Shut Up! and Shimmy Podcast with Shay Moore

The lovely Kat Ross asked me to come on her new podcast, Shut Up! and Shimmy, and here is the results. Enjoy!

Mm Mm Monday - Rachel Brice Interview BDC

There is no denying it: Rachel Brice is a compelling artist. An aesthete to the core, she brings visual elements together in her dance and costuming that are exquisite and exquisitely inspiring. She is also incredibly thoughtful and articulate, as is demonstrated in this fantastic interview/vignette created by Bellydance China for their 2013 conference. Enjoy walking down memory lane with RB, and hear some thoughts on how she creates her unique costuming looks.

Is fusion getting "too hot"?

 I came across an old interview with Rachel Brice I had not read before, conducted by Salome of OrientalDancer.net. While it doesn't have a date on it, it speaks a bit about the Bellydance Superstars tour as if it were still a fairly new tour, which makes this article as much as 8 years old (she began touring in 2003), though the video accompanying the article is 2009, it may have been added later... But I digress.  Regardless of the age of the interview--which is largely the typical 'who did you study with?', 'what is it like to tour?', etc.--it has a couple of nice pearls tucked away in a short, otherwise typical RB interview. I thought I would share my faves:

On performing so much you can't grow:
"I think, however, my main struggle is that of growing as a dancer when there's no time to create. We're always performing, so that leaves very little time to go watch other dance forms, find new music, sneak into the underground for costuming ideas, practice yoga with new teachers, or make new dances. Since newness is one of the things I require to feel passionate about my dancing, I am afraid that I'm lacking direction sometimes. In fact, just the other night I had a dream that I was given amazing powers, and a guide to show me how to use them, but the guide was killed. I think this is indicative of my mental state."

On fusion straying from the purpose of tribal:
"I love the individuality of Fusion, but I think sometimes it strays from the original intent of Tribal Style. Overtly seductive movement with flirtatious expression seems to be creeping back in here and there, and the lack of that is one of the things that drew me to Tribal in the first place. With the thirst for new developments, I hope we always keep striving to go deeper rather than hotter."

Oh, Rachel! I love that. Deeper rather than hotter. For sure!

You can read the full article here: http://www.orientaldancer.net/star-interviews/belly-dancer-rachel.php

(PS The photo is from a photo shoot conceived by Kristine Adams from FCBD, where Rachel dressed as Carolena and vice versa. Isn't it awesome! There are some other great poses from this same shoot, it's really fab!)

Cues & Tattoos This Weekend!

The festival season is upon us, and for Deep Roots Dance that starts with the festival of all festivals for improv tribal dancers: Cues & Tattoos!  We are so blessed to have this festival right here in Seattle, chock full of workshops, shows, and shopping.  Nomaditude and Students of Deep Roots Dance will be performing this Saturday at 2pm. Full details on the show and much more at http://www.troupehipnotica.com/cues/

History of FatChanceBellyDance & American Tribal Style Bellydance

I am loving that Habibi has been digitizing their articles and putting them in an online archive. THANK YOU!  Here is snippets from a gem from 1999, a history of American Tribal Style written by Kajira Djoumahna of BlackSheep Bellydance:

"I believe what people remember most from these influential beginnings is more a certain feeling derived from watching Bal Anat, as the ancient roots of past and present cultures seemed to be evoked. The colorful costumes and facial tattoos worn by many of the dancers seemed to recall a tribal culture, whether or not they were truly authentic. We must try to keep in context the fact that during this time the world, and especially San Francisco, was on the cutting edge of experimentation, undergoing a modern renaissance if you will. It was a time different from any other in our history as far as creative energy and limitless horizons. Add to that the fact that Jamila is an excellent show person, knows how to set an entertaining stage, and how to keep an audience enthralled, and it is no wonder her ideas were so successful ­— and still legendary even thirty years later."

"Carolena took ideas from Masha’s classes, Jamila’s approach and her own sense of style and began working on what would become the primary interpretation of American Tribal Style Bellydance we know today. I asked Carolena whether Masha’s style, or Carolena’s American Tribal Style, had anything to do with Jamila Salimpour’s format.

'I’ve never met Jamila, and I’ve never studied with her, but from everything that I can see from people who have studied in the Jamila school, it’s definitely the same base. I didn’t see exactly what happened, but I feel Masha was an artist who studied with Jamila, saw what Jamila was doing, and put her own signature on top of it. I saw what Masha was doing and I put my signature on top of that. I can still see the clear connections. I’ve read interviews with Jamila, and I’ve listened to how she put things together, and it all makes sense. She (Jamila) came from a circus background, and was really into presenting a show. Masha was an artist who was really into presenting a design, so I can see where I got my theory of presentation. I would definitely credit it to Jamila. Maybe someday I’ll get to meet her. I’d like to thank her in person!'"

(Shay's note: Incidentally, Carolena has still never met or had a chance to thank Jamila personally--something Jamila made a point to mention to me when I met and talked with her at her week-long intensive in 2009... I truly hope they get a chance to connect someday!)

A lot more great stuff to read at the full article here:
http://thebestofhabibi.com/vol-17-no-3-spring-1999/fatchancebellydance/

And this was built off of an article that Kajira conducted in 1996, the full interview which can be found at http://www.blacksheepbellydance.com/writings/files/carolena.html

Want to learn even more fabulous ATS history? 
Join us for I *heart* ATS Month: A Tribal Intensive, which begins next weekend!  The first workshop will include a presentation on the history of tribal bellydance (complete with a projector and everything!), followed by a comprehensive Level 1 Foundations technique workshop.

I *heart ATS is comprised of two hour workshops every Sunday evening during the month of February, focusing on ATS®-based group improvisational bellydance and its fusion offshoots. We will spend time on strength and flexibility work, individual movement technique, partner concepts, history, costuming, and more.


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

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

My interview on YIP Podcast

Did y'all hear my interview on YIP Poadcast? I realize I didn't post a link, as it aired during a time I wasn't posting very often. The YIP gals, Mary and Tammy, are so wonderful, and I had fun talking to them. Hope you enjoy the interview! (I think it starts after 20 minutes in? I don't recall just now...)
http://www.yippodcast.com/2010/06/episode-33-seattle-and-shay.html

And click around for other great interviews. I of course adore the one with Carolena and Megha (they even got to be interviewed in the evening, and with WINE! I had earlier in the morning with TEA. WHIIIIINE!), but there are tons of great interviews with people throughout the dance community. Mary and Tammy are very conversational, and you can tell they have a fun time doing their show. Enjoy!

Carolena can read minds...

...and other wonderful tidbits in Part 1 of 2 interviews with Carolena and Megha by a couple of gals in Florida, Mary and Tammy. I love especially the discussion of preparing students for performance starting at around 25 minutes.

http://www.yippodcast.com/2009/07/episode-11a-fatchance-interview-pt-1.html

Here is a transcribed snippet, from around :50, in brief, to whet your whistle:

Yip: "Through the years...how do you keep ATS fresh? I mean, do you guys add in new moves, and how do you decide if you're gong to add something in or...the creative process behind that."

Carolena: "You know, I don't even think about keeping it fresh. I just do it. And I don't consciously say, you know, 'This is getting stale. We need a new move." We just do what we do.

And it's like an energy bounce. It just keeps rolling and rolling and rolling, and I just, I follow it. I don't direct it. D'you know what I mean? It's like I really feel like it never really intended for it to happen in the first place. It just sort of showed up and like, said, 'Chase me,' and I was like 'Okay, I'll chase you.'

And it's still like that. I really feel like there is a Dance Goddess who wanted me to present this to everybody, and I was like, 'Me? I'll try.' And she's been running ahead of me all these years..."