Gold & Paisley - ACEO

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....

...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

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

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

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

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

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

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

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

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

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

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!