Fabulous Friday - Modern Vardo

What is ATS? A video from CN

Really listen to how Carolena describes ATS. Hell Yes.

"When you rehearse together with the common goal of cooperation, the steps and movements become so second-nature that you can really 'see' the other person..."

How To Critique Yourself

One of my lovely longtime dance sisters and students, Kathy, sent me this in an e-mail recently, rightfully guessing I would enjoy its contents. In the bellydance world, being still truly a non-mainstream art (BDSS does not automatically bring all the trappings of "the mainstream"), we have very few tangible benchmarks for a successful work.  Meaning there aren't publicly recognized trade schools, public 'galleries', or professional critics built around our creative methods.  Aside from the opinions of friends and colleagues, who frankly will rarely tell you the whole truth and nothing but the truth, we have little in the way of true critical review. I think for us, it becomes increasingly important for us to develop a critical eye toward our own work, so we are able to more reliably assess our growth and evolution as we create, separate of the surrounding voices (which may not be giving us the best guidance).  I hope you enjoy the article! And if you would like to learn more about the author, Robert Genn, visit his page at http://painterskeys.com

New Year Tuition Changes

I want to let my weekly students know that class prices are going up in 2012 to reflect market-rate pricing for our area.  Drop-ins will now be $15 per class; pre-registration will continue to be equivalent to getting six classes for the price of five at $75 per session. This is the first raise in class prices I have instituted since 2005, despite my rent and expenses going up each year.

My goal is to always provide the very best instruction at accessible prices, as I want everyone who wants to dance to be able to afford it!  I have strongly resisted raising prices, specifically in the past two years due to the financial belt-tightening many of us have experienced in the economic slump. However, inflation of costs has become too great to continue to absorb with my outdated tuition rates which were set over 7 years ago, a decision which I hope my students will understand and support. 

In the past few years, I have expanded my scholarship and work-trade program, and will continue to provide opportunities for full and partial scholarships to ensure that those who could benefit from a boost are able to keep doing what they love.  If this change in price in any way effects your ability to continue to dance with Deep Roots, please get in touch with me to discuss options which may be available to you.  I promise you that I will always do whatever I can to help my students and sisters in the community to dance as much and as long as their hearts' desire. 

Thank you so much for your understanding, and as always if you have any questions or thoughts to share, get in touch anytime at info@deeprootsdance.com  Happy holidays and I look forward to seeing you all in the new year!!

Mm Mm Monday - Awalim

There are many videos of Awalim I love, and this is definitely among them. From Tribal Fest 2009. Mm Mm Mmmmmmmmm!

Fabulous Friday - Vintage 'Gypsy' Photo

Ebay's Guide to Tribal

In composing this blog entry, a single search for "tribal bellydance" on Ebay returned some very interesting results. Less and less dancers are shopping there, because the term has been confused and misused.
I think we should start with a reminder of what were some of the costuming influences and inspirations for tribal in the first place. So let's walk down memory lane a bit:

  Orientalist painting of a Turkish woman left, Banjara Dancer, Right

Mm Mm Monday - Aziza!

This video is of one of my all-time-favorite dancers in the universe: Aziza!  I can still remember the first video I saw of her, a VHS tape of an IAMED show she was featured in.  I was breathless. I couldn't wait to roll it back and see it again.  Each year at Rakassah, she was on my list of Must Sees--I would even close my vending booth if I had to in order to catch a glimpse of her incredible dancing.

I wish I could share that first video clip with you, but sadly I cannot find it anyplace on line in its entirety, and the snippets I found are low quality. So the next best thing is this fantastic drum solo from her Ultimate Practice Companion Video (one of my go-to drill practice videos, I HIGHLY recommend), which showcases so much of what I love about Aziza.  Enjoy!

Fabulous Friday - 'Girl in Ceremonial Dress'

'Girl in Ceremonial Dress'

New York Public Library Collection

Free Make-Up and Costume Videos!

In case you didn't already know, FatChance has made their Volume 2 Make-up and Costume video available online.  It's a one-hour video which is partly educational and partly a fab trip in the wayback machine.  My VHS tape (and any VHS player ;) is long gone, so it's fun to see it available streaming online.

http://www.fcbd.com/videos/makeup_costume.shtml

While some of the conventions have evolved in the almost two decades since this video was created (1994!!), it has some great information on what stage worthy make-up entails and the evolution of the ATS costume.  And if you are a lover of turbans as I am, a walk-through of turban-tying and decorating is included in the video.  Enjoy!

Class Holiday Get Together this Thursday

Hello lovelies,

This Thursday night, December 15th, we are having an informal all-class holiday get-together at In The Red Wine Bar at 65th and Phinney, just two blocks south of PNA. Level 2.5ers and myself won't arrive until 9:15ish. You are welcome to gather earlier, just tell them you are with the large group with Shay Moore. Hope you can make it!


http://intheredwinebar.com/

Where does innovation come from?

I have been thinking a lot about the creative process lately. About how important it is for me to not go through it alone, how I flourish in a team environment where like-minded people are pushing toward a common goal.  This is why I love directing a troupe--not just because I prefer dancing synchronously with others and the aesthetics of group performance, but because I prefer the process of creation more when I share it with others. Even now when I am not myself performing, directing my student troupe, sharing our ideas and combining all of our energies to create a performance is such a joy.

This attitude is what makes online discussions such a valuable part of my creative evolutionary process as an artist.  I feel that engaging in discussion/debate with others--comparing and contrasting my instincts and opinions with others of various backgrounds--strengthens my mental and emotional impulses.  I am better as an individual because I become a combination of ideas and considerations introduced by others. Being challenged by someone who doesn't share my vision is an opportunity to expand the scope of my understanding, and better hone in on the "how & why" of my own tendencies or opinions.

And it is also why I love to teach workshops and get to travel to bellydance events in other parts of the world.  Being able to teach, to share my ideas, and in return be exposed to so many other attitudes and ideas is so invigorating to me!  To sit over a meal and a glass of wine and geek out over dance stuff is my idea of a perfect evening.  Combine that with some performances, workshops, and lots of laughter, and I come away from it inspired and refreshed.

I recently watched a TEDTalk with Steven Johnson, exploring the idea of "Where good ideas come from."  What he talks about really reinforced my own experience with the creative process, and how important these words are in my life: connect, communicate, commiserate, community. Below are some quotes I felt particularly moved by, and the full TEDTalk is below that.

Mm Mm Monday - A new video spotlight!

Hello lovely dancers!

Mondays are far too dreary, don't you agree? We could all use a little inspiration, a little pick me up, a little kick in the tushies to get our week started right.  So I am instituting "Mm Mm Mondays", a new weekly installment which will be a video for us to watch and get our creative juices flowing.  A chance to say "Hell yeah!" or "Woah!" or "ZOMG!", and be moved to go a little further, make a little extra effort in our week ahead. Sometimes it will be bellydance, sometimes other dance styles, and maybe sometimes not even dance at all but still containing images, sounds, and ideas I find inspirational and think you might, too. You with me? Let's do this!

What better place to start than at the beginning? I actually had another video lined up to kick off Mm Mm Monday, but then yesterday Suhaila Salimpour posted the latest in a line of archive footage and it seemed a perfect fit for the first installment.

Here is Jamila Salimpour's Bal Anat filmed in a studio in the early 1970s! It is a full 30 minutes long, so you may want to get it loaded and queued up, and set aside some time in your day to watch it all the way through. I share this not as necessarily an example of amazing dancing or staging, but as a snippet of history that is important to see and know. And I love looking at all the costuming and thinking of what it was like before the days of the internet to acquire jewelry and textiles such as those. In short: HARD!

Deep Roots Dance Student Spotlight - Molly Price

Name: Molly Price
Age: 38
Profession: paralegal and yoga instructor
Hobbies: besides dancing, voracious reading, learning to sew, and yoga, yoga, yoga.
How long have you been studying bellydance: Almost 1 and 1/2 years.

When did you first see bellydance? What were your first impressions? 
My earliest memory of bellydance was at about 4 years old when my mom signed up for classes.  I remember she kept her zils in a special box and I would sneak into it and bellydance in my own little kid way, erratically clanging the zils together.

What motivated you to finally take your first bellydance class? 
For years I had been curious about bellydance.  One day I saw a classified ad on my neighborhood blog, I had always wanted to try bellydance and the classes were starting up soon, so I registered.

What was your first class like?
My first class was like my first yoga class, it was a “YES!” moment, like coming home.  Even though a lot of the movements were almost the antithesis to my ballet movement vocabulary and I felt kind of awkward, I knew I was in love.  I’ve been hooked ever since!

In what ways do you think you have changed or benefited as a result of taking bellydance classes?
I've definitely become more appreciative of my body and what it is capable of, even if I don't get something right away it's always fun trying. 

What is your favorite move or concept you have learned so far and why? 
There are so many moves I love but I really enjoy  the Moroccan Hip Hop because it's sassy and so much fun to do.

Any advice for other students who are just starting out?
In the words of Lady Gaga “just dance!”  (Sorry, I had to say it!) But seriously, just dance and have fun, enjoy your path as a dancer. 

Any other thoughts to share?
Every day I'm thrilled to be involved in this passionate, fun, and diverse bellydance community that we have in Seattle.  I’m so happy to have found Shay's classes too, I really connect to her clear, concise, and often hilarious way of explaining movement and technique.

Aw thanks, Molly. I'm so glad you found our classes and am pleased to have you as a part of our dance family!

Want to be in the Student Spotlight?  With the spotlight, we really want to highlight the unique and incredible women who are drawn to ATS, and inspire other women to see that everyone is welcome to join in the joy of tribal bellydance!  So please, get in touch, hop in the spotlight, and spread the love.

Fabulous Friday, meet Bohemian Wednesday from Minas Decor

Talk about some inspiring images. Mina's blog "Bohemian Vintage" has some fantastic eye candy including home decor and fashion. Feast your eyes!

 For you dance Mommas out there:

Lots more at http://minasdecorandfashion.blogspot.com/search/label/bohemian%20wednesdays

Do you have a job?

As an independent teacher and performer, it is always feels strange in discussions of my career to offer that I also do graphic and web design on the side. It is often met with a nod like "Ah! So that's her real job, so she can do the dance thing." Quite the opposite is true.  I spend 90% of my time and energy on my primary career of dance, and try to cram some design work into the nooks and crannies--because yes it is good supplemental income, but also because I just truly enjoy it.  It is key to note why and how I learned graphic and web design: from designing my own dance websites and marketing materials for myself, my troupes, and fellow performers!  I only have this "side job" because of my successful career as a dancer.

Herein I want to share one of the best written breakdowns of what a life of an independent performer/artist is really like!  I resonated so much of this blog post, but here are a few gems from a CA hooper named Revolva. Props to you, girl!

"When people ask me (either out of disdain or wonder), “Do you just perform, or do you also have a job?” – and I reply that I perform, and I also work as a writer, I don’t think they understand I am NOT saying, “I have a fun activity and a job that you might consider real!”  Instead, I’m saying, “I have a job that’s eighteen jobs in one – and another job. So I have nineteen jobs. Thanks for asking.”"

And THIS:

"I’m not complaining about life as a performer.  I’m only pointing out, for people who don’t know, that it’s less a selfish life led by lazy, lucky people – than it is a selfless one led by people who often spend every waking moment dealing with (or even thinking about) some aspect of how to raise our art into the world, the way a mother raises a child."

Read the entire glorious post here:
http://revolvahoopdance.wordpress.com/2011/12/06/do-you-have-a-job/

Teacher Loyalty - a dying virtue?

I have written in the past of teacher loyalty, both in the "Teacher Loyalty Redux" as well as expressed my own homage to my dance Mommas in the lengthily named post "Sharon has two mommies...no, wait...four...no" The former is an expression of the business/consumer aspect of teaching--students pay for classes, we teach them, and that is all that can really be expected of anyone; that is, a good faith fulfillment of your "product" to the customer.  The latter being a loving, grateful homage to the teachers who have molded me into the dancer I am today.

This is a complex issue--entire dissertations have been written about the student/teacher relationship, what it is, how it develops, what are the boundaries, etc.  But aside from a scholarly discussion, there is an undeniable emotional aspect which is important to look within ourselves to work out... As you can see from my caveat in the first blog post, and the subsequent bloggy homage to my Mommies, I have personally always felt that my teachers are my mentors, my inspirations, my family tree.  I feel deeply rooted to their influences and energies (the recent name change being an outward reflection of that conviction).  And now being a teacher on the other end of the equation, I can attest that there are unique and powerful emotions we teachers experience which we have to deal with on our own, particularly at times when we feel more invested in a student than they may feel in us...

Fabulous Friday - Ruth St. Denis

Solstice hafla all-level performance opportunity!

Hello lovely students! Wanna be part of a fun, no-pressure hafla performance in December? Open to current ATS students* of all levels (that means you, too!!) Check out the latest newsletter.  Deadline to sign-up to perform is tomorrow, Friday December 2nd. Rehearsals are the next two Tuesday evenings.

*current students refers to students who have taken ATS classes in the last three months.

Interviews with Carolena by PinkCoinBelt

In my recent wanderings around the ATS dancer blogosphere, I came across the Pink Coin Belt Chronicles, which is a blog written by Yuska, a male *gasp*ATS dancer at FCBD studios.  More than that, he just became the newest member of BlueDiamondsBellyDance earlier this month--a student troupe at FC studios.  It's a fun blog seem through the eyes of an enthusiastic student of tribal bellydance.

Among the entertaining blog posts was a 5 part series of an interview he did with Carolena earlier this year, in which he asks about dance, life, religion, and everything.  I have included some of my favorite snippets from each of the segments, with links to read the complete interview below.  Enjoy!

"Let’s begin with the hardest ones first. Could you tell us the typical process of creation of a movement? From the conceptualization until it’s out there in the ATS vocabulary.

Well, the core movements that you see in Tribal Basics volume 1 are the movements I learned from Masha Archer. Basically, for a movement to be admitted to the ATS vocabulary, everyone has to accept it first, in that it has to be doable. Because everyone has different bodies, it is important that the movement is created so that they complement to these different types of bodies. This also applies to the range of motion. Dancers must be able to do a move, otherwise it will just get sidetracked because no one’s using it because no one can do it.

Tell me, what do I have to do do to make sure I don’t get kicked out and banned from FCBD’s studio?

(Laughs). Show up on time, leave your baggage at the door, be open minded, be in a good mood, allow your mood to be transformed, follow directions and be polite to the teacher and be helpful to other students, but don’t micromanage the others.

We really frown on people teaching when a teacher is teaching, and commenting when a teacher is presenting. What is planned for the day is whatever the teacher is planned for the day.

What do you think is the worst thing an ATS teacher could do?

I’d say that it probably has to do with what they say, not necessarily what they’re doing. If he or she is overly critical of other dance styles and saying that other teachers are wrong, that’s really frowned on. Also if the teacher is overly critical of the students and doesn’t build a good rapport with the students,

A really good instructor, I think, would be magnanimous, confident, able to manage things as they come and go, creative, open minded all the while staying with the philosophy (of ATS). If a teacher has so much creativity within him or her that makes the teacher go completely off the ATS map, then ATS is not the right dance. Perhaps fusion will be more rewarding, because what makes ATS so great is the boundaries of this dance."
Read the rest of Part 2 (really is Part 1 of the interview) HERE

It continues in the next installment:

"So what keeps you relentless and perseverant? What keeps motivating you in doing ATS?

I feel like I was given this dance (by the Goddess Quan-Yin) and that it’s my job to move it forward. I just wake up every day and feel that there’s always something else to do. So there’s really no need for motivation.

However, every now and then, there is this debilitating feeling of not wanting to go, but it’s more because of what people say.

Fifteen years ago, when Fusion was the thing and everyone was learning fusion with different styles of Tribal, I was like, “What are they doing?” And people were nasty to each other and it wasn’t fun or conducive for the dance. So, I felt deflated because of that and I just thought of quitting.

...

But I guess what motivates me is the idea of happiness that ATS brings. It has brought so much joy to the lives of so many people. I feel the need to share the dance. The dance itself is fabulous. But as soon as people start to open their mouths…"

 Read the rest of Part 2 HERE

 Part 3 is HERE
And a snippet from the final part:

"What do you think is the most gratifying aspect of performing?

Being able to entertain the audience – it was only until recently, during the second Taiwan trip in 2008 that I discovered to just let everything go and have fun on the stage. I used to resent the audience and the idea of me having to entertain them. So, my conscience and I decided to have a talk. I had lots of moments when my Self and I would say, “Let’s have a talk because this thing isn’t working.”

One time, my Self told me to let everything go when I’m performing. I used to think that when people came up to me and ask where I bought my choli or what music I danced to, people weren’t paying attention to me, but to what I wear and the song I dance to. My Self said, “That’s right!” So, at that moment, I decided to just dance and I was so into it.

At the end of the performance, I was there, with people taking hundreds of photos with me. I used to dislike people taking photos of me because I felt they were stealing a bit of my soul, but I realized this made them happy. So I just stood there until everyone was gone, still smiling, asking if everyone’s sure they don’t want to have another photo with me.

And what do you think is the most gratifying aspect of teaching?

It is so good to have that lightbulb experience and lightbulb look on the faces of the students. It’s so good to know that they can connect to what you are teaching.

It doesn’t have to be in the class or about a move you’re currently teaching, but it can also be about the body image. Some people who are really conservative could put on a costume and just have that lightbulb moment when they feel that it is just natural for them to bare their stomach and dance in something that could be too revealing for most people."

Read the rest of part 4 HERE

Four Steps to Becoming a Great Dancer

 I did it. I solved the riddle. I have cracked the code.

Right here, right now, I am going to give you the mysterious formula, the secret recipe, the magic wand to wave over your dance life that will give every single dancer reading this the power to become a stronger, more beautiful dancer.   It is a four step plan, which works regardless of what style of dance you choose to pursue; and is effective for all ages, all shapes and sizes and fitness levels.  Whether you have aspirations to take to the stage, or just want to be able to dance socially with greater confidence and grace, this method is for you.  I have used this method myself for years so I can attest to its efficacy, and in fact all the best performers I know have employed this same method to achieve similar results.

It is 100% foolproof, and only requires a little time each week to work!

Are you ready...? Read on!

Fabulous Friday - Flamenco Dancer

Tribal Bellydance Music I Used To Love (and still do!!)

When I first began teaching, I had a 32-CD case full of music I had collected for listening and practice (and there was a lot more than that which didn't fit in those sleeves and stayed at home).  But among that collection, there were a few albums which were regularly used in my classes and performances--they were the 'must-have' albums for tribal dancers in those early days of the genre--which are still among my favorites today.  I thought I would share those titles with you, so if you don't already own them, you can fill out your musical collection if you are inspired.  Of course, you probably don't buy CD's very much these days, so I am linking to their MP3 downloads for your convenience. 

The Tribal Code

THE TRIBAL CODE
* Written/Created by the lovely and talented ladies of FatChanceBellyDance:

Commitment: Be there for your dance sisters. Whether it’s making sure your cues are strong or getting to a gig on time, we all need to depend on one another.

Communication: Ask questions and learn from the more experienced dancers and teachers. Also, don’t let things fester. Express yourself in a constructive, respectful way.

Awareness: Be aware of how your words or actions can affect others. What makes sense to you may be understood differently by someone else. Take considerations to think before you speak or act.

Teflon: Don’t take things personally! There are too many unique individuals in this group to avoid minor misunderstandings. Let things slide off your ego – don’t let things stick!

Humility: We all can benefit from going to Level 1 and Level 2 classes and working on technique. We can also benefit from allowing room for all our personalities to exist.

Trust: This dance form is founded on trust, on and off the dance floor. Earn people’s trust and give yours as well.

Respect: Treat your fellow dancers (and human beings) with compassionate respect and be mindful of others’ talents and limitations. Respect the dance form for what it is rather than how you would change it.

Support: Come to the shows of FatChanceBellyDance (and Deep Roots Dance!) and of your fellow dancers. Not only does it support the dancers, it is a great way to learn about performance!

Joy: Dance for the love of it! Enjoy yourself and the company of others.

Getting The Most Out Of Watching Personal Performance Videos

Over my years performing improvisational tribal bellydance, I have had many opportunities to watch videos of my performances. It can be fun and humbling to watch these videos, and each time was a chance to learn something new about not only my abilities as an individual dancer, but to strengthen the work that me and my dance sisters were doing together. It is a tool to examine our technique and stagecraft from the outside, and provide us a forum to discuss how we hope to improve and grow as a troupe.

When you get your hands on your video, here is my standard advice:

Make sure to watch at least 3 times. Do not discuss the performance until you have watched all three ( or more if you prefer) times!
The first time you can't help but watch yourself and be more critical than you deserve. Get that one out of the way.
The second time, watch yourself again, and this time make a point to single out your strengths and successes! You will also begin to see more of the show as a whole you were a part of.
Finally watch the whole picture, seeing the full show as the audience would have enjoyed it.

Once you have finished watching it at least 3 times, start by talking with your fellow dancers about the highlights of the performance. Get in the habit of trying to find and articulate the positive aspects of your work first and foremost. Do not be shy about expressing things you are proud of, in yourself and in others. Being able to talk about all the things you do well is just as important as identifying areas which need improvement.

Move gently into the realm of critique. Whether offering critique of your own work or that of others, frame your feedback as constructive, non-judgmental suggestions or questions. My absolute IDOL of honest yet constructive feedback is Tim Gunn. Seriously, watch videos of him and learn. He manages to present feedback that is to-the-point yet thoughtful, gently and kindly administered. Don't be passive-aggressive (or in any way aggressive)--most people would rather hear tactfully delivered frank honesty than anything vague or washy-washy.

Make video watching a fun time for you and your fellow dancers, rather than some kind of dreaded doctor's check up. Sit down with a bottle of wine and snacks. Plan to watch other inspirational videos as well perhaps, to keep the dialogue and creative juices flowing. Always end on a positive, sharing in your triumphs together and looking forward to the next fantastic performance!

Credit card payments now accepted in person!

Hello lovelies!

Paying for classes is getting even easier.  In addition to online payments we have long offered, and cash and check payments we accept in class, you can now pay for classes at the studio with a credit card.   And if you like, a receipt can be conveniently mailed to any e-mail address or texted to your phone for your records.

So now it is "Cash, check, or charge?" with Deep Roots Dance.  See you in the studio!

Fabulous Tribal Styling for Super Short Hair

Anyone in the bellydance world can attest that tribal style hair is an exercise in excess!  It's about bringing together a variety of elements, laying them one atop another until you reach the perfect balance of glamtastic (yes, that's a word) details.  It is a common misconception that one needs lengthy locks to set the foundation for such grandiose beauty--how else will it all stay in place?  Deep Roots Dance is here to bust that myth.  As a short-haired gal myself, I preach from the mountaintops that even short-haired dancers can enjoy glamarrific (also a word) tribal hair, and here's the proof.

In this video, student troupe member Arya Pretlow walks us through her process of styling her hair for an ATS / tribal bellydance performance.  And get this, her hair is even shorter than mine--pixie cut no less!  Watch as she takes us through each step, showing you that with just a little practice and patience, you too can learn to have fabulous, stage-worthy tribal bellydance hair.



YouTube description: A bellydance hair tutorial from Deep Roots Dance, appropriate for ATS hair and tribal or tribal fusion hair. Student Arya Pretlow walks us through her routine for styling her pixie-cut hair for fabulous tribal fusion bellydance performances! Shay videos and interjects a few personal suggestions as well. Note that unedited, this video was only 19 minutes (not too shabby for amazing hair, right?!). We simply had to cut it down to under 15 to fit the YouTube format; so apologies for any abrupt cuts, but really only a few minutes more was all it took to complete this look. You can do it, too!!

(PS Oops, Typo alert! An extra "t" found its way into "occipital shelf". We'll just pretend it stands for "TERRIFIC!")

For more ATS / tribal bellydance tutorials, and articles, as well as class and workshop information, visit http://www.deeprootsdance.com

(PPS Audio was a little odd since we did this in a bathroom. Hope you all can follow along! If you have any questions, get in touch.)

Tribal Crafternoon Workshops in December!

Tribal Crafternoon with Deep Roots Dance

Join us for Tribal Crafternoon--a series of workshops where we give our hips a break and work with our hands.

We're holding two afternoon workshops in December covering some fun, crafty projects to give a boost to your tribal dance wardrobe.  Enjoy an afternoon of hands-on creativity with us!  Only $25 per workshop, or $45 for both.

If you are like me and like to give gifts of experiences for the holidays, this is a great opportunity to treat a bellydancer in your life to some fun workshops they are sure to love.

Tribal Bellydance Belt-Making
December 10, 2011
11am-1pm
Phinney Neighborhood Center, Room 1

Join us to learn how to make a fitted tribal bellydance belt, including simple custom-fit patterning to both sewing and no-sew options for creation and embellishment, as well as a brief tutorial on tassel-making.  We will also look at some other hip wrap and sash-making techniques, and discuss creative layering for the stage.  By popular demand, we will revisit the creative skirt-tucking techniques we discussed at this summer's costuming workshop, and explore ways to use multiple skirts and lengths of fabric to add more lush layers of color and texture to your look.

Everyone will walk away with a custom-fit pattern to take home and make their own belt with, and a handout which outlines recommended materials and techniques we have covered for later reference.

Hair Gardens - Flower-Making & Headdresses
December 17, 2011
11am-1pm
Phinney Neighborhood Center, Room 1

Learn how to create incredible hair flowers and headbands with your own two hands!  This workshop will introduce techniques for creating unique and beautiful hair embellishments using silk flowers, glue, glitter, and found objects.  Some complimentary materials will be provided, as well as some more lavish and hard-to-find options for sale. There will be some brief demonstrations on how to mix and match various elements for greatest effect on stage (hint: in tribal, less is not necessarily more!). And best of all, at the end you will get to take your gorgeous, blingy creations home with you! Some snacks and soda will be provided, but feel free bring any other snacks you would like to share while we to sit together crafting and chatting.

Full materials lists, details, and registration at http://www.deeprootsdance.com/p/workshops.html

Fabulous Friday - Bailes Rusos

What it takes to perform with an ATS group.

Wendy Allen of FCBD wrote a fantastic article on what it takes to perform ATS.  For anyone who wants to better understand the kind of consistency, patience, and commitment it takes, I have excerpted some of the best bits below:

"When people start taking classes in American Tribal Style dance, often one of the first questions is, 'When do I get to join the troupe/perform?'

The answer is, not for awhile. While you may have a desire to get up on stage and express yourself, you have a responsibility to your fellow dancers and your audience. 

The first thing to learn about performing ATS is that it is not all about you. It's about the group.

You may think you are well versed enough in the format to jump in after a long absence.  Think again. If you haven't been around class for awhile, we need to get used to dancing with you again.  

You may think that because you have other belly dance training you don't need basics. Think again.

You may think that because you are Arab/Egyptian/Turkish, etc, you won't need basics.  Think again.

This is a specific format with its own vocabulary.  You must learn the basics before you can advance. It's not fair to the people who have put in the time and effort to allow inexperienced dancers into the advanced levels. Again, it's not about you, its about the group. Keep reminding yourself of that. Make that your mantra. 

(Our troupe) does not audition, nor do our student troupes. Well, I take that back. We do audition, but that audition starts in Level 1 and continues throughout your education in our classes.  The teachers do pay attention, and we do observe.  

...

If you want to perform with an ATS group, here's what you do. Show up consistently to class. Have a good attitude, don't be a diva. Focus, do your best to fit in with the culture of the classes. And no matter how experienced you become, always go back to Level 1 and Level 2, because in spite of what you may think, you have never learned everything there is to learn about any one move.  If you think you know everything, you're sorely mistaken. "

Deep Roots Dance Student Spotlight - Meera Mittal

Name: Meera Mittal

Age: 23

Profession: Social worker

Hobbies: salsa dancing, painting, hiking, fishing, cooking, reading

How long have you been studying bellydance: about 3 years 

When did you first see bellydance? What were your first impressions?

I had not really seen bellydance before my first class.  Once I started classes, we would sometimes watch instructional and performance dvd’s of different groups.  My first impressions of it were that it was beautiful and strong, sometimes sensual and very grounded.  I was impressed by the confidence that exuded from the dancers. 

What motivated you to finally take your first bellydance class?

I wanted to try a new dance form and it was offered at my university.  It just sounded like fun!

Fabulous Friday - Algerian Photo

More trio goodness: Silver Wolf Clan

All the way from Italy, this beautiful ATS troupe is the fist Sister Studio in that country! Their dedication to the form shows in this video. While they are backed by a chorus, the trio in front stay out front the entire time, and save for a few fades here and there, even the leader stays the same throughout as well. I thought it still stood as a great example for the potential power in small-group ATS.

They clearly know their music to a T and use it to great effect, creating dynamic shapes with their formations and movement choices throughout. Enjoy!

The Importance of Taking Your Time

This may seem obvious to many, but sometimes I think it bears revisiting this important fact: becoming an intermediate or advanced dancer is so much more than the number of moves you know.  Unfortunately, many teachers "sell" it this way, encouraging students to leapfrog through the class material, drawing students in by boosting their egos but without the attention to detail that would help them become truly strong dancers.  The result is a group of highly motivated and excited dancers surely; but they lack the refinement, control, and polish that they could have if they were instead encouraged to take their time.  They are given quantity over quality, and what's worse is they usually don't know any better.  How could they if no one is setting that example for them?  The teacher who is supposed to be helping them understand what it truly takes to really grow in their dance is sending the wrong message.

I find new teachers run this risk the most.  They may have a lesson plan written out to teach two moves in a given night, and then later report "but they got through all that so fast, I taught them three more things!"  Woah, slow down there m'dear.  Have you really given them all they could absorb--nay, NEED to absorb--in the 15-20 minutes you had to break down and drill those moves?  Or could you have dug a little deeper into what you already had to present them? And in the course of your sessions, is one or two times through the body of material really enough to be throwing new challenges at them?  Or would they benefit from doing it again, looking at it from fresh angles, entrenching it ever more deeply into their minds and muscles?  Perhaps some very talented students are truly ready for new material after a few repetitions, but most are not. Frankly, even among those who learn that fast, they will gain so much by being encouraged to take their time, and dig into the details of the movements they have in front of them right now, before tackling on new material.

I Am A Dancer

I am a dancer.

I twirl, leap, and spin.

I jump, pirouette, and tap.

I am a dancer.

I feel pain and fear.

I feel defeat and failure.

Yet, I keep going.

I smile, I practice, I perform.

I have grace and beauty.

I do not dance because I am happy,

I am happy because I dance.

I hear the applause.

I perform and do my best.

Sometimes I fail.

I don't give up.

For I am a dancer.

I am brave and strong.

I dance not for fame and glory.

But for how I feel inside.

I am happiness, joy, love, and excitement.

Strife, talent, joy.

Determination and beauty.

I am a dancer.

- Author unknown

Fabulous Friday - Ruth St. Denis

Ruth St. Denis in Radha

New York Public Library Collection

Why Yes, I am a Bellydancer.

I know quite a few dancers who are not on Facebook, where this was making the rounds a couple months back. Thought I would post it here for those who haven't seen it. And dammit, it's funny every time. And sadly familiar. But funny!

Maybe it will inspire a few Halloween costumes this weekend...

Don't Forget the Joy

Lauren Zehara (at right) recently posted this note on her Facebook page, and I wanted to make sure that a wide audience would be able to read and appreciate her simple yet profound wisdom--in short, that there is room for all kinds of dancers in the bellydance community, from hobbyist to professional and everything in between.  With her permission, I have shred the entirety of her note below. To read more excellent articles from Lauren Zehara, visit her web page at www.bellydancestuff.com

"Once in a while I feel like it's important to talk about the real reasons most of our students walk in the door, and the things they really want from us.

They signed up for a bellydance class because they thought it would be fun! They want to get some exercise and learn some dance moves. Leave behind their jobs, kids, responsibilities, maybe dress up in something sparkly or jingly and express themselves. Make friends, that's a biggie -- many of my students have confided in me that most of their circle of friends has come from the studio.

Those are incredibly lofty and important goals -- perhaps more important, on a human level, than competing for restaurant gigs or trophies.

Workshop Hosting - what you're really paying for

A recent discussion on a bellydance business discussion group brought up an old tribe thread on the same subject. The discussion was surrounding the costs of hosting a workshop instructor, and what the $150-$200/hr of workshop time with an instructor really translates into. Back in 2007 I wrote a reply in this thread from my perspective as a teacher, and thought I would share the slightly modified version of it here.

If $150-$200/hr for teaching, on top of room/food/travel, seems like a high cost, consider this rundown of how a workshop teacher's time is spent:

It's important to note that the term "hourly rate" is a bit of a misnomer. While the instructor may be teaching for only 4 hours, they are "on" much more than that.  And many teachers have to cancel or get subs for their classes at home, turn down other performances/gigs for the time they are away, get pet sitters or kid sitters...part and parcel of a traveling performer and teacher, but it's something that is sometimes forgotten when considering the value in a teacher's workshop wages.  For me, it is a pleasure to get to travel to new places, and meet, hang out with, chat up, and network with other dancers--it's an addictive, joyful experience! But at the same time, any teacher can attest that it is incredibly draining, and it is definitely "work" even outside of the classroom. That is an intangible "cost" to the teachers that is reimbursed, if you will, in the pay they receive. And even then, you won't get rich off of it (or outside of maybe BDSS, make a living wage off of it), and you have to do it for the love of it!

I Praise the Dance

I praise the dance,

for it frees people from the heaviness of matter

and binds the isolated to community.

I praise the dance, which demands everything:

health and a clear spirit and a buoyant soul.

Dance is a transformation of space, of time, of people,

who are in constant danger of becoming all brain,

will, or feeling.

Dancing demands a whole person,

one who is firmly anchored in the center of his life,

who is not obsessed by lust for people and things

and the demon of isolation in his own ego.

Dancing demands a freed person,

one who vibrates with the equipoise of all his powers.

I praise the dance.

O man, learn to dance,

or else the angels in heaven will not know

what to do with you.

- Saint Augustine

Your Dance Bag

The first night of every Level 1 class, I do a brief orientation with the students.  We go over simple studio layout (where's the bathroom, water fountain...), etiquette (being on time, no shoes in the studio, etc), how the session will go (that we run in 6-week repeats, finger cymbals week 3...), and I briefly touch on the idea of having a dance bag.  For Level 1 dancers, the bag is super simple--your finger cymbals, water bottle, and notebook.

As your dance world grows, so does your bag!  A little secret: I love bags. Not purses, BAGS. I love shopping for bags, assessing all their internal organizational pockets for their purpose...it goes right along with my love of office supplies and closet organizers, I suppose. I love everything to have its little "home". But I digress...

So once you have progressed past Level 1, what are some other common items to find in your dance bag?  Here is a checklist of potential things to keep in your dance bag at all times:

Fresh take on a TEDTalk - impulses

Two months ago, I posted a TEDTalk which featured Benjamin Zander talking about getting modern audiences to love classical music.  I didn't tie it into anything dancey, I just really was moved by the video and wanted to share.

Today I was trolling Blogrolls for some new dancey blogs to read, and I came across "The Tribal Way", written by a gal named Chella. She watched the same video a month later, and had a brilliant observation to make connecting Zander's discussion of "impulses" to learning and refining tribal bellydance.

"Zander notes how the learning of a skill progresses. The novice puts an impulse, an emphasis or concentration if you will, on every key. They have to think about each note as a separate entity. As their skill increases, they don't have to think so much about each note - their fingers know where to go and the emphasis is on fewer notes. Finally they become so proficient that they place even emphasis on an entire phrase of notes - one impulse for an entire stretch of music. This is where the magic happens! The notes are smooth, beautifully running into one another with no hesitation.

This idea of impulses can be applied to dance as well. A beginner concentrates on each facet of each move, and you can see it in their bodies - the concentration as they move between each motion. There's nothing wrong of course, this is just the start and I'm sure we all looked a little jerky and robotic in the very beginning. However, when you look at a professional dancer - Carolena Nericcio, Rachel Brice, etc - you will see no impulse, no jerky hesitant movements. Their motions run gracefully together in a stream of dance.

You can see this easily when you watch videos of Fat Chance Belly Dance, and other extremely skilled troupes as well. Why do they seem so graceful? So in sync and smooth?  Other troupes may do the exact same movements, but you cannot deny the certain 'je ne sais quoi' that FCBD possesses. Well, now you do know what - they have so few impulses. Their skill has grown so great that they are playing their instrument with only one impulse."

The rest of her excellent post is HERE. Enjoy!

Ollin Arageed by Hamza El Din

A song we often dance to in slow in class, Ollin Arageed by Hamza El Din, has a beautiful history behind it.

"Hamza El Din - Ollin Arageed
A Nubian percussion performance, played for a person only once in a lifetime--at the celebration of a first wedding--the rythm composed of three different beats on the tar, accompanied by a melodie handclapping, feet beating on the ground, and, traditionally, singing and the noise of women's jewelry in their soft movements to those rythms (sic)."

Hear the whole song on YouTube HERE
Buy the song yourself HERE
Thanks to the beautiful Amel Tafsout for passing along this link!



Side note, this was a popular song played by The Grateful Dead. You can hear a snippet of the live version played at Gizah HERE

Inspirational Troupe - Persephone Dance Co.

Sometimes we feel our wind is taken from our sails when we don't have a hearty group of dancers to stage.  Less bodies on stage translates into less staging options, less sound, less color, and sometimes less energy.  If you want to see a troupe that really knows how to rock a stage with only a few dancers--three in this performance at Tribal Fest last year--then look no further than Persephone Dance Company out of San Jose, CA!  In this performance, they showcase both the "dynamic simplicity" of ATS movement and the variety of interpretation and staging that a trio can use on stage to great effect.
(Shay's cautionary note: The Turkish drops in the first part of this performance, while stunning, are *extremely dangerous* and take a lot of strength, flexibility, and preparation to learn. If you wish to learn this move, please do so under the supervision of a trusted instructor.)

Tired of Speaking Sweetly - The Poetry of Hafiz

One year for our anniversary, my sweet husband bought me a book of poetry by Hafiz, entitled The Gift.  He promised to read to me from it regularly; and he did throughout that year, and sometimes I would read to him in return. This is one I read to him those years ago, and its power is still with me today. I wanted to share it with you!

------------------------------------------
Love wants to reach out and manhandle us,
Break all our teacup talk of God.

If you had the courage and
Could give the Beloved His choice, some nights,
He would just drag you around the room
By your hair,
Ripping from your grip all those toys in the world
That bring you no joy.