August 23, 2012 § Leave a comment
It has been a busy summer, but I have been able to find more time for hooping! It is a great full-body work out, invigorating and most importantly, fun! Being at the “blossoming beginner” stage of a hobby is very rewarding. I now have enough experience with the hoop that I am able to learn new tricks more quickly (courtesy of homeofpoi.com‘s “learn” page) and there is so much to look forward to learning. I like to enjoy every stage of a hobby, but this is an especially fun one.
When I first tried hooping, it was in a workshop with a teacher who also taught belly dance. Most of the students in the workshop were belly dance students, and we started the class by repeating several times, “hooping is not belly dance!” The teacher wanted to make sure we weren’t inserting unnecessary movement into the hooping because of our belly dance muscle memory. The two art forms use some of the same muscle groups in different ways. That being said, there are some types of isolations used in belly dance that are useful with certain hoop moves. For example, being able to move the chest independently from the hips helps with chest hooping.
Hula hooping is a good cross-training choice for belly dancers. It’s low impact like belly dance, but is very cardiovascular, while belly dance is sometimes not. Not only does hooping aid in muscle strengthening and toning, it can balance the fitness routine. It is gaining popularity among belly dancers, especially in the tribal community. This, of course, leads to fusion! I am nowhere near being to a point where I could fuse together hooping and belly dance, but I sometimes come across videos of this. This is one of my favorites. It is artfully executed and reflective of the music. Enjoy!
June 3, 2012 § 3 Comments
Isis Wings! They are fun, flowing and flashy!
It is difficult to find information on the origin of Isis Wings. The Dancers of the Desert write on their website “in doing research on Wings of Isis I found that there is no specific history on Isis wings. They started in Las Vegas [as] a prop used by show girls, and I am assuming, because of their similarity to Isis, the Egyptian goddess of love, fertility (She is depicted usually as a kneeling lady with wings), got their name…It is an American prop and does not fall into traditional Middle Eastern dance, but was developed with so many other props, into the middle Eastern art of belly dancing.”
There is this video on YouTube circa 1895 which was the first hand-painted movie. The props used are not Isis Wings, the description says they are veils (obviously attached to sticks), but the effect is rather Isis Wings-esque.
No matter where Isis Wings came from, they certainly awe audiences and capture the imagination. Sometimes they remind people of other, often-whimsical things.
One person told me this prop reminds them of the artificial swallowtail butterfly developed by researches to study how these beautiful and oddly proportioned insects stay in flight:
A spectator at one of Lumani‘s shows saw these…
…and thought them reminiscent of this popular caped crusader:
Personally, Isis Wings make me think of this:
Less whimsical, but this deadly Jurassic Park dino comes to mind every time.
Like everything, Isis Wings get reinvented with new technology. Behold! Some really cool LED Isis Wings!
After seeing this video, Princess Farhana said on twitter “WOW!!!!!!!!!!!!!! that was better than being a kid at Disneyland’s Electric parade!!!!”
Do Isis Wings remind you of anything?
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?
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.
February 17, 2012 § 4 Comments
I dance constantly. My hips have a mind of their own. There are times I have found myself thinking about a song or a performance and come to a sudden realization (sometimes prompted by people giving me strange looks) that my hips are moving. Dancing out loud, if you will.
This happened to me once when I was working at a mall kiosk. I was casually pacing while thinking about a performance I had done and how it could be revamped when I noticed that some guys who worked at a nearby store were staring at me. I then realized that my hips were reacting to my thoughts of dancing. I proceeded to casually pace my way over to my cash wrap and start doing some paperwork. “Who me? Dancing? I don’t know what you’re talking about…”
A more recent incident occurred last month while I was visiting my family in Portland, OR. We decided to go to Jam, a popular brunch spot. There was a bit of a wait–45 minutes or so–and no sitting room in the waiting area. So we hung out on the rain drenched street, huddled under the awning, engaging in conversation in front of Jam’s window along with other waiting, rain-soaked people. I was standing with my back against the window, and my hips started doing an alternating hip lift with a double lift every third one. (My hips often start creating patterns when I am waiting for something, especially if I’m cold.) I did this for a few minutes without paying it much attention. I glanced back into the restaurant to realize there was a table right behind me, about eye level with my behind. There I was, shaking my butt in these people’s faces while they were trying to enjoy their blueberry pancakes! Oops.
Similarly, I often break into dance while I am brushing my teeth, cooking , trying to get ready for work… Sometimes, I just can’t hold it in any longer!
Sometimes, like the urge to dance, inspiration comes at inconvenient times. Ideas for blog posts often come to me in the middle of a hectic work deadline and I have to quickly find a pen and paper and frantically try to get it down on paper while it’s fresh. Or sometimes when I’m driving, I’ll suddenly have amazing visions of choreographies and have to frantically jot them down as soon as I stop somewhere. If I wait and try to recall it later when it’s stale and I’m tired, it just never blossoms the same as when the inspiration is fresh.
Belly dance, it’s an addiction.
*This post was inspired in part by Leyla Najma’s post, A Choreography State of Mind. If you’ve never been to her blog, you should check it out. Her posts are insightful, honest and thought-provoking.
February 2, 2012 § 2 Comments
I just watched my Combination Nation 3 DVD from Cheeky Girls. Like all the DVDs I’ve bought from them, I love it! Cheeky Girls always chooses very high quality instructors. Combination Nation 3 is the first of the Combination Nations I have purchased.
I read in Aleksie’s review of Combination Nation Volume 1 that the same music is repeated a lot, so while it is interesting to see how different people interpret the same music, it gets a little old by the end. Since I haven’t seen the first I can’t compare the two, but I think this volume uses a good variety of music with a great variety of dance styles to go with it. There is some Modern Egyptian, Turkish Oriental with zill option, Classical Egyptian, Jazz-inspired Modern Belly Dance, Flamenco, Indian, and Samba-flavored pieces. There’s every thing from fast to slow, lyrical to rhythmic, old school to modern. This DVD is very well-rounded. Several combinations are quite challenging (ahem, Ruby–whom I love!) and I will have to go back to them before I can really get them down, but to me that is a sign of money well spent. If I can already do everything on a DVD, it was a waste of money. I want to learn new things! I also really enjoy compilation DVDs like these that involve several dancers because you get introduced to people you may not have seen before (and their websites!) and if they have other instructional DVDs, it’s like a little preview. You can get an idea of their teaching style and whether or not it’s what you’re looking for before you commit to buying their DVD.
This DVD starts out, for the most part, with faster, more upbeat combinations and winds down to slower, simpler ones. This makes sense to me because if you choose to go through the whole thing in one practice session, you will probably be exhausted by the end. It’s also conveniently organized into chapters by instructor, breakdown and practice session, so if you choose to do it in bits and pieces, or integrate just parts into your regular practice, it’s easy to do. There are three performances at the end, which I enjoy watching while I cool down and stretch.
I highly recommend this DVD, especially for intermediate to advanced dancers. I think anyone can take away something from every combination, whether you dance in the instructor’s particular style or not. It is full of great ideas that can be adapted and personalized for your own dance.
As always, great job Cheeky Girls!