tribal Fusion: beginner
• Pulse Dance Center | 1610 Bethlehem Pike (Flourtown Plaza), Flourtown, PA 19031 | 215-233-1465
• Saturdays 4:30pm
Mirjana – American Cabaret: beginner, mixed-level
• Warminster WREC (now under the Central Bucks YMCA umbrella) | 1100 Veterans Way, Warminster, PA 18974 | 267-317-1355
• Mondays 8:00pm
SharQui - Oriental-based bellydance workout: all levels
Piper Hill Dance | 7078 Easton Road, Pipersville, PA 18947 | 484-366-2320
• Thursdays 6:30pm
Vikki, Jenna, Denise – Hipnosis format ITS, Tribal fusion, props: multi-level
• Tribal Bellies Studio | 1810 County Line Rd (inside Body Dynamics), Hungtingdon Valley, PA 19006 | 215-504-9732
• Various days
Yael Nehama Lopez – Hipnosis format ITS: beginner
• Space 2033 | 2033 Frankford Ave, Philadelphia, PA 19125
• Wednesday 8:15pm (10 week beginner session starts June 3rd)
For more general PA resources, I also recommend checking out Philly Raqs, PA listing on Shira.net, and this iBellydance page.
Showing posts with label tribal bellydance. Show all posts
Showing posts with label tribal bellydance. Show all posts
Saturday, May 30, 2015
Saturday, September 19, 2009
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 :)
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 :)
Saturday, August 22, 2009
Experimenting with Tribal Makeup
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.
Sunday, August 16, 2009
Adventures in Belt-Making
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!
Saturday, August 1, 2009
Tribal Fusionista - ACEO
Monday, July 27, 2009
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!
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.
Monday, March 16, 2009
Gold & Paisley - ACEO
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
Thursday, August 21, 2008
Ruminations on Learning Tribal Style
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.
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.
Monday, August 4, 2008
Sword Dancer - ACEO
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
Tuesday, June 3, 2008
Modern Orientalism - ACEO
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.
Thursday, May 8, 2008
Diving into ATS Waters
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!
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!
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