July 21, 2018 § 1 Comment
When I first returned to dance class, I had no interest in performing. I wanted to dance, but was not ready yet for the pressure of performance. The thought of being expected to show up to rehearsals, perform at a certain level, practice in my free time whether I felt like it or not, do my hair and makeup and dedicate hours of time to putting on a show for other people made me shudder! I just wanted to dance for me.
When I practiced at home, I didn’t practice choreographies. I practiced technique. I improvised to songs I liked. I danced for fun. I danced for me. It was a very important step and right for me at the time.
After a few months, I was having more free time, felt more comfortable dancing again, and felt like I wanted more things to do. It was about this time that the Desert Darlings asked if I wanted to be a guest dancer in their next production, The Magic Lamp: A Theatrical Belly Dance Adventure. I would just be in a few group pieces. “Sure,” I said. “Sounds fun.”
Photo: Featured characters from The Magic Lamp: A Theatrical Belly Dance Adventure. Dancers (left to right) Ally Lowry, Sadie Adair, Lauren Martinez-Burr, and Lucia Calderon
It was fun! Sometimes I stressed about having to do extra rehearsals or practice if I didn’t feel like it, but I loved the pieces I was in and was proud of how much I was learning. As soon as I showed up to rehearsals, the stress faded away.
Then, we performed. We performed the show two back-to-back nights, and it was glorious! The stage! The lights! The props! The drama (acting drama, not people drama)! The costumes! The excitement! The backstage bonding! The fun! It was fantastic!
That was it. I was hooked. I needed more of this in my life! Thus began my return to performance.
December 30, 2014 § Leave a comment
2014 was a productive year!
At the beginning of December, I graduated with two associate’s degrees: one in nutrition and one in pre-health science: pre-exercise science. I have to complete a lot more schooling in order to reach my ultimate career goal of working in physical rehabilitation, but it is definitely nice to reach a milestone.
As for dancing, things have really taken off for my dance troupe! This year, Desert Darlings Belly Dance performed at many events and venues and secured two regular performance slots: every Saturday night at Anatolia in downtown Albuquerque and every Sunday night at Kaktus Brewery in Bernalillo. We put on two full-length dance shows and were invited to re-show our most recent production, Nightmare Before Christmas: A Belly Dance Adventure, in Santa Fe in early February. I also got a new toy: podpoi with capsule handles! These poi are the coolest, most versatile glow poi I own. They have a ton of lighting patterns and color options. Now, when I am developing a new poi performance piece, I am not only a choreographer, I am a lightning designer! It’s so much fun! It has been a great year for dancing!
In 2015, I will begin working toward two bachelor’s degrees and hope to perform twice as often as I did last year. I am going to choreograph my first group veil piece for Desert Darlings and plan to attend at least two workshops and maybe a dance festival. I would also like to practice more with both my poi and hula hoop. I think it will be a good year!
Happy New Year, everyone!
May 16, 2013 § 2 Comments
I have performed as a belly dancer for over a decade and have danced in a large variety of venues and settings. Some amazing, some good, some okay, some bad, and some really unpleasant. At a recent bad performance experience, there was no designated stage area, there was no DJ, and they had no performance time for us. They gave us a call time, but when we showed up, no one seemed to know what was going on. We were not in the line up. They asked if we wanted to dance to the DJ, even though we had specifically told them “no” over the phone during the performance invitation. We waited around for a while and didn’t have adequate warning before we finally did perform. They “let us” perform while the DJs took a break. It did not get better once we started dancing. They introduced us as “the belly dancers” instead of by our troupe’s name. People were wandering through the area where we were dancing. No one was taking care of our music or paying attention to what was going on. Our ipod got bumped in the middle of the set, and started playing a song over again. We couldn’t get anyone to fix it for us. One of the dancers had to leave the “stage” to fix it herself. Then, in the middle of our last song, the band that was on next started improvising on top of our music and then said “let’s hear it for the belly dancers!…” before the song completely finished. We were practically kicked off stage. It was very unprofessional. We handled it as gracefully as possible, but it was not a fun experience.
Because of all of this performance experience as well as others, I have thought a lot about performance standards. I think it’s important to consider what kind of settings you would like to perform in and what your expectations are. Sometimes it is okay to decline an event invitation or decide that a venue is not right for you. Sometimes, it may even be reasonable to leave an event without performing.
Here is my list of performance standards:
1) Make sure you have an official performance slot. If they are not organized enough to put together a set list, chances are good you will show up for a 10-20 minute set and wait around for 2 hours. This is not okay. It is reasonable for shows and events to run a little behind, but what they are saying by not giving you a time slot, is that your time isn’t valuable. If they don’t have an approximate performance time, the answer is no. I also know of some professional dancers who start charging more if they don’t go on within a reasonable amount of time after the agreed upon performance slot. I think this is fair. Their time is valuable. Your time is also valuable.
2) If they can’t give you an idea of what the music system is like, you should ask them to find out before you commit. You need to be able to prepare your music. Music is essential for dancing. If there are different options at this venue, and they aren’t sure which will work out for that night, that’s not too big of a deal, as long as you know what options to prepare for. You need to know if you are capable of using their music system and have an adequate amount of time to get your set list prepared. You don’t want to waste your time preparing a set, getting into costume, and going to the event, just to find out you won’t have music and can’t perform.
3) If they want someone who does something that you don’t do, just say you are not what they are looking for and suggest another performer, if you know of one, who is a better fit. If they want someone to dance to the DJ who’s playing techno or reggae and that’s not the kind of music you dance to, then the answer is no. If they want gogo dancers, that’s fine, but belly dancers aren’t gogo dancers. They need to find someone who can fulfill their specific performance needs. And if they are calling for a bachelor party performance, be weary that they might expect something more risqué than your typical belly dance. This may not be the performance for you.
4) Expect them to be professional and have respect. For example, there is someone in charge who knows what is going on and can direct you where to go. There is some sort of backstage area where you can prepare and safely store your things. You should get a proper announcement before your performance.
5) This is a big one and sometimes the hardest for dancers to take a stand on: Don’t dance for free if other performers get paid. Also, don’t dance for free if there is a cover charge. The only exception to this rule is if it is a benefit show and the money is going to a good cause. Don’t let someone personally profit from your hard work, unless you are also profiting. Even if you do a short set, you should still get paid. They aren’t just paying for your performance time; they are paying for your years of dance classes and performance experience, your costuming, your time spent building a set and getting into hair, makeup and costume. You are worth compensating. It is also okay to dance for free at community events, festivals and haflas. These are shows for sharing and exposure. My old dance troupe had a set number of free shows we did every year. Once those slots were full, we only did paid gigs. This worked out well. I recommend coming up with a similar policy.
6) Sometimes it is okay to leave a gig. I don’t think I have ever done this, but there has been a time or two I wish I had. This is a last resort, but if you aren’t being treated appropriately and there is no reasonable negotiation, or no one cares enough to negotiate with you in the first place, you should consider whether it is fair for you to stay, especially if you are volunteering your time. I’m not saying be a diva, I’m just saying make sure they treat you with respect.
Have you had any experiences that have made you reconsider your performance standards? What does your list look like? Is there something I should add to mine? I’d love to hear your thoughts!
February 27, 2013 § 3 Comments
My troupe produced our first full-length show a couple weeks ago. It was really our troupe director, Sadie Calderon and another local dancer, Lauren Martinez Burr who did most of the work with booking a location, inviting guest dancers and creating the lineup, finding tech people, making tickets and programs… The rest of us assisted with opinions, ticket sales, costume making, and choreographies. It was a lot of fun and quite successful! We sold out! It wasn’t a ginormous theater, but it is still exciting to sell out your first show!
It was a busy, busy month leading up to the show! It’s a lot of hard work, but it was totally worth it and I’d like to put on another one sometime. However, now that we’re done, I’m looking forward to a little more down time.
Here are the two dances I had the most to do with creating. The first is my solo, which is my own tribaret choreography, and the second is a tribal sword duet that I co-choreographed with the other dancer, Ally Lowry.
If you feel so inclined, you can watch the entire show (or just parts) here. Desert Darlings performed several numbers and the guest dancers were all wonderful! There is a lot of great talent here in Albuquerque!
January 19, 2013 § 4 Comments
- Art: the quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance.
- Entertainment: the act of entertaining; agreeable occupation for the mind; diversion; amusement.
A question I hear often among belly dancers, especially in the Tribal community, is whether we consider ourselves artists or entertainers. People who ask this question seem to have a strong opinion about which is better (I’ll give you a hint, it’s not entertainment). There seems to be a strong “I do it for me, not them” mentality. There’s not anything wrong with that. In fact, I think the most important person to dance for is yourself. But when you perform, you have to do it for you and for the audience.
Art is an expression of the artist. If we identify with this expression, we will be inspired by this art. When art is created, it is best if it evokes some sort of reaction from a viewer. The most memorable art is interesting to the eye, evokes an emotion, or inspires introspection. Art makes statements that are meant to be communicated. It touches something in us and is a form of entertainment. Entertainment satisfies an audience. It takes the audience to another state of mind. It helps them forget themselves for awhile. If they identify with or are touched by your artistic expression, they will be entertained.
I don’t usually worry too much about art vs. entertainment when I perform. I think the two go hand in hand. I find art entertaining, and entertainment can be done artistically. As a dancer, art may be enough to fulfill the dancer’s desire to create and express. As a performer, entertainment is a definite goal. No one wants to get on stage and deeply and meaningfully bore their audience. I don’t believe it is necessary to choose sides.
I am an artist and an entertainer. An entertainment artist. An artistic entertainer. I am a belly dancer.
December 31, 2012 § 3 Comments
I have heard many different theories and many different preferences on where to look when performing. When first learning to perform, I think it’s hard for most people to look at the audience. Dealing with stage fright can be a process. Most people have it at some point, and looking an audience member in the eye does not tend to help the nerves. My first teacher taught me to look over the heads of the audience members if this was the case. I know some dancers who have been dancing for years and still prefer this method.
Personally, I like to look at the audience. I feel more of a connection. However, I don’t tend to focus on one person for too long (unless their body language and facial expressions invite more interaction) because this can be too intense and make them feel uncomfortable. Some audience members like to feel more included, but I think a lot of people just want to be spectators. I like to look at the audience not only because it makes me feel more connected to them, but I also feed off of their energy and feel like my facial expressions are more genuine when I have people to respond to.
Sometimes I still look over the heads of the audience. I do this if looking at them is too intense, such as when I feel like they are being unresponsive. Also, it’s nice to alternate between looking over them and at them, especially if some audience members are sitting very close. Sometimes looking over the audience can be used for effect as well. This can be used to create an ethereal or dreamy quality, like you are seeing something in your mind. In the case of bright stage lights, I can’t see the audience members anyway, so this is more like looking over the heads of the audience. Even though I may or may not be since I can’t actually see them.
The big no-no for where to look when performing is down! Sometimes looking down for effect is appropriate. It can help to express something in the music, intensify a movement or help direct the audience’s focus. However, it should only be used for effect! It is not fun to watch a dancer who stares at the floor the whole time. Personally, as a spectator, it makes me feel uncomfortable. I feel like the performer is nervous and therefore I am nervous. Looking up and out is inviting and shouts confidence. Even when a performer is experiencing stage fright, looking up is the best camouflage. This will help the audience relax and enjoy the show.
What do you think? Where do you like to focus when you perform?
October 15, 2012 § 2 Comments
Hello lovely readers! I know I have been quiet lately, but I haven’t forgotten about you! I have been incredibly busy in life and in dance! The nice thing about being too busy to write as much is that I have been dancing and performing quite a bit! Don’t worry, I will be back soon with stories, thoughts and insights! In the meantime, here is a video from one of Desert Darlings’ most recent performances. We performed in Santa Fe at “Raq-Us Illumination,” a show featuring Unmata! If you feel so inclined, you can check out other performances from that night on youtube. It was a great show!
April 20, 2012 § 1 Comment
I don’t usually choreograph my solos. I “tried” many times over the years, but was unsuccessful. I tried choreographing by dancing through a song, but couldn’t remember what I’d done. Or I came up with a set of moves for one phrase, but couldn’t come up with anything for the rest. Or I listened to a song and imagined how I would dance, but these images didn’t translate easily to reality.
Honestly, I think I lacked patience and confidence in my choices. I wasn’t ready to choreograph. Creating something definite was too much pressure. If I improvised, I didn’t have to worry about forgetting my choreography. Sometimes I worried about not knowing what was next, but I had no choice but to commit and keep dancing. It seemed less stressful. I love the freedom of improvisation. It’s so honest and genuine. However, both improvisation and choreography are important skills and lend themselves well to different circumstances.
A couple months ago, I signed up for a 3-5 minute solo at Amaya’s Oriental Potpourri. I wanted to challenge myself with an Oriental belly dance choreography. I picked a piece of music that seemed like it would be challenging to improvise to. After working on it obsessively, I am pleased with how it turned out.
Here is the process I went through:
1) I listened to the song over and over and over again. I wrote notes about the sections. How are they different? What is their feel? Should that section be fast? Staccato? Melodic? Traveling? In place?
2) I broke down the song by section and count. I wrote things like “Intro-32 counts” and “Call and Answer-16 counts.” Then I wrote general notes about what I saw for each section, such as “traveling,” “undulations,” “layering,” “shimmies.”
3) I listened to one section at a time, and then one phrase at a time. I visualized dancing. I kept listening until I had an idea I really liked, then I wrote it down. If I couldn’t get an idea for something, I skipped it and came back to it later with the question, “what does the dance still need?” As the dance developed, I made sure there was enough variation in floor patterns, traveling, staying still, leveling, etc. I didn’t want my dance to look stagnant and I wanted it to reflect the changes in the music. I also made sure there was some repetition so the dance was cohesive.
4) Once I had a combo written down, I tried it. I sang each part to myself as I slowly went through the moves. Some things worked and some didn’t. Some phrases needed a little refinement while some had to be entirely reworked. It was a process. Once I had something solid, I tried it with the music.
5) When I finished choreographing, it was time for memorization. I kept my notes nearby and practiced transitioning from one section to the next. This took awhile. It was the same process as learning someone else’s choreography.
6) Once it was memorized, I focused on musical expression. I listened to the music very closely and adjusted moves to reflect the sound. I tried to really dance it.
7) Practice, practice, practice.
This is the process that worked for me. I put together my 3-and-a -half minute solo in about a week and a half. I worked on it everywhere I could; every free second I got. At home, at school, at work, at the laundry mat…Once I started, it was hard to stop. It was a labor of love.
Here is the finished product:
What is your choreography process? Do you have any tips to share?
December 6, 2011 § 2 Comments
This is a project I worked on with my roommate, a film student, a couple months ago. He was assigned to create short films in the styles of some of the first filmmakers. This project, he did in honor of Turkish Dance by Thomas Edison, shot in 1898. I tried to keep my free-style dancing on the folkloric side and create a similar feel as the dancer in the original video.
Here is my roommate’s completed project:
Here is the original short:
If you’ve never checked it out before, there is a lot of vintage, belly dance footage on youtube. It’s pretty interesting.
April 4, 2011 § 1 Comment
I have been thinking about how my transition into soloing has been gradual, but quite graceful.
I used to get bad stage fright when I first began dancing. I had a hard time smiling, my chin and bottom lip used to shake, I would even feel a little dizzy. Over time, I have come to love performing and enjoy being on stage. After I adjusted to being on stage in a group setting, I would still get nervous about performing solos. I didn’t do it very often. I had some American Tribal Style solos here and there, which are not like traditional solos as there is usually a chorus of dancers on stage with the soloist put in a position of focus. Even with a chorus behind me, it was a little nerve-racking.
I have very much enjoyed being a troupe dancer. I like the bonding that goes on between dancers on stage together. I like being able to feel supported by my troupe mates and supporting them in return. I like the dynamics that can happen in group dances. I like that there is a safety in numbers kind of feeling.
For a long time, I was not very interested in doing true solos. When I started performing them it was only when it was necessary to fill a time slot in a show. Back then, I did other people’s choreography, never my own, and certainly never improvisation. I wanted to feel confident that my solo was going to be “good.”
It was a bit of an adjustment to go from group dances to performing solos. My two biggest challenges were learning to use the stage differently and getting used to having Every. Eye. On. Me. Sure, I know people are watching me in group dances, but they are also looking at the other dancers. It is much more intense when they all focus on me at once. I have found myself on stage thinking, “oh my god, why are they looking at me like that????….oh yeah, because I’m doing a solo…” Haha. I think I have finally gotten used to it. It only took doing a few solos over a few months.
As far as using the stage goes, with group dances, it’s easy to use the space. The stage is filled just because there are multiple people on it. Groups can create dynamics with static formations, moving formations such as lines of dancers moving through each other, shapes such as circles, entire group level changes, scaled level changes, some dancers facing different directions…there are many possibilities. With a solo, there are similar options, but they are executed differently. A soloist cannot create a formation, but can be static or in motion. They can only create shapes across the floor by drawing them with their dance path. When a soloist changes levels, it can only be interesting because of the contrast between the level they are on and the level they were on. They can make directional changes, but can only face one direction at a time. They are solely responsible for taking center stage, covering the whole stage, creating interesting lines, and creating variety in their movement, all while still dancing to the music. It’s a bit a more pressure.
Another thing that is different between solos and group dances is the energy dynamic. With group dances, you can play off the energy of your fellow dancers and project to them as well as the audience. There is a collective energy on stage that infects you while you are contributing to it. In a solo, it’s all you, baby! You must commit, you must project. I feel like I am exploding with energy when I am doing a solo. I am also more aware of the music. I am the only one expressing the music, so it is my dance partner when I am on stage alone. I internalize the music and externalize the movement and energy.
When I first started performing solos, it was to fill show needs. Then, I started doing them because I felt like I had reached a point in my dance journey where it was necessary for my continued growth as a dancer. Now, finally, I perform them because I like to.
I did an improvisational veil solo at a performance over the weekend. I also performed a couple solos at a birthday party gig last weekend. I discovered I am not scared of all the eyes on me anymore. I am no longer terrified by the pressure of keeping the audience’s attention all by myself. I finally feel like I am using the stage properly and creating some variation in my movement that reflects the music and creates dynamic.
There is actually a wonderful sense of freedom in performing solos because I can just go with what the music is telling me to do. I don’t have to worry about whether or not I am doing the “correct” thing. I am not necessarily limited by the confines of a strict choreography. I can just dance.