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!
January 27, 2012 § 10 Comments
My life has become a bit hectic as of late, as I have recently moved and am taking a new direction. I have returned to college to study biology (with a dance minor), with my eye on a career in physical therapy. I am still working a day job and trying to figure out how I would like to enter my new dance community, all while maintaining a home life–the kinds of things we all must figure out how to balance. When faced with less time and money to do all the things I want to do, I have had to figure out what it is I really want. I would love to take multiple belly dance classes every week, a hoop class, join the local college juggling club to meet and practice with poi spinners, and maybe even play clarinet in some sort of band again. I even considered joining the college marching band, because, hey, it was fun the first time around! But alas, I have realized that accomplishing all those things in my daily life would simply be impossible. I have been faced with the decision of picking an artistic direction, which will really make a person realize what they love. I am most passionate about belly dance so, belly dance it is! I will continue indulging in my other hobbies here and there for fun, but I won’t be investing in classes at this time.
While figuring out what dance classes I can afford and fit in my schedule, I have also had to decide what direction to take within belly dance, being the large genre it is. I think I have settled on taking Oriental classes a couple times a week and focusing on daily self-practice. This means I will be stepping back from the Tribal Community for the time being. This was a tough decision, but there aren’t many, American Tribal Style classes in Albuquerque. There are some that are just Tribal, which I think are more along the lines of Improvised Tribal Style. ITS is like ATS, using the same improvisational structure, but with mostly different foundational moves. I can’t be sure if that’s true until I take some of their classes, but this semester, my school schedule conflicts with the classes I’ve found. For now, I will continue staying sharp in my ATS with self-practice, and make a return to Tribal in a community setting in the (hopefully not too far off) future.
I need to develop my Oriental side of belly dance more anyway. I long for it, the refined feminine movements, it’s grace and beauty, it’s expressiveness and freedom of movement. I should focus more on developing my skills as a soloist as well, and Oriental style is great for that.
One day I will return to teaching. It is definitely on my agenda, but I don’t have the time or energy to start up a new program. It takes a lot of self-promotion and a lot of patience to get steady student enrollment, and that is just not something I can invest in right now. I need to focus on my day job career goals first. Long-term, I hope to be a great physical therapist, dance teacher, solo performer and troupe dancer.
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.
October 18, 2011 § Leave a comment
It’s funny how hobbies work their way into your thoughts. The more hobbies I pick up, the more it affects my artistic visions. I’ve been belly dancing for quite some time, casually spinning poi, and am a rather baby beginner at hoop dancing. When I listen to music now, I often “see” the music in the form of one of these dance styles. Which I see changes from song to song depending on what the song is saying to me. In the matter of my poi and especially hoop, I am not really good enough to make these visions into reality yet, but I just need to work on that. At this point, I really need all three in order to fulfill my dancing daydreams and mental musical interpretations. This dancing stuff is an addiction!
My next creative project I am planning is a choreographed poi dance. I am getting to a point where I am having smoother transitions between movements and am adding in variations like lockouts and extensions and what not and need to start actually dancing with the poi instead of just drilling and trying new things. I think a choreography will lead to some good practicing. As soon as I pick a song, I will start making a poi vision or two come to life.
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.