New Cabaret Classes

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

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

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

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

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

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

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

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

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

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

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

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 :)