FAQ Spotlight: When do I get to perform?

When I was a new student, I was absolutely rabid for any new information on bellydance. I was always digging around for new details about the styles I was studying, the classes I was taking, and the teachers I was studying with (or hoped to one day study with). I know a lot of you reading this blog are the same way--you just love reading about the dance, and learning all you can in your time both in and outside of class!

It was in this spirit that I started my FAQ section on my website. I knew other dancers are just like me, and are eager to read up on various topics having to do with the dance. There is a lot to cover, but I tried to focus my questions and answers on the same topics I wondered about when I was first learning. It makes for a long FAQ, though, and it can be hard to find time to dig through it all. So I am going to occasionally post a blog entry featuring one of the FAQ topics I think you may enjoy reading. I welcome any thoughts or feedback on these topics--I am still that same eager student who loves to study and discuss all the angles of this incredible dance form!

When do I get to perform?

Performing is an exciting way to bring the joy you feel in dancing to an audience--I have been a performer all my life and can definitely vouch for what a rewarding experience it can be to take to the stage. However, it is by no means a requirement, nor is it even a "natural progression" that every dancer should one day perform. Many students are quite happy to confine their dancing to class and/or their living room, and never perform for the public, and that is absolutely fine.

Steampunk Bellydance - an article and some thoughts

 On a discussion over in the comments section on this article on Gilded Serpent, there is some debate about whether Steampunk Bellydance is a legitimate genre of dance or not--the article asserts it is not, and some commenters argue the contrary.

One very articulate poster, going only by the name "T.", is clearly a Steampunk practitioner/enthusiast/community member, and had some very articulate thoughts to share on her frustrations with the overuse of Steampunk in everyday parlance.  A portion of her post read:



"It’s never a good feeling, having your meticulous, time-honored craft dismissed or eclipsed by a trend you have no immediate connection to. It’s difficult not to feel uneasy, watching your art form be oversimplified, lumped in, or lazily dismissed by an all-too-easy and reductive definition. It’s not fun, being shoved in a box that you have no desire to be in, even if that box is comfortable, or even inspiring, for plenty of others who’ve willingly placed themselves inside of it."

My reply, which I share as a founding member of the Seattle Steamrats in addition to my over a decade of teaching and performing bellydance, are as follows follows:

How many hours for a bellydance gig?

In a previous post, we looked at The True Cost of a Performance. In this installment, we look at the incomparable Delilah Flynn's question of:

Q. "How many hours does it take you to do a belly dance gig?"

Delilah's Answer:
"8PM show. 

I have to eat my last meal by 3:00 PM or I feel sluggish and bloated. So I have to plan my day accordingly. Open suitcase and gather costume pieces. Iron veil if necessary. Make sure I have costume, make up, zills, evening dress, shoes and stockings in the early day so incase I have to run an errand I have time. This takes about 30 minutes somewhere in my day. 

I shower at 5:30 and begin putting on makeup and doing hair at 6:00-6:45 and get dressed and load the car with costumes, sound system, props. 

Arrive at the gig to get acclimated at least 30-40 minutes in advance so I leave the house at 7:00 if local. The show is at 8:00 give or take a few . Usually shows go on a little late if the audience is still arriving . 

By 9 :00 I should be finished and need 30 minutes to cool down before stepping out in the Seattle rain. How ever the audience usually wants to meet the dancers so going out and saying hello is a professional curtesy.  So I probably am in my car at 10:00 realistically.

A question of musicality...

On Tribe, a fellow dancer shared a wonderful link to spark a discussion about how you learn and/or teach musicality in bellydance.   It ties into yet another Tribe discussion on the Tribal Bellydance tribe where a fellow member asked about whether you "count" or "feel" the music, which this article also addresses.  The article is about salsa, but the concepts apply, and offers good food for thought, so I thought I would share!

Here is a snippet:



"To the many who try to downplay the use of counting music, consider for a moment our beloved salsa music that we yearn to dance to. Those musicians count their music. In the words of “The Unlikely Salsero” Don Baarns, “Music ain’t random.” It has structure. No matter how dynamic or unconventional a song is, it has structure. The count is the structure of this music. A band has to count its music the same so that each member can be on the same page, or else musical chaos ensues. When each band member is playing his or her role and instrument, doing something different from one another that still somehow gels together into the beautiful sounds we hear, the count is the common ground that they all return to. I dare anyone to try to convince a legitimate musician or band not to count because it’s not important. The members of the band cannot simply “feel” the music. Each band member thinks differently and has a different personality, and therefore will not feel or interpret the music the same as the next. If each member only relied on his or her “feeling”, the song would be an un-danceable mess. This is no different for us in this partner dance we call salsa. If you are dancing with another person, you are dealing with another mind, another personality that will not feel the music the same way that you do, not to mention the fact that person is of the opposite gender (but that’s another story). The count is there so that you both will be able to be on the same page, the same way that the members of a band would. If the musicians that produce the music we dance to feel that counting is important, why shouldn't we?"


DanceNerdsUnite also has a post about musicality that I really enjoyed reading.


"Musical dancers, on the other hand, never disregard the music to fit in more tricks. “You can see the effort in a nonmusical dancer—they are often step-driven,” says NYC ballet teacher Deborah Wingert. “Musical dancers don’t just turn until they stop. They turn until they have to move on to the next point in the music. Musical dancers never get so caught up in steps that they ignore the music.”"

The True Cost of a Performance

Over on Bhuz, they have some regularly featured blog posts that are fun to poke around at from time to time. This particular post I saw today made me want to cheer for all the articulate and thoughtful consideration that went into the topic: a breakdown of what it really costs to be a dancer, and why our rates are set as they are.  Many thanks to Jennifer for her post! A snippet appears below, and a link to the full article is HERE.

"Here is the whole breakdown of why I and other belly dancers in my area, charge what we do. After examining this list it should become very apparent why this is a specialty type of service and the key differentiators between a professional such as myself and non-professionals. The dancing you see in a performance is the fun part, but the behind the scenes work that is put into producing a show is quite a different story:

• Gas- It just keeps going higher doesn’t it?
• Car Maintenance- My car is one of my most important assets, if it is not up to shape I cannot drive anywhere! As a belly dancer I put in about 24,000 miles a year driving to all my venues and events.
• Tolls- Those get higher every year as well.
•  “Renting” Costumes- All my costumes are high end Turkish designer duds or from my self-made line. All in all, that leads to big $$$$ being spent to make a big impression. Every wear of a costume depreciates its resale value (like a car). In fact we are  "renting” a costume every time we use it.
• “Renting” Props- the same basic idea goes for props as it does costumes.
• Custom Music Edits- Hello software! Music editing software costs money and so does every single song we must buy that is not easily available on popular music sites such as I-tunes. Many of the most amazing songs I use have taken months of research to find, and are in languages not familiar to me, so that is a part-time job in and of itself....(continued)"

Read the rest of the list at http://bellydancebyjennifer.com/blog.html