Belly Dance Blog

Hi Folks!

So, I've decided to separate my belly dance blog from this blog.  When I first decided to put the two blogs together, it was just to separate it from my personal blog.

As a social worker, one can never be too careful.

But then I realized I should really dedicate one blog to each part of me.

From now on, all my belly dance related blogpost's will be here:
Beyond the Seafoam: Cecilia Shimmies

This blog will now be fully dedicated to my Athena's business.

Thank you all!

This Goddess Gets Virginal

In the past couple of months, I've had the pleasure of working with many of my belly dance classmates towards a fabulous show called Raks Nativity.

Raks Nativity, conceptualized by Nepenthe, is basically the Nativity Story told to Middle Eastern music.  From the Facebook page, it's "a new take on the Christmas Pageant. While the plot remains the same, this pageant depicts each scene with dances from the Middle East and fusion “bellydance”, including Saidi, Baladi, and Wings of Isis."

Well, ladies and gentlemen, I am blessed and honored to be playing the Virgin Mary.

Back in September, I attended the auditions thinking that I would try out for one of the more minor roles.  But then I was told to act/dance through Mary's introduction scene, and they said that they imagine her to be kind of like a Disney Princess.  Pppsshhhhaaawww!  Well, snap.  I can do Disney Princess.

So, here I am, preparing to play the Virgin Mary.  Believe me, the irony is not lost on anyone in the cast.  But, luckily, we all have a healthy sense of humor and know that we need to keep some things discreet.

But it just gets better.

Back in October, I was doing a party.  I pulled out my vagina puppet, which I use for the anatomy portion of my demo.  One of the guests suddenly exclaimed, "Is that the baby Jesus?!?"

I cracked up!  Before explaining why I almost died laughing, I said, "You have no idea how funny that is to me!"

I told some of the organizers and staff, and promised that I would bring the puppet to one of the practices.

Unfortunate (or fortunately), I happened to bring it when there were official photos being taken.

Photo by Dreamer's Realm Photography
Can you guess what was sitting in as the Baby Jesus?

I'm honestly really excited about being part of this show.  It's just going to be a lot of fun, and really a great way to bring different people of different denominations, beliefs, and experiences together.

Then I learned that the Chelmsford Independent, their local newspaper, printed an article about the event using the promotional image.  Except, they cropped the middle image.  Here's the screen shot of the website.

holy...moly...

Okay, so this is where I'm starting to freak out a bit.  Truth be told, I knew what a responsibility it is to play the Virgin Mary.  I did grow up with a Catholic family.

But it wasn't until I saw that website that I realized what a responsibility it is to play the Virgin Mary.  Sure, the Nativity Story is mainly about Jesus' birth.  But, really, that's just the climax (that's right, I went there).

The story is really about Mary's experience.  From the Annunciation to the Presentation, Mary is the actual driver of the story.

I know that I'll do the story and Mary proud, but I'd have to say that I'm a lot more nervous after seeing the press this event has received.  There's a part of me that knows about all the other better dancers out there, all the other better actors out there.  There's the little voice of doubt that has suddenly appeared.

But, for this first Raks Nativity production, I know that this is my Mary.  And I'm going to be the best Virgin Mary that this Goddess can be.

Belly Basics from a Baby Belly

On Friday, October 15th, I was invited to do an Athena's Party at Girl Power Fitness in Hyde Park, MA.  The Hostess and owner of Girl Power Fitness is a friend of one of my close friends who teaches Zumba, and soon got word that I am also a belly dancer.  Since the night was also going to feature a strip tease lesson, she asked if I would be able to teach a short belly dance lesson.

Truth be told, I don't think I'm necessarily qualified for the job.  Though I've been studying for about 8 years, I've only taken my commitment further in the past 3 years.  I don't necessarily plan on becoming as professional as some of my friends who are dancing at restaurants, but I absolutely love this dance.

Luckily, I had seen a fellow dancer, Ma'isah, the night before and told her about my upcoming lesson.  At that point, I had no idea what my lesson plan was, and I was too nervous to really think about it.  I am extremely lucky that she had a clearer head than I did, and she helped me break it down and feel more prepared.

I knew I had to start with the basic history and background of belly dance, starting with the term raqs sharqi.  I explained to the room full of women that the dance was more about dancing for other women and less about dancing for a man.  I stressed the importance of why it should be more about enjoying the dance, rather than just performing.

I knew I had to go quickly through various moves, but that I wanted to touch on a lot of the basics.  After my brief history lesson, I talked about the importance of posture and demonstrated the "right" and "wrong" ways to stand.

In My Goddess and Belly Dance wear

I started with hip and rib circles, moving slowly then a bit quicker.  I made sure to give the room ample time to practice, while also being aware of the time.  I touched on horizontal figure 8's and vertical figure 8's.

Then I moved on to undulations, starting with the hip then the ribcage.  In the theme of undulations, I moved on to snake arms and noted how difficult it was for many in the room to grasp.  I tried various ways of explaining it, though I knew that the time allotted would not be enough for everyone to really hone it in.

Then we moved onto the faster movements, namely shoulder and hip accents and shimmies.  The shoulder accents gave way to shoulder shimmies, and the ladies really seemed to enjoy that.  I then moved to hip hits going up and hip hits going down, focusing on one side at a time.  I also introduced them to the Egyptian Hip Hit and the Drop Release movements.

I had index cards with notes, just like when I had my very first party as a Goddess :)

Finally, we moved on to the shimmies.  I started with the basic knee shimmy, then the hip shimmy, and finally the 3/4 shimmy.  After going through the basic moves, I put on Betwanes Beek and I led them through the various movements I taught them throughout the song.

Afterward, I thought of all the various things I didn't get to tell them.  I touched on layering, but I didn't really show them an example of it.  I talked a bit about placing your arms in a way that frames your body, but I forgot to end the final song with a pose.  I got so nervous, that I didn't even suggest that I could dance a bit for them while we were waiting for the next portion of the evening.  I didn't get to talk about level changes, smiling and facial expressions, or using the movements to move across the room.  I know it's silly, considering that I really only had enough time to go through the basics.  But I just like being thorough.

Nonetheless, the women seemed thoroughly excited and happy with my quickie lesson.  They said that they were surprised at how hard some of the movements were and how much they were sweating during the lesson.

I had created a list of teachers in the area to hand out to the girls, encouraging them to seek out lessons with some of the top performers and teachers in the area.  It felt encouraging to hear that some of them enjoyed my lesson and would have also enjoyed continuing lessons with me.

Again, while I don't think I'm necessarily qualified to teach beyond a beginner level, experiencing being a teacher was incredibly insightful.  If anything, it helps me to be a better student.

MassRaqs 2010 - Part 2

I decided to cut the post, since it was getting a bit too long.  Now, where was I?  Oh yes, the final day of MassRaqs 2010.

Sunday Workshops

Sunday, September 26th

Sunday was going to be a jam-packed day with 4 workshops and a Gala show in the evening.  This day felt a lot more relaxed, interestingly.  Perhaps because we already knew what to expect for the workshops.  Also, knowing that Springstep's staff would be in charge of setting up chairs really took a lot of stress away.

Shadia - Double Cane Technique
I have very limited experience with the cane, though I have to say that doing the saiidi choreography with Meiver for Barka helped to make me feel more confident about using this prop.  But 2 canes?  Well, that's a completely new adventure.  Truth be told, this workshop was a huge wake-up call for me.  Shadia stressed practicing at least 5 minutes a day with a cane, and in both hands, would really help everyone's technique.

My favorite part of this experience was learning some new tricks with the cane.  There was one trick where we twirled the cane and caught it on the other end (hard to explain, but really cool to watch!).  I found it hilarious that everyone (including me!) was dropping our canes during the practice.  We all had a lot to learn, but we are eager to do so.

My least favorite part of this experience was that I completely forgot that I hid my canes during the Gala and I forgot them at the venue!  Luckily, dowels don't const that much, so I can easily replace them.

Shadia - Bedouin Styling
Shadia, a master in folkloric style, introduced many of us to the Levantine and Bedouin style which is a lot less hips and more hands and arms and shoulders.  We went through a combination of steps and movements that are characteristic of these folkloric styles.

Then she paired us by height and we did some debke line dancing.  This was so much fun!  First of all, it was hilarious to see how fast the tall group moved across the room, and how much slower it took for the shorter groups.  But the beat of the music and the fact that it's a group line dance just makes it feel like a party.

Boẑenka for Cassandra - Oriental Technique Tune-Up
Boẑenka took us through some modern oriental technique work, leading us across the floor with different combinations and different facial expressions.  In a way, this felt like an extension or a second part of her Arms and Hands workshop from Saturday.

It was fun to cross the room with so many of my friends, and it was nice to watch the other dancers in the room strut their stuff.  It felt like we were all really cheering each other on, and just plain enjoying ourselves.

Boẑenka - Drum Solo
Perhaps one of the most exciting parts about this workshop, aside from learning some technique from one of the most renowned dancers, was that we had a live drummer to dance with.  One of the local drummers who was performing with the band at the Gala helped us learn a little bit about how to connect with the drummer.  Boẑenka stressed that while it often feels that the dancer has to chase after whatever the drummer is doing, the dancer can do a couple of things to signify that she will be changing her movements.

She had us individually approach the drummer and signify when we would be finishing a phrasing.  It was fun to watch each person dance and learn what moves help to signal to the drummer.  Then, several of the attendees picked up some drums and each of us participated in a drum circle.  We each danced to a full drumming group, and it was fun to show what we had learned.

In total, I have to admit that Saturday's workshops felt more like a lot of hard work, whereas Sunday felt a lot more relaxed and fun.  This isn't to say that either day wasn't filled with both hard work and fun, but there was definitely more of one aspect present on one day versus the other.

Sunday Gala
Goodness.  I feel absolutely blessed to have started and ended the weekend watching such a huge variety of amazing dancers.  The performers were a mix of people I have watched several times and people I had only heard of.  The Gala really felt like a perfect bookend to an already inspiring weekend.

Let me start by talking about a little bit of trouble we ran into before the doors were even officially open.  One woman was extremely angry that we were unable to take credit or debit cards for admission.  She said that we should have advertised it, which is true, but there was no need to be extremely angry at us for not having the capability of card swiping.  That is definitely something to remember for next year's and any upcoming events.

The first set of the evening was the folkloric portion.  There was some cane action from Chantel as well as some debke line dancing from Shadia's Mirza Troupe, both of which made me sway along with the music.  Then Boẑenka performed a maleya leff, which is flirty and uses an embellished veil.  She looked like she was having such a fun time with the dance.

The second set of the evening was mainly raqs shaqi dances.  Watching Meiver and Najmat dance is always such an amazing experience.  Meiver with her amazing combinations and Najmat with her delicious gooeyness are enough to bring in a whole new group of belly dance enthusiasts.  Though Nina had performed at Baraka, I didn't get a chance to watch her move, so I was excited to get the chance during the Gala.  Local favorites Pheadra and Hanan also graced the stage, playing zills and twirling double canes, respectively.  I tried to pay attention to their technique, especially since we had worked on those two this weekend.

Then, of course, the Gala closed with another performance by Boẑenka.  She is just amazing!  If you ever get a chance to learn from her or to watch her move in person, it is something you really want to strive for.  But, let me not forget to mention her AMAZING costume!

Boẑenka's gorgeous costume

I'm pretty sure even the band members were mesmerized by her movements.  Her costume only helped to accentuate how amazing she is.  It's always very interesting to watch dancers of such popularity live in action.  She really exudes confidence and a love for the dance - something we are all striving to naturally exude.

In Conclusion
MassRaqs was really a complete success.  Sure, there were some unhappy folks about Cassandra's absence, and I'm sure that not everyone was completely happy about the weekend.  Sure, there could have been a lot more tightness in the event implementation and organization and time management.  These are all things that we will be aware of in terms of future event planning.  Some things worked, and some things didn't.

With the New England belly dance community recently having experienced some negativity in the form of undercutting and gossip, this weekend (which also featured a tribal event organized in Boston) was really needed.  Starting the weekend with an open dialog about what makes Boston and New England such a stronghold for the belly dance community, filling in workshops that could only enhance everyone's dance, and ending with beautiful dancers just felt cohesive and inspiring.

Considering that I woke up this morning feeling like I just wanted to keep dancing and then reading about other people's feelings about the weekend on Facebook, it just means that MassRaqs 2011 (Save the Date: October 21st-23rd) is just going to be better in every way.

MassRaqs 2010 - Part 1

What an amazing weekend!  I wanted to write about my MassRaqs experience as a participant and as an assistant in the process.  I was more than happy to share my skills to help this event, and I feel like I've learned a lot about the process as well.

First of all, MassRaqs was created as a way to bring the New England belly dance community together for a weekend of discussion, learning, and performing.  In that respect, I believe that the event was a complete respect.  But, being the first year the event took place, there is definitely much for all of us to learn from.

Panel Presentation and Performances
Friday, September 24th
The first event of the weekend took place in Green Street Studios in Central Square.  It's amazing how one of the studios is able to change from a regular looking studio into a beautiful performance and show space.  One of the drawbacks, however, is the poor air circulation - when it's hot, it's hot!

As an event assistant, I knew that we had a limited amount of time to organize the space before the event could begin.  There were definitely enough hands, and we even got some help from one of the audience members.  Unfortunately, we did get started a bit later than scheduled, and we definitely ended a lot later than scheduled.

Perhaps it would have been useful to delegate exactly what needed to be done to the specific people who were going to be there to help.  That way, everyone could focus on their specific task and help anyone who might need extra help when they're done.

My approach to event organization is definitely one of multi-tasking.  Even if you were the one delegating tasks, you need to be moving around and helping with things as well.  "Floating" doesn't mean just standing around while everyone is moving.

As a participant of the event, I though the discussion and video sampler of Amy Smith and DeAnna Putnam's "Aziza!" was wonderful.  There were conversations about the changes in the New England belly dance scene throughout the years, thoughts on preserving the past as well as the present, and hopes for the future of the community.

I have to admit, I was enthralled by the conversation.  I felt proud to be part of the New England belly dance community, considering that the American belly dance scene really started in Boston.

After the panel, difference dancers from all over New England (from Connecticut to Maine, Rhode Island to Vermont, and everything in between) performed their different styles of raqs sharqi.  It was a pleasure to watch the dancers, many of whom are my friends.  I have to admit that my face hurts from the joy of watching them.

After the event was over, there was, of course, the break down part of the event.  Again, while it seemed to take less time to take everything down and put everything back, it still would be useful to have delegated tasks.  Also, the event should have been planned down to the second.  Dancers arrive at a specific time, panel ends lasts a specific amount of time, etc.  Overall, though, the first event of the weekend was a success.

Saturday Workshops
Saturday, September 25th
Saturday featured 3 workshops from 3 different teachers.  Unfortunately, Cassandra had an injury and was unable to come to Boston for the weekend.  I know that many participants were eager to learn from her, and many were disappointed that she wasn't able to teach her workshops.  However, I do think that Meiver did what she could at such short notice, and considering that Boẑenka was the replacement teacher, I think that we were lucky to still have the workshops available to us.

Obviously, it would only benefit us to be exposed to a variety of teachers.  Though, on the other hand, I think it would have also been awesome to extend Boẑenka's already assigned workshops.  I mean, who couldn't use more work on their Hands and Arms?

As a event assistant, I was mainly charged with preparing registration sign-in forms and making sure the vendors had all they needed.  I definitely went into event mode the second I stepped off the bus.  The vendors were one of the first to arrive, and I helped to get them set up on their tables.  I also helped to set up the registration table, prepared with signage and tons of pens.

Throughout the day, I stayed relatively vigilant about who was coming in through the doors and elevators, even though I tried to focus on participating in the workshops.

Meiver - Exciting Combinations for Modern Oriental Style
Having studied and learned some Modern Oriental style with Meiver for the Baraka event, I was proud to know that I was probably a little more advanced than some of the others who were new to Meiver's style.  Considering that I found the Modern Oriental to be the most challenging, I knew it would only benefit me more to take this workshop.

Part of the combination was similar to the choreography we learned for Baraka, but the changed in the choreography were just as challenging as learning it the entire choreography the first time.  Honestly, I think Meiver's choreography and combinations are beautiful and exciting.  It takes some serious skill to produce choreography in the graceful way that she does.

Boẑenka - Arms and Hands: Technique for Fluid Arm Movement and Emotive Gesturing
I think that part of what made me fall in love with belly dance was the snake arms.  I know, however, that it's something I need a lot of work on.  Boẑenka worked us all very hard!  There was definitely a lot of movement repetition and keeping our arms up.  I was scared I was going to be extremely sore the next day, but I wasn't.

You definitely need some serious arm and shoulder strength to help you get to the point of having gorgeous arms and hands.  But Boẑenka's stretching suggestions were also extremely helpful.  I know that I don't really think about stretching my hands and wrists very often, but now I will be more conscious of doing so.  Watching her move her arms and hands really made me feel inspired to keep working on my own technique.

Boẑenka for Cassandra - Beledi Stylings
I heart the beledi.  It's so earthy and fun.  Boẑenka reminded us, however, that while it is an earthy dance style, it is still a very proud dance style.  Earthy does not mean that technique gets lost, but that it is a different feeling added onto the technique.  She taught us a bit of combinations and then took us through some zill/zagat work.

It was interesting to see how she taught the finger cymbals.  Most of my instructors have focused on alternating the hands, so that both hands are used.  But Boẑenka stressed that the right hand (or your dominant hand) kept the beat while the left hand inserted little accents.  I have to admit that it was difficult to change to that way of playing after having played a different way for so long.  But it was an interesting way to think about the zills.

By this final workshop of the day, my feet were achy and I was tired from getting very little sleep the night before.  I was excited to go home and rest for the final day of MassRaqs.

Coming Up Next:  Sunday Workshops, Gala, and Final Thoughts

Giving Zumba a Try

Recently, a friend of mine has lost a lot of weight and looks amazing after getting heavily involved in Zumba.  I was thoroughly impressed by her efforts, and I had heard a lot about the classes.

Basically, Zumba is a high-energy dance-based class.  Though most of the elements are from Latin dances like salsa, cumbia, and merengue, there is also hip-hop, samba, and a little "belly dance" (I'll get to this in a second).

I had a Groupon coupon for the Oak Square YMCA in Brighton, and there were several Zumba classes to choose from.  So, I tried one out, and I must admit that I had a lot of fun.

It really is just like dancing around.  While some of the transitions need your concentration and it probably helps if you have rhythm (or if you don't care whether or not you have rhythm), it's really what you make of it, and it can be really quite fun.  I find myself smiling through most of it.

You can definitely work up quite a sweat from all the dancing around, and I can see how someone can lose quite a bit of weight if they dedicate several workouts a week to this cardio class.

Now, while there isn't a lot of Middle Eastern-style dancing in the classes, there are definitely incorporations of it.  I feel bad whenever this part of the class comes up, mainly because I get a bit critical about the moves.

I, of all people, understand and value the fusion of belly dance with other styles of dance.  I'm not forgetting that I still want to somehow fuse traditional Filipino dance with belly dance.  But I think that the fusion is more impressive when parts of the different dances are still visible, recognizable, and respecting of the different styles.  That's just my personal style and take on the whole thing.

So, when the Zumba instructor says that we're incorporating belly dance into the moves and it reminds me more of bangara or doesn't feel like belly dance, I find myself really struggling with understanding what is happening and really struggling with the specific moves themselves.

On some level, I feel proud to be able to distinguish different versions of the dance.  But on another level, I feel like a jerk because I know I'm being too critical of an already-fusion style of working out.

I should just not care, and go with the flow.  I should just not think about it too much.

But then I become really aware that a lot of the other folks in the class are not necessarily as educated about belly dance.  The little bit of exposure they have in Zumba class isn't enough for them to really understand what raqs sharqi really is.  With all the misconceptions there are about Middle Eastern dance, I personally feel wary whenever something is called "belly dance" and it doesn't feel "right" to me.

This isn't to say that Zumba instructors are in the wrong.  I do think that more education needs to be done about Middle Eastern music and dance before people just go around identifying snake arms or hip hits as the "belly dance."  Perhaps there is just a line between fusion and...not fusion?  Here is an example on youtube of a Zumba/belly dance routine.

I don't know if I'm explaining it well enough.  I don't want to come off as really snobby about it.  Hopefully the fact that I keep going to Zumba classes will mean something.

I do think it's important to be aware of your biases before you go into a Zumba class or any other dance class, for that matter.  Otherwise, just have fun with it!

BARAKA: A Benefit for MataHari

Remember back at the end of May when I spoke about Meiver's Intensive Repertoire Class?  Well, there was a total of 3.5 months of intense work, learning, dancing, and feet aches.  It all culminated on Wednesday, August 18th, at the Multicultural Arts Center.

The ceiling of the MCAC

The stage, Pre-Show

Meiver has been working her tail off, with the help of some of her students, to organize an extremely successful event to benefit MataHari: Eye of the Day, a great social justice organization that works towards immigrant, refugee, and workers rights.

In my previous post about the choreographies, I talked about all the things I was learning and all the things that I could do better.  In this post, I want to talk more about the choreographies and about the experience of being in the show.

Being A-Part
To be honest, in the beginning, I didn't really know how major the show was going to be.  But as the months passed and more was revealed, I got more and more excited.  To be even more honest, a lot of my fellow dancers were extremely anxious about the show, but I felt more excited to be part of the show.

With at least 10 different people with at least 10 different schedules to coordinate, it was difficult to try to keep steady progress on learning all the choreographies.  Also, it being summer, there was a lot of summer traveling (as was the case with me).

As August 18th drew closer, there were many things we all needed to work on in terms of the choreography and details.  But I truly believed that we would rock the show.  I believed that my classmates would do their best.  I believe that all of Meiver's and our hard work would pay off.

I know that I haven't been part of a show of this level since my undergrad days and the Queer Fashion Show.  There was perhaps less makeup back then, but there was definitely more glitter now.  But the stress seemed to be about the same.

Glitter provided by Sassy Sparkles.

Speaking purely from my own personal experiences, I know how difficult it can be to coordinate so many people, regardless of availability, regardless or experience, regardless of commitment.  From the talents shows with 3rd through 8th graders to coordinating a single dance with 20 members, there's a lot of work that needs to be done.  I couldn't help but feel empathetic to Meiver's workload.  But still, I had confidence about the show.

On some level, I felt bad that I wasn't able to connect with some of my fellow dancers on how stressed they were feeling about the dances.  I was more concerned about the costuming, as I had already spent so much money that I didn't have, and there were some unforeseen last minute changes.  But overall, I was feeling really positive about the show itself and our abilities to produce a great one.

Modern Oriental
As the opening number to the entire show, it was fabulous.  Personally, the technique was perhaps the most challenging to me.  Aside from remembering my posture, I had to remember how to hold my hands a different way then I'm used to, point my toes to hide my heel, and remember the various transitions.  It was a challenging piece.  But even though I wasn't in the audience, I'm sure it was such a glorious way to open the show.

"Sahra" by Bassil Moubayyed

This dance is a perfect example of how an ensemble of dancers should look on the stage.  Though some of the aspects of the dance are influenced by the ballet, I felt like this choreography was something you would see the Bellydance Superstars performing.

There were times when I would practice the choreography in my head and I would get distracted by wondering how one even designs something like that dance.  Making sure the right groups of people or even one person would end up in the correct spot, going from point A to point B, who turns in which direction.  The dance-math is making my head hurt!  But kudos to Meiver for such a gem of a piece.

My Solo
Holy quick costume change, Batman!  Thank you to Ma'isah, Aleksie, and my other classmates for helping me with my super fast costume change!  My solo was the 3rd act of the evening, and I had to get my outfit and my zills ready.

I was sweating so much from the first piece and from changing, that I carried a little napkin with me backstage and behind the wings, and left it in a corner where I would be able to grab it later.  But I continued to sweat throughout my entire performance!  Later, the boyfriend told me that he couldn't tell that I was sweating, which was a relief.

I look so at ease for sweating so much!

Actually, the boyfriend told me that I looked so comfortable and confident during this performance, and later Meiver tells me that her roommates and boyfriend said I make it look so pleasant.  I honestly feel speechless about those compliments.

I know that I was happy to see some of my fellow Amira Jamal classmates and my boyfriend in the audience. In a way, I was dancing for them, in true balady fashion (this was the "Balady ala Accordion" that I danced to during Amira Jamal's student recital in May).  Perhaps this was why I felt so confident even through my sweating.

Fan Veil
Well, I'll be honest here.  I felt like I was a sausage being squeezed into its casing, but it was just that I was so hot and sticky and trying to fit into a body suit that my butt was too big for.  Don't get me wrong.  I think in the end we all looked pretty darn awesome!  But I did have my doubts, and I was just nervous that I would make this piece not look good.  But hot damn, did we look awesome.

Hot Fan Veil Action

I absolutely loved this piece.  The music, the fan veils, the choreography.  I don't know if anyone was tripping out in the audience from the beauty of the veils, but I know I was having my own personal hallucinogenic trip being part of it.  I can't wait to see it on video.

I realized, however, that the choreography and the technique went hand in hand.  If you were unfamiliar with the fan veils, the choreography would not be as strong.  It was somewhat impinging on us as the dancers to really get comfortable with fan veils.

As I have already loved the veil, loving the fan veils was just too easy.  Whenever the kitties were asleep, I would sneak in a practice session with my fan veils.  Learning the technique felt more like play than anything else.  I'm eager to find some fan veil tutorial DVD's to further my education.

Khaleegy
The most difficult thing about this piece was trying to slip bracelets on my wrists.  I have huge hands, so I don't ever wear bracelets since it hurts to put them on and take them off.  There were many hilarious jokes about using lube to make it easier on me when I was getting ready.  I just braved getting my hands scraped by the bracelets, and in the end it was fine.

I was really nervous about all the spinning.  I didn't know how my body would react.  Originally, this was going to be the final piece, but the acts were moved around a bit, and this was our second to last dance.  I was hoping that if something were to go wrong, I would at least not need to dance again.

I thoroughly enjoyed this dance.  I felt like my timing had been off during all of the practices, but during the show I knew what I was doing.  This was another song I would play over and over on my Zune while riding the T.  My neck wasn't sore the next day, nor was I ridiculously dizzy after all the hair spinning.

Photo by Jonathan Williams

In that picture above, that's the moment we've just concluded all the hair spinning, dropping down to the floor, and picking our hair back up.  I was definitely sending messages to my brain and my inner ears to chill.  Again, this is another video I can't wait to watch.

Saiidi
This dance, perhaps the most polished one, was the finale of the show.  We had our nicely spray-painted canes, our bedlahs, and our smiles.  No one dropped a cane, no one hurt someone else with a cane, no one got left behind.

This was the choreography that I felt very confident about, though my can twirling needed some practice in the beginning.  Whenever I would walk to practice with my cane, I would twirl down the street, of course making sure that no bystanders would be affected.

Working together in our pod

For me, ending with the saiidi made me feel like we owned that stage.  We had been working so hard in the past several months that we deserved to wave our big sticks in victory.  Of course, this isn't to say that the other performers hadn't worked as hard.  But some of us had 4 or 5 costume changes!

We had an amazing show, and each and every one of us danced our hearts out.  Backstage, amidst all the chaos, there was a lot of conversation and a lot of laughter.  On stage, we tried our best to bring Meiver's vision to an audience in awe.

I'm a true believe that you make your situations what you want them to be.  This particular situation was just exhilaratingly inspiring, and I'm proud to have been part of it.

Video: "Yearning" with Fan Veil

On August 6th, I participated once again in the Quarry Hill Talent Show that is the precursor to the All Night Costume Dance Party.  This event, in it's 27th or 28th year, originally started as a birthday celebration, but grew to be a reunion of the kids who grew up there as well as an all-around summer celebration.

I took the opportunity to perform there 2 years ago as a way to get used to dancing in a public arena, especially where the audience was made mainly of other dancers.  It's been a great experience for me, as I am free to explore new things without too much pressure.  It's a Talent Show, and one that is mainly for fun!

This was my first time using fan veils in a performance.  Since I've been participating in an intense repertory class with Meiver, I've come to really love the fan veils.  I need to practice with them a bit more and learn some more techniques, but it's just so much fun to play with.

Originally, I was planning to dance to "Miserlou," a song popularized by Dick Dale in his surf guitar style, though its roots come from deeper in history.  But, I just was having a hard time working through the song with the fan veils.  I felt that they needed more drama associated with them.  I decided on "Yearning," by Raul Ferrando, another popular song among dancers.  The drama and the beauty that I associate with the fan veils really come through in that song.

So, here is a video of my performance taken by one of my friends.  Enjoy!

Video: Amira Jamal's Student Recital

It took a while for me to finally get my things together and grab my copy of this DVD.  It then inspired me to dig up my past recital DVD's just to see how much has changed in the past several years.

My goodness.  I don't know if I could really show you those videos of me.  Perhaps if you would like a personal viewing, then...maybe...

But I'm really quite proud of this year's performance.

Thank you so much to Nadira Jamal (www.taktaba.com) for the videography!!

Meiver's Intense Intensive Repertoire Classes

For the past month, I have participated in an intense set of classes that have pushed my skill level and my bank account.  But it's been completely worth it.

Meiver, one of the top teachers/performers sent out the word in late April about a set of intensive repertoire classes in which we would learn 4 different choreographies, with the possibility of performing them in different events.  I knew I needed to participate.  While I'm feeling quite overwhelmed by my schedule, I wanted to push myself to try new styles and teachers.

The 4 choreographies we were learning were Saiidi, Khaleegy, Modern Oriental, and Fan Veil.  I want to talk about my personal challenges and strengths in these choreographies, and hope that I will improve by the time we will be performing.

Saiidi
Challenges:  With the Saiidi, I have to really practice my can twirling skills.  Though I've learned a little bit about how to use the cane, I haven't tried to do an entire dance with it.  In the tiny space we were practicing in, it was somewhat difficult to feel confident about twirling, and there were definitely a few bumps that happened along the way.  I've also needed to work on perfecting the details in the dance.

Strenghts:  I feel fairly confident about this choreography.  I've manged to pick up the steps relatively quickly.  I even bought my first ever Saidi dress!

Saidi habibi

Khaleegy
Challenges:  The Khaleegy is probably going to be a bit challenging for me overall.  Though I was able to purchase a thobe, it's not one of the best qualities and I'm finding myself tripping a bit on the beads.  But the most challenging part is the spinning.  Oh my goodness...the spinning.  I know that I need to practice my spotting, and then I really need to understand the mechanics of head spinning.

Strengths:  I really want to do well at this dance, or at least survive the spinning, mainly because then I know that I've reached a higher level. Also, the dance is so fun!  Regardless of the spinning, the dance with the thobes is beautiful!  It's really fun just to watch the costume move.

Modern Oriental
Challenges:  I need to work on the transitions between sections. I know that I've focused so much on the choreography and less on the little details, like pointing my toes or how my hands are.  I'm also working on getting a costume for this dance as well.

Strengths:  The high-paced Modern Oriental is another beautiful dance.  With so many of us in the room at times, I still feel that I'm able to appreciate the look of it while we're practicing.  Again, this is another dance where I feel like I've been able to grasp the choreography.

Fan Veil
Challenges:  In general, we need to really work on the actual choreography.  I definitely need to practice using them, as it's a completely new tool for me.  Specifically, I need to work on my left arm.

Strengths:  It's so PRETTY!  I mean, I can't get over how amazingly gorgeous the fan veils themselves are.  But then you make them move along with the dancers, and it just blows my mind!  It took me a while to get a hold of my own personal fan veils from Fairy Cove Silks, as there was some problem getting a hold of my information.  But, I love them!

Prettyyyy!

Though the month has gone by, we haven't finished learning all of the choreography, since we're all comprised of different levels and need to work a bit on the finer details.  Luckily, we all want to work on perfecting the dances as this is such a great opportunity.  Groups of us are working together, with lots of help from one of the students, and are hopeful that we will be ready to learn more when practice sessions with Meiver resume.

The whole month, I've felt like I'm learning so much about myself as a dancer.  I know I have so much more to learn, but I'm feeling very proud of myself for stretching out of my comfort zone and getting more involved in the dance.  I will hopefully be doing more with this group and performing at larger shows as a troupe.

Amira Jamal's Student Recital 2010

On Sunday, May 2nd, Amira Jamal hosted her annual Student Recital at the Pacific Arts Center of Metro West, in Framingham, MA.

I love her student recitals for many reasons, including the opportunity to see my amazing classmates dance and to see some of the newcomers perform.  This might sound horrible, but (and I mean it in a really positive way)it's nice to watch the newbies because it reminds me of where I came from.  A closet full of belly dance clothes later, I can proudly say that I'm no longer a newbie.

Mainly, I love the student recitals because it's been great practice for me.  I've always been exceedingly nervous about performing in public, especially around other, more professional dancers.  But this year, I felt different.

In a way, the recital snuck up on me.  I had been extremely busy, and with a new kitty, it has been difficult to do much dancing around the apartment.  Next thing I know, it's April and the recital is a month away.

When I'm working on choreographing a piece, I usually just play the song over and over on my mp3 player.  Strangely, I find it really productive to choreograph while riding the T.  This time around, I really tried to focus more on where the music was taking my movements and build upon that, instead of trying to incorporate every little step that I knew into a dance.

But the real difference was that this year, I danced to an actual Arabic piece.

In the 5 years that I've been taking classes with Amira Jamal, I've danced to Tori Amos' "Sweet the Sting," Queen's "Crazy Little Thing Called Love," Bjork's "Bachelorette," The Beatles' "Something," and Pink Martini's "Never on Sunday."

I've always loved the idea of fusing different concepts together to create something beautiful, which is mainly why I've focused on dancing to different types of music than traditional Middle Eastern music.

The great thing about Amira's classes, however, is the fact that we're exposed to so much Middle Eastern music, from classical Arabic to more pop tunes.  She encourages us to keep broadening our understanding of the dance by understanding the music.

So, this year, I danced to "Balady ala Accordion" by Hassan Abou el Seoud (This song can be found on Shik Shak Shok and 10 Songs Every Bellydancer Should Know).

Oh, ya.  Another difference was that my costume wasn't completely green.  It was mainly purple, and only had the tiniest hint of green.

Most of the pictures were taken by my boyfriend, so they're a little blurry.
This was my entrance.

Shocker!  I know!

Oh ya, baby...those are zills!

I couldn't really tell you why I finally decided to dance to an Arabic song for the recital.  I have talked in a previous post about doing a Filipino/Middle Eastern fusion dance, but I haven't learned enough about traditional Filipino dance to put something together in time for the recital.

I had already danced to "Balady ala Accordion" at an event I organized, and I really love the song itself.  Also, in the past, I had been dancing to somewhat slower songs.  I figured it was time to up the tempo, and go for playing my zills.

Confident and smiling!

Overall, though I know I needed to improve my zill playing, I actually felt extremely confident about my dance.  Since we got the chance to perform for each other in class earlier that week, I had received really great feedback from my classmates - dancers I really respect.

I am really proud of myself for a 6th recital under my belt, and for feeling not as nervous as I stepped out onto the stage area.  It was also quite nice to get complements from some of the audience members, of whom were mainly family members of the performers.

It was also great to have my boyfriend there supporting me.  Though he isn't so good at taking pictures, it's always nice to be reminded that I have someone in my personal life that enjoys and supports this hobby.

Morocco Workshop - Presented by Za-Beth

So much is happening in the world of belly dance!  It's great when I'm able to fit things into my schedule and expand my repertoire.

The day after my birthday, after about 4.5 hours of sleep after a night of karaoke, I drove up to Woburn to attend a workshop by Morocco, a raqs sharqi legend.  Dancing for more than 50 years, Morocco is not only a master of the dance, but also a historian and researcher of the dance.  Though she's based in New York (and you can hear it in her accent), she's internationally known and sought after for her knowledge and work.

On April 24th, Za-Beth hosted another weekends worth of workshops and shows.  Though I wasn't able to attend the entire weekend, I was more than delighted to partake in my first workshop with Morocco.

Right off the bat, I thought she was hilarious!!!  Definitely strongly opinionated, but really had me chuckling in the back with her double entendres and .  She also offered quite a big of insight, including not calling figure 8's "figure 8's" in Arabic countries, since their number 8 is like an upside down V.  Also, she's very against calling the dance "belly dance," especially since it uses so many more body parts.  She prefers the term "Oriental Dance" since that is the direct translation of "raqs sharqi."

She taught us 2 dances that day.  The first dance was to "A la Kefek," a song about a guy seeing a girl and saying, "Have it any way you like it."  This dance was very high energy, but also very fun.

I liked that it was relatively simple, meaning that it didn't need to have so many innovative moves to be entertaining and interesting.  She also had a lot of symmetry, and spoke of using the arms to frame and direct the audiences eyes to what they "should be looking at."

Morocco in red, teaching us some moves.

The second half of the day's dance was to Georges Lammam's "Ahlam," which usually has a taxim introduction, but Morocco cut it to use only the part when the drums come on.  Some of us in the class recognized the song since Amira Jamal will use it during her class.  The song is beautiful!  I could feel the music and knew that it showed in my expression.

She spoke during this instruction about being careful not to use our chests in the camel movement.  Camels are basically lower body undulations, and being that Oriental dance is characterized by the body isolations, it is important not to ruin the integrity of the camel by involving the upper half.

The Master and her Students

I must say that it was an honor to be taught by such an important figure in American belly dance history.  It was even more of an honor to know that she, turning 70 that weekend, also had a dirty sense of humor!

Morocco and me!

Overall, it was a great birthday weekend!  Truly a treat for me to have this opportunity to learn some more skills from such a wonderful woman.

Nadira Jamal Improvisation Workshops

The really awesome thing about the belly dance community is how connected it is.  I have the pleasure of meeting so many wonderful dancers and teachers, and learning tons from them!

As I've been taking classes with Amira Jamal since I moved to Boston, I've been able to learn from many dancers who I consider masters.  Recently, one of Amira's students who's moved on to teaching her own classes and producing instructional DVD's, came back to class to share some of her knowledge.

Nadira Jamal gave two workshops during our scheduled classes on Monday, one on March 22nd and the second on April 5th.  She, with her wicked smaht engineering brain, has taken the frightening idea of improvisation and breaks it down into workable bits.

Her video series, Improvisation Tooklit, is a great guide for anyone who feels nervous about getting on the dance floor without a set and choreographed routine.  Though there currently two DVD's, she's working on completing the set of 5 to make master improvisers in all of us dancers.

The workshops she brought to us were a shortened version of the two DVD's.  I must admit that I was a bit nervous!  Though we've done quite a bit of improvisation in Amira Jama's classes (just putting on music and moving on the dance floor), I was worried that I might not be able to hold on to what she taught us.

But she started right away with building up our confidence and dance self-esteem.  She reminded us that we should not only have fun and enjoy the dance, but that we also have the ability to remember specific moves if we are having fun.  And, even if we can only remember 3 or 4 moves, there are so many bits one can add to the dance (like level changes, moving around the floor, angles, arm movements, timing, etc.), that even the same movements can have a different effect.

I was excited to be part of these workshops.  Though I'm not a professional like many of my classmates or like Nadira, I can at least fake it til I make it.

I now feel much more comfortable with improvisation, though I'm sure I'll always be a little bit nervous about performing.  Also, I feel like this comfortability with improvisation would greatly aid in choreographing, as one can take the moves from improvising and reuse them.

Diana Tarkhan Workshop - Hosted by Najmat

On Saturday, April 3rd, Najmat hosted Diana Tarkhan at the Green Street Studios in Central Square, Cambridge, Mass.

Diana Tarkhan is one of the premiere Egyptian-style dancers, teachers, and choreographers.  She came all the way from Cairo, Egypt, to teach a class of 27 eager and excited New England dancers.

Truth be told, I had minimal exposure to her.  I had seen a video here and there on You Tube, but I didn't know much else.  After seeing that Najmat was offering a workshop from her, I knew that I needed to sign up.  The way I see it, you want to get as much exposure and experiences from different teachers if you want to continue evolving your technique as a dancer.  And if you can learn from Masters, even better!

Saturday was a gorgeous day!  It was the warmest it had been in a long time here in Boston.  So, all the dancers present were pretty much predisposed to enjoy themselves.  But being taught by the delightful Diana Tarkhan just heightened the feeling.

Room full o'bellies

Diana led us through some techniques that were characteristic of Egyptian-style "Oriental" dance.  She focused on the "in's" and "out's" of the hip, which came more from knee movements than from the hip.  We moved around a lot, practicing the "in's" and "out's" with different variations.

In's and outs!

She also led us through some variations on entrance movements, and taught us a combination of moves.  Overall, it was pretty exhausting (not to mention that I went to pilates in the morning!)!  It was nice and warm in the room, and all us ladies were sweating quite a bit.  But Diana's energy and smiley disposition kept us all excited and motivated.

Personally, I felt super energized to be around so many wonderful dancers and teachers.  Though I've been taking classes for so many years, I know I have so much more to learn from the professionals around me.  I always feel very encouraged and new after I'm around the raqs sharqi community.

Diana Tarkhan and me!
Photo courtesy of Najmat

Beautiful (and tired) dancers!
Photo courtesy of Najmat

Shimmies for a Cure Quatro - Workshops and Hafli

I feel like I've gone through a long hiatus of belly dancing.  Though it's mainly been a time and money issue, I knew that I needed to push through some of the stress and continue dancing.  So, I've been continuing classes with Amira Jamal on Mondays, as well as with Najmat on Tuesdays.

But this past weekend, on March 27th, I was able to participate in the Shimmies for a Cure Quatro workshops and hafli.

Shimmies!

Baseema Moirae and *Samantha* are an organizing super team!  It was truly an eventful and awesome day, and really a great way to get more fully involved in the art form.  All of the funds went toward one of the organizer's involvement in the PanMass Challenge, which is a cycling event that benefits the Dana-Farber Cancer Institute.

I had the pleasure to take part in 4 fabulous workshops from 4 master teachers.

Lots of ladies taking workshops!

Bolly Bellies with Jesi
Jesi is awesome!  Super high energy and funny, she lead us through an intro course in Bollywood style dance. It was a great way to warm up in a somewhat chilly room.  We all sported our flounciest skirts and tried to keep up with her fast-paced choreography.  Though we were only given an hour with her, Jesi was able to teach us all of the steps.  Granted, it was difficult to get every step perfect, but she really helped us feel the energy and drama that's associated with the popular Bollywood movies.

Raq Like and Egyptian with Najmat
Oh, Najmat.  I love this woman!  As one of my current belly dance teachers, she really knows how to help you hone in your technique.  We worked on a set of moves that really worked on our posture and muscle control, as Egyptian style is generally more controlled.  We worked on large hip circles, figure 8's, and pops.  And just when your body is starting to feel pain from all the repetition, she switches to the other side.  And then she puts a shimmy on top of it!  She really proves that practice makes perfect.

Balkan Beat Box à la Melina with Melina
Melina, from the Daughters of Rhea, got us to be silly and have fun with her choreography.  A mix of Turkish, Greek, and plain old good times, the choreography had us all laughing and enjoying ourselves.  Though we weren't able to get through all of the choreography she had planned for us, she seemed to mainly focus on feeling ownership over our bodies and our style, no matter how silly it may look to others.  I must admit that I had a really fun time during her workshop, and finished the workshop with a little bounce in my step.

Techniques for Stage Presence and Performance with Ela Rogers
Ela is one of the premiere tribal performers in New England.  She asked us to stand in a circle, and for each of us to walk around the inside and make eye contact with every other person.  Then, we were to stand in the middle, turn our head to look at one person then follow with turning our bodies.  Eye contact is so important in performance.  So it was interesting to see who really made eye contact with every single person, who skipped people, who took really quick glances, and who was able to linger.  We also worked on a short combination that helped us use what we learned about eye contact.

Goodness!   I would most definitely love to take a class or workshop with all of those fabulous ladies again!  Four hours worth of workshops later, I'm feeling pumped to do some shopping (which I did...a LOT of!) and watch some of my favorites light up the dance floor.

Sidebar:  Oh, the shopping!  But the one item I do want to highlight is the new Sassy Sparkles Eye Kandy color created in honor of this event.  With a name created by one of the dancers and voted on by the guests, "I Dream of Gaia" (gold, green, and brown) premiered at the Shimmies for a Cure Quatro.

I Dream of Gaia

Below are the "good" shots that I got of the performances.  It was difficult, I must say, without a fancy schmancy camera.  I tried not to use my flash so as not to blind the dancers, but I unfortunately didn't get the best pictures possible nor was I able to get decent pictures of all the performances.

Nepenthe, dancing to Mashaal

*Samantha*, tribal hip-hop fusion

Jemileh Nour, my gorgeous friend dancing for the first time in 2 years

Jesi, bringing down the house with her bhangra

Badriya al-Badi'a, an ode to the OG Egyptian dancers

Najmat, her moves and beautiful costume speaks for itself

Nikki, one of Boston's Best balancing a sword

Troupe Moirae, jazzy fusion

Melina, balancing a sword on a dagger in her mouth, yo!

Aepril Schaile, the Snow Queen graces us with her presence

Ela Rogers, closing the evening with a memorable performance

I feel absolutely blessed to have been a part of the Shimmies for a Cure day.  I'm feeling inspired not only by the wonderful talent I was surrounded by, but by the amazing community that was able to raise close to $4000 for the PanMass Challenge!

Congratulations to Baseema and *Samantha* for another top notch Shimmies for a Cure!