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!
March 14, 2012 § 3 Comments
I have re-immersed myself in dancing. It was really easy. I love how it seems no matter where I go, there is a flourishing and welcoming belly dance community. I went to a Farfesha student show and started taking classes at their studio shortly after. I signed up for an eight-week course with some American Tribal Style dancers who got their start at the same Santa Fe studio I did. I introduced myself after the first class and we talked a bit. After the second class, they invited me to join their troupe, The Desert Darlings! So how about that; I thought I would be stepping back from the tribal community, something I have thought before, yet it always seems to find a place for me. I guess it’s meant to be. And the Desert Darlings are, well, darling! I am still pursuing Oriental belly dance in my self-practice and will soon be seeking a weekly class.
Last month, I attended Oriental Potpourri, an annual event put on by Amaya. It was wonderful! The guest teacher was Karim Nagi of Turbo Tabla who is amazing! I took a Drum Solo and a Raks Assaya (cane) workshop. It was educational and inspiring! If you ever have the chance to take workshops with Karim, do it! If I had the means, I might travel all over the world taking his workshops. I would learn so much! He has published some DVDs and sells them at a discount to his workshop students. I haven’t gotten to watch mine yet, but I will post about them when I do.
Karim’s workshops got me thinking about some things. First of all, I now realize how important it is to call the traditional dances by their proper names to credit the Egyptians. Going forward, when doing these styles I will do my best to honor them with their true names. I will still call tribal style “belly dance” because it is so Americanized, and I will use “belly dance” as a catchall phrase since I don’t strictly do classical styles.
Second, I now know that I love Raks Assaya! I had never danced with a cane before, and it was so much fun! I already knew that the women’s style of dance came from playfully teasing the men who do Tahtib (an ancient martial art form using a large stick, an assaya), but hearing Karim’s description made it so much more fun! I want to buy a cane, but I have to do some research first because I don’t yet know what I’m looking for in this prop. If anyone has any pointers, they would be much appreciated!
I also learned some very valuable tips for drum solos, like separating the location of accents in the body to reflect different sounds on the drum, and I performed in a show for friends and family of Oriental Potpourri participants. I did my first ever, completely choreographed, non-Tribal solo. It was really fun and a great experience. I will post a video soon.
August 24, 2011 § Leave a comment
This year at TribalCon, I took workshops from Zoe Jakes, Al Confrin, John Compton, and Myra Krien. There was an interesting sounding lecture given by August Hoerr, but I really needed a break for lunch, so I did not attend. This year, there was a Friday night, live music only performance before the hafla. My troupe performed in that one. Saturday night was an all-recorded music show which I had the pleasure of relaxing in the audience during and just getting to enjoy.
The Friday night show was a lot of fun. the small stage was crowded with very talented musicians. The energy of a show that uses live music is infectious. It is very entertaining to watch the dancers and musicians play off each other. Live music is so much more dynamic than canned music. The show went very smoothly. My troupe closed the show, following John Compton, which was quite a lot of pressure, let me tell you! John Compton is amazingly mesmerizing on stage. His playfulness and stage presence is captivating. It was a lot of fun to get to hang out with him and bond backstage. He informed me that if you fart before a performance it’s good luck! That’s right, real life tips from a pro!
This was one of the enjoyable performances from the show. I like it because, not only do I think Jaylee is a lovely dancer, I think this one also showcases the musical talent nicely as well.
My troupe did an American Tribal Style piece under my direction. We honored both classical ATS and modern ATS styles. I think it went really well and we got enthusiastic feedback from the crowd afterward. One woman told me that she was excited because she had never seen American Tribal Style performed before, but loved it. She said she thought it was beautiful and is now interested in learning it. I think that is one of the best compliments I’ve ever received after a show!
The hafla was fun. There were a lot more hoopers this year. The only downside of having a show on Friday before the hafla was the hafla started later, so you got in less free dancing if you like to go to bed on the earlier side. I don’t however think this bothered much of the TribalCon crowd, as they will party into the wee hours.
In the morning, my first class was with Zoe Jakes. It was a good class, a bit intense. She had us do a lot of strengthening yoga exercises. My abs were tired before the bulk of the class began. The funniest thing that happened in that class was that she had us doing stretches where we lengthened our arms up and back slightly, elongating the torso and then folding from the hips stretching into a flat back, and then back into the original standing pose. When we were first alternating between the two positions, we would hold for 4 counts each. Then she had us double it to two counts and it was almost like standing sit ups with out stretched arms. After a couple repetitions, I realized, it seemed oddly similar to bowing. I began looking around. It was an auditorium filled with women surrounding Zoe Jakes on 3 sides, bowing in unison. I’m sure that probably wasn’t actually her goal, but it was quite hilarious.
For my next class, I got out my clarinet and switched to the music side with a class on Middle Eastern musical improvisation with Al Confrin. It was an incredibly challenging, informative and fun class. It was an intimate class, with only about a dozen people in the room. We had the stringed instruments drone while we took turns individually improvising little melodies using the notes on specific middle eastern scales and attempting to incorporate rules and tips Al had given us. By the end of the class, we were trying to match each others’ melodies and have musical conversations. It was fun and a bit nerve racking since we played by ourselves. I think I got an excellent compliment from Al. After I played one of my improvised melodies he commented, “I just love the sound of the clarinet.” !!!! I was flattered! Middle eastern musical improvisation is a huge subject as far as I can tell with many rules and subtleties to remember. I’m sure a person could work on new things in this area their entire career and still have more to learn. Being a classically trained musician, I have had very little experience with musical improvisation. I tried improvisation a little when I had a brief intro to jazz years ago, but that was it. Classical musicians don’t really improvise. Orchestral music is read from sheet music, and that’s most of what I’ve done. I feel like Al’s class was a great starting point and I have really been able to use some of the instructions he gave to have more structured and more musically appealing improvisations.
I switched back to the dance side to take a workshop on traditional Tribal steps and combos with John Compton. He is a delight to learn from! He is incredibly fun and funny and informative to. He taught us many combos that were challenging and some of them very different than what I have learned in the past. By the end of the class we had a mini choreography of John Compton combos.
The last class of the day was with my first teacher, Myra Krien. She taught flamenco fusion moves in the ATS format. I felt a little like I was cheating in the class because I had previously known all but two of the moves. I had them down perfectly while everyone else was struggling to remember them. It was a great refresher and I enjoyed learning the two new flamenco adaptions that I had not seen before.
The Saturday night show was great; very inspiring. It was nice to get to sit down and watch a whole belly dance show without having to worry about performing. The Friday night show kept the Saturday night show from not being overly long, so it easily held the audience’s attention. The only downside is that I was starving after a day full of activity and you could smell the buffet waiting for us in the next room for after the show! That was a bit distracting, but not too bad and the buffet was worth the wait. It was quite delicious.
All in all I would say I had another great TribalCon experience!
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.
January 29, 2011 § Leave a comment
I feel like the past year has been a productive one for me on the dance front. I attended some great workshops and events. I moved forward in technique and experience. I had a few breakthroughs that were quite amazing to me.
I had some major breakthroughs in the area of flexibility and usability of my muscles. Throughout the year, I identified several problem areas in my body where the muscles were locked up and permanently engaged. I was able to concentrate on and learn how to stretch and release my trapezius muscle (at the top of the shoulder), my hip flexors (at the top, front of the thighs), and my psoas muscles (in the hips). These muscle groups were causing me some pain and minimizing movement. After releasing them, I have less back pain, less neck pain and less hip pain. My undulations have become bigger, my shoulder shimmies have become less tense, and my hip movements have gained depth and range of motion.
I also decided that this would be the year I would really solidify my continuous shimmies. Due in part to an old knee injury, continuous hip shimmies (that move alternately and repetitively between right and left hips) have been very challenging for me. My left leg has been weaker and less consistent. This year, I was putting that behind me. For several months at the beginning of the year, I woke up early every morning to do shimmy drills. It felt great. And practicing every day made a world of difference. I focused on my weaker side and built up the stamina. After just a few weeks, I had a consistent, even shimmy. After a few more weeks, I could vary size and intensity. I eventually got to a point where the muscle memory was so ingrained in me, I would start my shimmying and I felt like my legs had a mind of their own. The shimmy was automatic, almost like there was no stopping it. I sometimes felt like the shimmy was in control and I was along for the ride. It was amazing and I’m pretty sure it’s what everyone is talking about when they say “if you have to think about your shimmy, you haven’t done it enough.”
The most recent thing I discovered that made a huge difference for my body is a yoga technique called inner thigh spiraling. One of my belly dance teachers brought it to her dance class after it was really helping her with her posture. Essentially it’s where you stand in good posture and good alignment (keep those knees facing forward!), and engage your inner thighs and gently rotate them backward. We did an exercise where you hold the yoga block with your thigh spiral and layered some belly dance drills on top of it (shoulder shimmies, chest circles, hip lifts, etc.) I could feel my lower back and hips opening up. I have been including this technique in my regular dance practice and it has greatly improved my alignment, posture, strength and is even keeping pressure off my injured knee.
I broke into performing solos. I have always been more of a troupe dancer than a soloist. I’m to a point where I actually want to do solos and feel like I need to in order to take my dancing to the next level. This year, I did solos without props and with veil and sword, some to live music, some to recorded music. It was great, actually. I get more nervous before solos and the adrenaline rush is a bit more intense, but it is very rewarding and freeing. Me and improv have started to get buddy, buddy as well and it has set my dancing free in so many ways. I have learned to really trust my instincts and go with what the music tells me to do. I mean, what’s so complicated about it really? It’s just dancing.
I began playing clarinet again. I was classically trained for 8 years, but had given it up for several years to focus more on dancing. I am a little rusty, but the music reading, the embouchure, the technique all came back to me pretty quickly. I have actually joined the Lumani band, so I will be playing a lot more.
I attended TribalCon and Spirit of the Tribes which were both a ton of fun. I took workshops with Mira Betz, Artemis Mourat, Myra Krien, Devyani, Asharah, Ariellah, Jahara Phoenix, Dalia Carella, Unmata, Kaya, Shadhavar, GypsyVille and even took a few hooping workshops.
As a teacher, I feel like my ATS students progressed so much this year. I have a group of consistent students who have gotten the basics down quite well and are starting to move on to more challenging and more fun ATS moves and concepts. I love that the class is picking up momentum!
Last year was a very good year, indeed!
Looking forward, joining the Lumani band is very exciting! I’m enjoying exploring clarinet with Middle Eastern music and love being part of a musical ensemble again! I have begun taking a Middle Eastern drumming classes, mostly to learn more about Middle Eastern rhythms to enhance my dancing, but wouldn’t mind becoming a proficient drummer. I am also taking a zill class and hope to become decent at more complex zilling. I want to continue exploring solos and perhaps create some choreographies. I’m going to TribalCon again and am trying to decided on another major event I’d like to attend. I’ve never been to a convention for Oriental Style Belly Dance. That might be fun.
December 1, 2010 § Leave a comment
I feel like my dance class is really flourishing. I have enough regular students now, they can practice full formations in class, and I can watch, observe and offer help. When we perform, I’m not the only one leading. In fact, I can lead less and less, and let my students gain the experience and grow stronger.
As a teacher, there are moments that are so fulfilling: The “aha” moments in my students. The first time they really get a move. Watching one of my students lead for the first time. The first time one of them wants to lead in a performance. The first time someone unexpectedly takes the lead (no really, you have no idea how exciting that is!).
I am glad I have been able to participate in this movement. I am grateful that I have gotten to continue being involved in ATS even as I have moved a couple times. I am extremely happy that I have been given the opportunity to teach this powerful and beautiful dance style to others, and through teaching, have fallen in love with American Tribal Style all over again. Yallah, Habibis!
November 2, 2010 § Leave a comment
I’m sure there will be some disappointed people who find this post in their search results, but I’m not talking about that kind of cross-dressing. I’m talking about Tribal ladies gone Cabaret! And back again! And vice versa! While many people lean toward one belly dance genre or another, I am an equal-opportunity shimmyer. An ATS girl with Cabaret in my heart.
And truth be told, I could use a little more Cabaret in my life. I long for sparkly, sequined, hair-swinging, even sometimes down right cute, Oriental style. That’s right! Cute! I said it. (Just so you know, there’s no cute allowed in ATS!) Sometimes I just want some big, lyrical freedom; to let my hair down, my arms relax and let out a big, sweeping, ooey-gooey, horizontal hip circle. Maybe even complete with an adorable, feminine arm position; one hand to the head, one on the hip, accented with a hip-wiggling, psoas-engaging jewel.
I subbed for a couple of basic belly dance classes a couple weeks ago and I made the students do incredibly adorable things. And I enjoyed it! Some of my ATS students were in these classes and joked that the other teachers would come back from vacation and say, “what happened to Jade?!”
Well now everyone knows. Your ATS teacher is a Cabaret lover. This is also a huge motivator for me to do more solos. I need an opportunity for feminine. I need an avenue for cute.