Undulations of Lyra

transitioning back

2009-01-26T06:42:00.000-08:00

My dance blog has been fairly quiet this year, as I was pregnant and gave birth to my daughter, Story. I danced until I was about eight months pregnant, then took a hiatus from dancing until the end of December. I am a solid believer in honoring your body and not jumping into anything physical until you're ready, so I felt I had to hold off until I was capable of devoting enough energy to make dance worthwhile.

I've now been to two practices with Kallisti since coming back from maternity leave and WHEW, have I lost a ton of strength and endurance. It's crazy how taking four months off can really undo years of physical training! Combine this with the fact that my abdominals are still severely weakened due to my c-section and I am completely feeling like a newbie to dance. It's almost as if I'm a totally different person, one who did not spend years studying and dancing semi-professionally. All of the mental knowledge is there: I still know the movements, I remember the cues, I know how these moves are supposed to be executed, but my muscles are like, "WHA?" Or, even worse, are exhausted within a fraction of the time. I cannot believe that I used to be able to dance to a twenty minute set without being tired. Now, I'm lucky if I can make it through a ten minute set without panting like a dog!

But there is a very positive side of this. And I know it's going to sound hella cheesy. But, I kind of feel like I'm rediscovering dance. Like I'm a neophyte, just becoming aware of the beauty of the movements, the intricacy of the system of improvisational bellydance and the joy of dancing with my partners. By being so out of the loop for so long, I'm having to examine and relearn everything I've known about dance. From the very basics of each move- foot placement, posture, arm placement, flow to even my motivation and passion.

And I'm finding I'm a different dancer and, I think in time, a better dancer. Right now I'm sloppy. I kind of feel like some tribal penguin, waddling a bit oafishly through the movements. But I'm also motivated by true love and passion, as opposed to (dare I say it, eek!) an overabundance of pride, arrogance and cockiness. With the birth of Story, I am no longer looking to dance to be my major achievement, the thing I do that sets me apart and makes me flashy and shiny. I find that Story is now my major achievement, I need nothing else. Instead, dance is now my sanctuary, the precious thing that is now wholly mine, when all of the rest of my energy goes towards my daughter, her happiness and well-being. I find that, for my lack of grace and wobbly self-confidence, dance is now much more of a joy than the job it used to be for me.

The hardest obstacle I face is my confidence, or lack thereof. I find myself feeling so out of shape, so out of practice that I feel like a detriment to my dance partners. I know that they support me and understand my tribal penguin ways, but a big part of dancing with them is the desire to not let them down. I also have to face my own overachiever brain that is yelling at me, "you suck! You've totally lost your mojo. And just LOOK at you!" It's a hard voice to face, my own critical monster. I am fighting it every time I look in the mirror, every time I practice at home. I don't want to be the weak link in our troupe, though I know that I am for the present. I'll get back into fighting shape, I just have to overcome my inner critic.

So, that's the current status of my dance life. A delightful rediscovery tempered with a lack of confidence. It's a blessing and a curse, but both of which I think will make me a stronger woman and dancer once I'm through it.

So, you wanna go Pro?

2008-08-21T09:26:00.000-07:00

What it means to be a professional dancer and when/how students should take gigs.

Ok. I had to come out and do it. I received yet another anonymous tip via email about students accepting gigs for low wages at a restaurant and I decided it was time for me to post my thoughts on "coming out" as a bellydancer/troupe. As a teacher in
the Baltimore area, I feel like it's important to let my thoughts be known on the subject and for my students to understand what I believe is fair practice when deciding to take gigs.

Please note: this is not to poo-poo on your parade. I love my students. Really, honestly care about them. Part of that caring is in helping students come out the right way and preserving their career in the long run. To do that, there's some good pointers that I hope will help guide students to a long and lucrative career in bellydance. And this is also because I wish I had this post when I started out... so here's to some vicarious living.

Part I: You really want ME/US to dance?
AKA: Just because you're offered a gig, doesn't mean you should take it.

I don't mean to burst any bubbles or rain on any parades here, but just because someone offers for you/your troupe to dance DOESN'T mean that you should. Now, I remember what it was like when my troupe first started getting asked to gig at various events and venues. It feels DAMNED good to have someone ask. It feels like sparkly butterflies in your stomach, mixed with immense dread. It also feels like a state of accomplishment, like the first boy/girl to notice you in school that asks you to the school dance. It's so flattering to be noticed, it's so special for someone to even think to consider you.

But I'm gonna level with you. Just because someone asks doesn't mean you're ready. Just because a restaurant owner, friend, friend's band, charity event coordinator, or anyone for that matter asks you/your troupe to dance does not qualify you to be able to do it. Though it does feel flattering and amazing to think of taking gigs, there are several points to consider before you should take any sort of gig as a student.

Does my teacher support me/feel I'm technically and professionally able to perform yet?

I personally feel that if you are taking gigs in any capacity, whether it be as a student or pro/semi-pro, you should be taking classes regularly with a teacher. This can be either a regular, weekly class or regular workshops with mentors/teachers. No exceptions. If you can't spare the money/time to study, you are not ready to perform. Period. Are we done? I think so.

So, assuming this is the case, you will have a teacher/mentor that you should be able to ask about your ability to perform in public. I would caution anyone out there from taking it upon themselves to decide that they're ready to perform without a teacher or respected professional in the area critiquing whether they are performance ready. Why? Because we are poor judges of our own skill sometimes. As dancers, we sometimes have the flaw of either over or underrating our skills when it comes to performance, so it's good to have someone you respect and trust giving you an honest crit. By talking to a teacher or professional dancer in your area, you are also getting advice straight from the source and will probably walk away with some great tips on starting your career on the right foot. And finally, there's one little selfish reason- networking. By making the connection with your teacher/a professional dancer, you're establishing the quality of yourself/your troupe and opening the door to more gigs!

However, the kicker with this one is that you have to respect said opinion. So, if your teacher evaluates you and says, "you know... Sorry, but you're just not there yet. You need to work on X, Y, Z before you're truly ready to get out there," then you have to respect it. The trick to this is that you should trust your teacher/a professional's viewpoint enough to value their judgement. It may not be what you want to hear, but it'll be better for you as a dancer. It's better to get this feedback now and be the best you can going out into the world than to be a poor performer.

Why? I'll level with you. The audience doesn't know your a student. This includes other professional dancers (read: the people who will get you more gigs in the future.) If you take a gig that is not a student showcase and you look bad, there's no buffer/excuse for your performance. You'll more than likely get labeled as a bad dancer, a bad troupe... and that's just, well... bad.

Sound scary? It is a bit. But your career should be worth considering.

Am I able to live up to the performance standards/professional standards in my area so that I can be a good representative of bellydance and enhance our community of performers as a whole?

Once you put yourself out there, you are representing your local bellydance scene. Yup, what you do in your show reflects us all. And this can be awesome! Every area needs as much awesome talent as it can get and you/your troupe can be a great asset.

However, this goes both ways. Sorry to be a sour-puss, but that also means that if you're not a skilled and able performer, it can be a not so great thing as well. My young paduans (excuse the dorky Star Wars reference), when coming out to dance you are also taking on a great responsibility to represent your community and you should want to make your contribution a positive one.

Now, other dancers and pros may have more to add to this list (please let me know and I'll update), but for now, here's my handy list of what you SHOULD be able to do before taking a gig.

From a basic event perspective:

*Show up on time, if not early.
*Be dressed in a quality costume, with a cover-up.
*Act professionally from start to finish. You are on-stage every moment that you are at the gig, even when your set is finished.
*Be able to adapt your choreography/improv to the specific venue you're at with no noticeable mistakes or flubs. This includes showing up to find the configuration completely changed since your last visit.
*Be able to communicate effectively with music staff/event coordinators.
*Be able to discuss lighting, cues and rhythms effectively with the event staff.
*Ensure that you are getting paid a fair wage for this gig. No exceptions. You are not doing a free/cheap gig as a "discount" because you're new and you're not taking money from another dancer's income for exposure. Be able to talk with an event coordinator and get your pay before a gig, if possible, if not, at the end of the night.

From a personal/troupe performance and skill set perspective:

*Have a large repertoire of dance skills that you can adapt to the venue and patrons to ensure the best show. It's great to have a specific style, but know the mood/flavor of the venue and be able to pull from what you offer to ensure a good fit.
*Be able to technically execute all of your moves with precision and ease.
*Execute your choreography without it looking like choreography (if you're improv, you should be able to make your improv look seamless and effortless.)
*Layer moves. If you can't layer anything, you're not ready.
*Be able to adapt your performance for any emergencies that may come up (troupe member is stuck in traffic/sick/etc.) without any noticeable effect on your performance.
*Be able to perform solo with no nervousness, blundering, apologies or noticeable difference to the audience. This applies for troupe members as well. You should be able to dance both with your troupe and without them before going semi-pro.
*Be skilled enough in your props that they add to your show, not detract from it.
*Be engaging and interesting to your audience. Add to their experience.
*Be able to dance to a live drum solo, even if you usually dance to pre-recorded music (you never know what will happen... TRUST me.)
*Be able to deal with random objects which will get in the way of your show (children, food, cutlery, fallen costume pieces, dirty old men, falling decorations, ect.) without effecting the quality of your performance.
*Be able to perform to music that is not your own, because the DJ/staff messed up. Likewise, be able to take a music mix-up and turn it into part of your act and work with the situation.
*Never apologize or admit you messed up while on stage.
*Be able to deal with a severe costume malfunction without harming your show/doing minimal harm.

I'm sure there's some I'm forgetting, but that's enough for now I think.

Part II: Oh, I'm just a new dancer, anyways...
How to get what you're worth and be a part of your awesome community.

Am I taking money out of another professional's pockets by undercutting, undercharging or giving a gig away for free?

As a dancer "coming out," whether as a student troupe/soloist or as a semi-pro you NEED to get connected with local performers and find out what rates are fair. A great site for dancers is Samira Shuruk's Standard Rates and Guildelines. Samira Shuruk's site will give you resources for your specific area and what pricing is standard for various gig types. Enjoy!

However, let me clear up a common myth for your right now.

MYTH: I'm a student/new performer, so I shouldn't get paid as much as pros.

NO! No no no! Taking less money is undercutting. Though yes, you may not be as skilled, fabulous and amazing as some of the old pros out there (who is? These ladies rock!) that doesn't mean you should charge less. Why?

Because if they take $200 a gig and you offer to do it for $100, the event promoters will take the hundred just about every time. Meaning? You're lowering the standard wages and taking gigs from great dancers. And that's just wrong. Not to mention, you're selling yourself short and that's crazy.

Look, let me clue you in... you're worth it. If you've taken the time to train yourself and you meet all the above standards, then you're worth that extra pay. Get it while you can. And don't you DARE let them say, "well, but they're a pro and you're a new dancer..." So what? Doesn't matter. No-way, no-how. You're worth it, period. If they won't budge, pass on the gig. It's not worth tarnishing your reputation and hurting another dancer for less pay.

CAVEAT: If you're a student, you take student gigs/haflas, not semi-pro/professional gigs. Translation: once you come out and dance in a non student showcase/hafla in which it is clearly noted to the audience that you are a student, then you are representing yourself as a semi-pro. You can't play both sides here and you can't sidestep back. Now, I know some dancers/teachers may disagree with me and that's fine. But in my opinion once you get billed as a semi-pro dancer once (or knowingly omit the fact that you're a student in your bio/announcement), then you've crossed over to the dark side. And the dark side can be fun, but you've got to be ready. There's no going back. You can't erase audience perceptions.

This means there is NO SUCH THING as a "student performer discounted rate" for gigs. You're either pro or you aren't. If you can't give a good enough performance to charge the full rate, that's fine... but stick to haflas/student shows until you are.

and finally...

Part III: But what's in it for me?
Getting the most out of your fledgling career.

Is this gig going to help or harm my career in the long run?

Look, it's not just you, it's the promoters. There are many reasons, from good to shady, as to why an event coordinator would ask for you to perform. As the captain of your career ship, it's important for you to choose your gigs wisely and make sure you're not only being offered the gig for the right reason but that it will give the most benefit to your career. Because, again, you're worth it!

From a positive standpoint, you could be offered the gig because this person/these persons would love to have bellydance at their event and your name came recommended from a teacher/pro dancer. Maybe they've seen you out and think you would be the perfect fit for their event. It could be that they are having a private party and think it would be great to add bellydance. There's tons of reasons why you got the call/email/offer. However, once you've gotten said off, here's some points to consider:

*Are you getting paid a fair wage?
*Did they already offer this gig to other professional dancers and are pricing around?
*Are they fairly compensating you for travel?
*Will this event be a safe venue for you to perform in (VERY important- I would suggest against private parties/bachelor parties unless you have an escort or are familiar with the hosts.)

If you are offered to dance at a gig (non student show/hafla), never ever accept the following excuses to not get paid a fair wage:

"Well we figured that getting to perform at your level would compensation enough. This will add to your resume and be great experience!"
(The easy answer to this one is that if you're not at a skill level to get paid, you shouldn't be performing out.)

"We have other performers (musicians, jugglers, whatever) that aren't being paid. They're doing it for fun, so we're not offering any pay."
(Others can do whatever they want with their art, but you have invested time in training, costuming, practice space, practice hours. You deserve pay.)

"Oh we figured you'd want to do this for fun since it's your new hobby and our party would be just the place!"
(You are more likely to hear this from friends. I'll level with you- the audience at a friend's party is usually very unlikely to know you're students and therefore you're putting on a free show, not honing skills. Politely decline and go to the party and just have a good time. Save your costuming time/practice time for a paying gig. Would you ask your friend to put on a show for everyone at your party for free that involved hours of rehearsal, money spent on costumes and classes?)

"We don't really have money budgeted for bellydance at this event, but if you'd like to come out for fun/experience."
(If they are charging at the door, they can afford to pay you. If they paid for food, a DJ, space, then they can afford to budget for dancers. If not, they don't deserve to have dancers for entertainment. The caterer isn't working for free and neither should you. CAVEAT: charity events/non profits are a sticky situation. Consult your local pros for their viewpoints on rates for these events.)

One thing to remember is this: from a more negative view, it could be that an event host/promoter figures that if they can get it free and or really cheap, why not go for it? I'm sorry to say it, but we don't live in a fluffy happy bunny world. There are people out there looking to exploit performers and get what they can for as little as they can. And to some of those bad people you, my dear paduans, look like fresh, shiny bellydance meat. Again, refer to any of the number of reasons above as to why you're worth good pay. Though it may be flattering to think of dancing, of seeing your name on the bill, don't do it at the expense of selling yourself short.

Ok, so that seems like a lot of "don'ts" and negativity. And I'm sorry for it, I don't mean to drag you down. But I want to be honest with you so you start out on the right foot, paduans. I guess what I'm saying is...

You shouldn't choose lightly to go out and perform in a non-student light. It's a big decision. It's a career decision and that means there's a LOT to consider.

Now, breathe with me... there's an upside.

If you follow my advice, I swear within 99.99 percent that you will be on the road to a good career in which you will be supported by your community and well paid! And isn't that good to know? And look, if you read the above and got daunted, if you decided you're not ready?

Then I'm proud of you. It takes guts to say, "you know what... I'm not ready yet." That's worth solid gold.

2008-08-12T08:27:00.000-07:00

Regarding the "Suhaila vs GS" beef, all I can say is this:

In my opinion, The Guilded Serpent is far from being a credible and reliable, let alone OBJECTIVE news source. I see it much more as an opinion newsletter, wherein anyone can submit their very SUBJECTIVE viewpoints for the bellydance public at large to either agree or disagree with. Are there some writers who are better about forming a rational, news-worthy article that does favor objectivity? Sure. But honestly, I don't read it because I'm looking for a one hundred percent, credible news source. I read it because dancers I am interested in post articles and it's cool to hear their opinions of various subjects and reviews of DVDs or performances. I don't read GS much, because I found a lot of the articles to be misinformed and lacking proofreading/fact checking, but I still pop over from time to time to see what's new.

So, anyways, there's this whole big stink (of which you can see by clicking the link above) on tribe regarding Fair Use of video shot of Suhaila at an event that she requested to be taken down. By reading the linked Tribe post, you can see all sides to the story, sides of which I don't want to rehash. However, there are a few points I feel like voicing.

1. It is not professional, in my opinion, to voice your beef with a performer for asking to take down video/images they do not want published to the public in an airing-of-laundry fashion for the public. That is catty, unprofessional and uncouth. The true mark of a credible, professional news source, as the GS is claiming to be, would be to take down the video with a tactful, "Sorry we had to take this down..." notice, as per Asharah's reply in the Tribe thread. Honestly, if a celebrity asked for a news source like MSNBC, CNN to remove their likeness for one reason or another, whether they were founded in their request or not, you wouldn't see those news sources posting on their web sites a big to-do about taking it down while the conflict was being resolved. So, this action is a bit odd to me.

2. As a representative of a credible news source, you don't make personal attacks against individuals who critique your work. Again, that's taking your "news source" away from being credible and roaming into the realm of it being a personal blogging/opinion site. Which is fine, if that's what it is. But you can't play it both ways. Again, think upon news sources you currently frequent and imagine what it would be like if reporters there started personally calling out and attacking the users that commented on the article for one reason or another. It just takes the publication down that much further.

and finally

3. Artists have the right to protect their image and its usage. Even if you think that you are a member of the free-press, there are laws, rules and usage issues that you have to be educated in enough BEFORE you undertake reporting. I'm not aware of what contractual limitations Suhaila put on this show regarding recording and usage of her likeness, but I'd be surprised if she didn't have SOMETHING in there restricting what it can and can't be used for. And that's not deceptive. That's being a responsible performer and managing your brand. Do I agree with everything she does? Nope! Am I a Suhaila devotee? Not really. I mean, she BLOWS ME AWAY as a performer and I can't wait to take a workshop with her one of these days, but I agree that there's nothing wrong with people posting their OPINION-based reviews of her performances. But posting video and usage of her likeness should correlate with what was put forth contractually for this event, period. If she didn't specify, then it's her fault. But if she did, she has every right to have YouTube remove unflattering video of herself/her representatives. And calling her out and those that are arguing her side as trying to gloss over the truth or censor unflattering images is just ridiculous. Hell, if I were Suhaila, I'd exercise my rights to stop unflattering images of myself, too. It's your career!

I just get so annoyed when I feel people view bellydance as this public, free thing and not as a legitimate career and industry that artists are allowed to legally protect. Art is not free and open for all. Artists don't have to be bleeding martyrs giving their all selflessly for their art and public. They're allowed to protect their image, whatever that entails, to the greatest extent they can.

Sigh... the end.

I just don't get spiritual bellydance

2008-06-26T12:49:00.000-07:00

My, my it HAS been a while since I've blogged on here. I figured I should pop in once in a while to brush the ol' cobwebs off my dance blog and get my thoughts out.

Today's post: Spiritual Bellydance.

Let me first say that, not being a participant in this dance form and not being amazingly well versed/informed as to its origins, I am not posting this as any form of authority. This is purely an opinion piece.

Actually, scratch part of that. I DID participate in spiritual bellydance a few times, but not in a public display/show. As a matter-of-fact, it was my first exposure to "bellydance," but I'll get to that in a moment.

I just don't get Spiritual Bellydance as a form of public performance. I can understand incorporating bellydance elements (hip circles, undulations, mayas, etc.) into your spiritual practice as a form of meditation, trance or celebration, but I cannot for the life of me understand why you'd exhibit it for a live, public show. There are a few reasons why I feel like Spiritual Bellydance as a public performance are out of place and, honestly, a bit bizarre, which I will highlight now.

Firstly, if you are doing this as part of a religious or spiritual act, it's odd to put it on a stage for display because so much of religion is personal and intimate. You don't just see one act walk off stage in a variety show to be followed up by a priest giving a sermon. Nor have I seen people file on a stage and perform a wiccan ritual for entertainment purposes. Thusly, the few occasions that I have been at a bellydance showcase and seen a Spiritual Bellydance/Worship piece have felt uncomfortable and unsettling, not to mention out of place. There are reasons that we don't display religious and spiritual practices as part of an ordinary entertainment show and that's because they ARE intimate and meaningful beyond a regular entertainment performance. These moments are sacrosanct and precious. There is something very beautiful and raw about being able to witness religious rites or spiritual rituals and to put them on display and give them the same weight as we might a regular old Tribal Fusion Soloist performance seems sacrilegious.

The second issue I have is that if you're not an affiliate or member of the religious/spiritual following being represented, it's sometimes hard to understand what you're seeing. At the shows I've witnessed that have Spiritual Bellydance pieces, I've often heard crowd members utter, "what IS this?" and ridicule the performance. One that comes to mind was a Goddess Bellydance piece in which a group of ladies, all in what I would categorize as Greed Goddess Halloween Wear who then proceeded to do what looked like a cross between a kitschy temple dance, modern dance and improv tribal style. This performance was not entertainment and was not moving or dramatic, as I believe was their intention. It was confusing, odd and bizarre. I categorize these dances as Crazy Aunt Dances, because I liken it to how one feels when a family member does something wild and inappropriate at a family gathering, causing all present to trade those, "OMG what is this and when will it end???" looks. Did some people who knew the participants understand it was supposed to be a dance worshipping/honoring The Goddess? Sure. But most of the audience was perplexed, by my understanding. For the life of me, I have not seen one Spiritual Bellydance performance that did not inspire an unsettling or bizarre reaction from the audience. I really think this is because, honestly, your religious rite isn't all that entertaining to people who are wholly ignorant of what you're doing or could really care less. It's just... odd.

And finally, I don't think it works because Spiritual Bellydance, being associated with ones freedom to practice religion as they choose, opens the door for loss of form, structure and technique. Performers of Spiritual Bellydance can and, in those instances I've seen often do, eschew good posture, composition, performance value and technique all in the name of spiritual/religious expression. Instead of seeing a bellydance performance that seems cohesive and beautiful, the final product can feel like a weird mash of various elements and styles, all of which clash like a 40 piece band that has no conductor and isn't using the same music. The freedom to do whatever one chooses takes it out of the structure of being a dance form and into being freeform- and that's not bellydance. Bellydance has structure. It has a style. You wouldn't take vanilla ice cream, mix in chocolate, raspberry, peanut butter cups, sprinkles and mocha fudge ripple and sell it as Pure Vanilla Bean. Because, simply, it's not anymore. It's an odd amalgam of things that, though there is SOME vanilla in there somewhere, is far from being accurately described as vanilla ice cream.

As I said, my first exposure to bellydance was at fifteen, wherein I participated in a Winter Solstice ritual. One of the members of the coven was an Egyptian bellydancer and taught my friend and I a bit. At the ritual, she brought us up and we engaged in spiritual bellydancing as part of the festivities, undulating and snaking and zilling and using veils. It was an amazing, ethereal experience that I will not soon forget. It was precious, trance-like and free. But it was done amongst a close group of like-minded people, all there for the ritual and combining their good energy with ours. We weren't performers on a stage, we were participants in a sacred moment. And for that reason, with that experience, I can totally understand Spiritual Bellydance in a spiritual setting, but not in a general performance. In the confines of a religious/spiritual rite, it all is one fantastic event where adhering to structure and technique is not necessary. But in a public forum, it just isn't right.

Lyra out.

YouTubing your Life makes you look poor

2008-02-17T05:59:00.000-08:00

It's been a while since I've posted, but I feel the need to release some steam.

Today's topic: youTubing every single thing you do dance wise then posting it for review in every network/blog/community you can.

Now, I understand that we have surely "come a long way, baby" as far as technology goes. With the low cost of video cameras these days, most of us can afford to go out to our local box store and pick one up. Also, with the advancements in user interfaces, you don't have to be a genius to get said video camera to work within minutes, giving yourself the joy and freedom to tape yourself instantly and constantly. And that's exciting.

As an artist, it's important to do self-checks. Having a video device gives you the chance to record yourself so that you may review your technique, evaluate your stage presence and find what's working and what's not. Many of us have gone through the experience of thinking that a song/choreography/dance idea is REALLY working, only to see it on tape or in pictures and get that, "oh my god that looked AWFUL," feeling. So, videoing ourselves can help spare us the embarrassment of finding this out at a performance or on a live performance video versus in the privacy of our own home/dance studio.

However, it has also spawned what I believe to be the most crazy, megalomania-ladened crap that I have ever seen. Since becoming a bellydancer, I have seen individuals who video and post every little thing they do- practices, "just messin' around," bizarre crazy aunt like dances in their living room, awful things in their bedrooms- you name it, it's been done, and posted them online for peer review. The main offenders seem to have a new video weekly to post that usually has very mediocre dance/conceptualization and comes across as vain and pompous. If I look at it with the best of intentions, they are socially inept persons posting practice videos that aren't interesting and lessen their credibility as a dancer. If I take it in a negative way, they are "look at me!" personalities that think that every little thing they do is god's gift to dance that should be shared with the general public.

Let me say that posting a few video here and there to a private/professional bellydance list is one thing. If you have something you're trying out in your living room that you think may suck/need improvement OR you have some really awesome choreography that you'd feedback on, that's one thing. Even if you were like, "oh I was messing around with this in practice the other day... I think it's neat. What do you think from a performance standpoint?" That's totally fine.

But posting everything you do PUBLICLY on youTube and throwing it out there for the public to see just makes me want to scrape my eyes out with spoons. Firstly, you are damaging your career by having more videos of you "messing around" online than the lovely ones of you actually performing. If I'm a client and I search your name (or an event promoter for that matter) and I find all of these practice videos, you're probably not going to get hired. I don't want "crazy girl who dances in her room a lot and posts it to youTube" on my ticket. I want a professional who understands that everything they are posting online, everything they produce in a concrete sense for the general public needs to be polished, professional and credible. I also don't want to hire someone who is so self-absorbed that they think every single person on youTube wants to see their boring dance practice. Being an artist and a professional means understanding what is appropriate to post and what isn't.

If you look at the best dancers out there, you will hardly ever (never, in my experience) see their practice videos. Why? Because they are professionals. They understand that practice is a step towards the performance. It's the mixing of the ingredients in the kitchen that will, with care, consideration and maturity, become the yummy thing to serve to your public. You don't show them the batter unless it's damned purty lookin' batter. No one really wants to see some freaky mix of eggs, flour and milk that's brown, boring and not very visually enticing. Even if they know the batter WILL be delicious pancakes, they'd rather just, well... see the pancakes. Steaming and with butter and syrup.

Be the pancakes, not the batter.

That's my deepness for today.

PS- where did THAT metaphor come from?

shrug.

Attack of the BriceBots!

2007-06-07T12:10:00.001-07:00

Urggggggggg. So, I was just surfing through the Tribal Costuming Tribe's photo section and feeling a rant come on. A rant that I've had before, but not really voiced in the blogosphere yet...

I really am annoyed by BriceBots (aka people who want to be Rachel Brice). Don't get me wrong, Rachel is an amazing dancer and awesome seeming gal (I don't really know her, so I can't make a true judgement). But it drives me nuts that as soon as she/The Indigo develop a new look I find a bazillion little BriceBots copying her style and posting pictures of themselves on Tribe.

Their newest look is "Vintage Circus Tribal"... Now, I won't say that they invented this look in any way, but they have developed their own version and it really works for them- stripey socks/melos, lots of black, deep red and black/white striped fabrics, big clompy boots and 20s era hair (aka, The Tribal Combover). And I've certainly seen this look and gone "ooh ooh me wants!" There is something so beautiful and fun about the little-egypt-meets-big top aesthetic. I'm born on Halloween and, lemme tell ya, I know that dressing up is mighty fun.

HOWEVER one of the main factors into adopting any dance costume is whether it works for you and your dance style. I am a STICKLER on this. Your costume should not be the basis for who you are as a dancer, it should be a detail that enhances your dance style, amplifies your persona and brings delight/interest to the audience. It should not be an outfit you're putting on to try to be Rachel Brice or make yourself into something you're not. If you want to wear it for fun, then buy the goods and test it out at home, but don't rush out and perform professionally without doing some serious testing before you completely change your style.

Now, I've seen many dancers who are adopting vintage/vaudeville/circus themed costumes and it totally fits their personality. There are dancers who have been doing this look before the whole Indigo vaudeville explosion.

It just bothers me to see the same gals who were psycho about melos, big rings, super coin bras, who used to be standing in one spot doing quasimodo movements while wearing fake dreads all of a sudden rush out to the store to buy every circus/20s vaudeville inspired piece they can and start trying to do gypsy/vaudeville moves.

In short, be yourself, please!

a solo I LIKE!

2007-04-17T15:51:00.000-07:00

Who is Donna Mejia???? !!! Why have I never heard of her before and she's so effing great!?

watch!

Donna Mejia Drum Solo

Inspirational.

Here's a Link to Her Dance Site

All I wanna know is... how can I get her to come to Baltimore to teach me!!! :)

RANT: I'm just too good...

2007-04-04T11:37:00.000-07:00

"none of us is better than anyone else... there's always something that someone is better at than you are. so appreciate each other" -me

I'm about to teach a class called Intro To Improv Tribal Bellydance... it is, in essence, a beginner's class. However, I want the students to already have a firm base in bellydance, as I have no desire to teach them basics (you should know how to do basic hipwork, bellyrolls, snake arms, etc) because... well I just don't wanna! Also, I feel that the very basics should be taught to you by a master teacher, to ensure that you're getting the most solid foundation in your fledgling bellydance experience. So, I'm teaching the beginner's portion of ATS/Improv Tribal Style to non-beginner bellydancers.

This is leading somewhere, I swear...

So, I got an email from a prospective student that basically said, in not so many words, that she's worried about being "too good" for my class. She basically stated that she's been dancing for six months and, though she has seen our troupe dance and likes us, she thinks she might be too advanced for a beginner's class.

This stirs up all sorts of ire in me. Why? For the answer, we have to go back to when I was a baby dancer..

(does Wayne's Word "biddly-doop biddly-doop!")

Okay... so, let's say that six months into bellydancing, I was one arrogant cookie. Maybe I didn't act it, but in my mind I was. I had been taking Improv Tribal classes with my teacher for a while and, after the first Level I session, she asked me to join the Level II/Performance group. This sent my mind reeling in a "uh-huh! uh-huh! I rock, I roll!" kind of manner... not that I shouldn't of felt good about it... anyways, at that point I believed that I had surpassed the beginner's level. Oh, it was so nice the view from my tribal pedestal, looking down on the newbies with their bizarre floundering steps and scared faces! When classes that touted titles like "Intro to Tribal Fusion" or "Bellydance Basics" wandered onto the scene, I would look at them and sigh, thinking, "oh I'm probably too advanced for THAT!"

Then, I went to sign up for Piper's Winter Workshop... I asked my teacher about what level to take, expressing that I might be too advanced for Level I... She responded that I shouldn't jump to that conclusion yet- Piper was a master teacher and her level one might be really challenging to me. So, I listened to her, though, I must admit, I expected to be bored.

Note to self: prepare to eat your words, you arrogant little lass! The class was TOUGH... but in an awesome way. I learned so much from those sessions about how far I had to go. She corrected me on all sorts of bad posture, poorly learned basics and also supported me in the good things I did. I was put in my place! I learned then that, no matter how good I thought I was, there was always something to be learned from going to a beginner's class- if you ignore the roots to develop pretty leaves, you're still gonna end up with a rotten, ugly bellydance tree!

(back to present day.. biddly-doop biddly-doop!)

So, when people respond to me in the way that the aforementioned student did about how they may be "too good for a beginner's class" I find myself rolling my eyes and thinking, "ugh! baby dancers!" Because that really is the red flag for me. The difference between a serious dancer and a baby dancer is that a serious dancer knows that they are always learning and that, no matter how much fame they may acquire, they can always learn by revisiting the basics of the dance. We all have our "gift moves"- the moves that we learn like second nature, and we all have "easy" moves that challenge us (for me, it's the Taxim and the walking 3/4 shimmy/choo choo). The baby dancer usually errs by thinking they're really good when, in honesty, they have a long way to go.

I responded to this prospective student in the most honest and tactful way I could. I told her that even though she may feel she is an intermediate student, I and many of my semi-pro and pro colleagues still take beginner level classes to hone and fine tune ourselves as dancers. I also pointed out to her that, if she'd like, I can approach her as a more advanced student and more closely scrutinize her movements and give her a bit more tailored criticism, driving in the point that, "just because YOU think you're too good for the basics doesn't mean that you've really got them down as well as you think you do."

Though, I must admit, in my head I wanted to say, "OK. How about you come to my class and let me judge whether you're really that good?"

Don't get me wrong- I'm not a master teacher. I consider myself an intermediate level student, no matter what praise I receive as a performer. I believe I have many many years to go before I gain my advanced/master level props and, honestly, that's great for me! I want to have somewhere to go, I want to be able to learn and learn and I want bellydance to always be something that offers me growth.

This student's email just reminded me of how I used to think when I was a baby dancer... and man, am I ever glad I got over it!

practice schedule

2007-03-11T11:11:00.000-07:00

now that my crazy forays into Acting Land are done, I've been sticking to the following weekly schedule:

Monday (2 hr Kallisti Practice) about to switch to Tues.
Tuesday (30 min improv, 15 min DVD)
Wednesday (30 min improv, 15 min DVD)
Thursday (45 min DVD- drills/combos)
Friday (off!)
Saturday OR Sunday (1 hr DVD- ATS new moves/drills, 30 min improv)

Special Emphasis:

chest drills/isolations
zills!
laybacks/turkish drops
berber walk

It's high goals and I know I'll be bad sometimes *naughty!*, but I like to set my sights high.

What's in a Bra, anyways?

2007-02-15T10:36:00.000-08:00

It could be one of the most telling pieces of costuming for a Tribal Dancer- the very thing that sets the pros from the baby dancers, the "real deal" from the kitschy.

The Coin Bra.

At best it's an extension of the dancer- a costume piece that frames the dancers neck, shoulders, face, arms and torso with a representation of their style- edgier and darker for goth tribal gals, earthier/brighter for more ATS divas, silver or bronze or even gold, depending on the gal. It's one of the big "wow" pieces for the audience- as it glitters and shimmers, maybe even makes delightful tinkling sounds as the dancer performs figure 8s, mayas and pops with their chest. It's the icing on the tribal costume cake.

Examples of good coin bras:

At worst it's a mess of weird colors, themes and resembles a tacky church hat- you know what I'm talking about. It's got tassels out the whazoo, usually hanging from really suggestive places *giving that droopy tassel nipple look*, giant kuchi pendants that should be the centrepiece randomly tossed on the cups and a coin or two slapped on in what can only be described as a random order. There are usually upholstery fabrics involved, sewn on improperly and bra clasps in the back that are still showing, no fabric concealing the mechanics and no desire to maintain the illusion. There's inadequate fitting and spillage may occur. At the VERY worst it looks like someone bought a bright lace bra from their closest department store, slapped a skimpy amount of cowries and four coins on it, then put a bad dangly earring in the middle and called it "Tribal".

Some Not So Good Bras:

Can you see how the bad outweighs the good?

In my opinion, you should either have your bra professionally made or spend the money and take the time to do it right. There's a part of my brain that just doesn't get how people can wear coin bras that still resemble bras *have the back hooks showing, are very visibly a bra that has some small amount of decoration on it* and/or have really slapdash ones that don't compliment their bodies or enhance their dance. I really feel like a coin bra isn't a tribal given... Just because you dance tribal doesn't mean you have to settle for a tacky, poorly-made bra that makes you look bad and it also doesn't mean you can be a magpie and put every glittery, tacky piece of crap you want on it. You're worth it, get something nice!

I know I know... monetary concerns. Well, then spend fifty bucks on a few nice pieces of jewelry and wear them with a choli until you CAN afford a nice one. Work your way up! Or, follow a good tutorial online and make your own tasteful bra... Glitz doesn't equal taste. I sometimes find that the WORST coin bra sins come from wanting to be so "unique" that you forget to be classy.

Remember- a good coin bra is worth every penny.

somebody's watching you

2007-02-06T08:20:00.000-08:00

Sometimes it really gets my goat how people forget that anything you place on the internet can be read by anyone... it just takes one wrong "reply all" to send your nasty, venting thoughts about another dancer, venue, costume mishap, etc. to the whole known world.

I realize, it happens. I've done it, we all have. Hit "reply all" thinking you were replying to the person who just sent out something to the group and boom! there goes your innermost thoughts...

well, I'll tell you the difference with me- even if I am writing to one person in particular on a chat/message board, I don't write anything that the rest of the board couldn't read or that I couldn't stand up for if it did go out to the board. Why? because if you honestly mean what you say and live that path every day of your life, then you should be able to say it to anyone...

What gets me is how these posts keep coming up on local dance boards- not honest, constructive mishap messages, but shit-slinging, angry-venting, here's-what-I-think-of-THEM messages. And yes, I know we all need to vent once in a while, but don't do it online! Because it's so much easier to say nasty things online/have your meaning misconstrued than it is in a face-to-face dish session with a trusted friend.

Maybe I'm spoiled. I have my girls that I dance with and, having that tribe, I can call them up or hang out and vent to them and it's no harm done. So, I don't feel the need to vent over email/message board like others do. I'm really appreciative that I don't have to worry about committing career suicide just because I happen to be really angry and, in a split second, post something really personal and cruel to a message board.

But, I really just think it's the utmost lack of professionalism. First off, nasty vibes just suck and don't help any of us- they don't make us better dancers, don't make us better people and don't strengthen a community. However, even if karma and right action isn't your thing and you're just looking out for number one, then, if anything, think of your own skin. Because you can say something to a friend in private about another dancer and it may not go past there... but a post on the internet- that's in writing, baby! And it's just not good form.

Productive!!

2007-01-24T13:07:00.000-08:00

I feel like I'm kicking my dance week off right. In the past three days, I have:

a) registered for the following:

Asharah's Tribal Fusion workshop on 3/18
Belladonna's Sword workshop on 4/1

b) finalized some much needed private lessons with two dancers I really respect.

c) started my dance journal (like, not in cyberspace... to keep on me)

d) bought a sword from Kult of Athena (oh yeah.. it's ON!)

Practice: The Sumamry-

Worked on:
*Taxim (with floreos and traveling steps)
*Zills (OMGWTF why did I think I was so good at these at PURA??!!)
*Single bumps w/quarter turns and half turns
*Choo-Choo arc led from various moves

Things I learned:
*Taxim will be a daily drill until I can rock it like it's natural
*Zills... OMG... zills. Making a practice mix with both slow and fast rhythms
to practice practice practice!!!

Solos/Private Lessons:
*gathering my exact goals for each session/music to focus on.

BONUS ROUND: going to yoga tonight!

my mantra

2007-01-11T08:20:00.000-08:00

"god I'm a dancer! A dancer DANCES!"

-from A Chorus Line

weekend in review

2007-01-08T11:06:00.000-08:00

Saturday:

woke up at 8:30am... ugh.

Rehearsal
9-9:30ish: drills!!!
9:30-10:00ish: "Kallisti" Moves/Free Dance
10:00ish-11:30: FCBD Advanced Workshop/Zill practice
11:30-11:45: More Zills/Free Dance Practice

Sunday:

woke up at 11:00am *woohoo*
1pm-3:45pm: Yoga Trance Dance at Yama Studio

Sunday night: muscles tired and sad, but I was very proud.

Solo Work- Part I: Emotion

2007-01-08T07:09:00.001-08:00

So, I've decided- I am DEFINITELY working on a solo to "Asilos Magdalena" by The Mars Volta. Not for professional display, more for myself and as a song to dance to if I get the guts to debut at 5 Seasons or Tribal Cafe in the next year...

PART I: The Emotion

It's completely in Spanish and is a very dark, sad and lonely song.

Here's the lyrics, both in Spanish, then translated into English:

Enferemo llegue
y para componerme ando de vago
no me des tu obediencia
porque te eseño mi cuerpo de lobo
de donde la piel estuvo debil
con una hambre que no me deje cantar

en mi vida
el oscuro me mantiene
cuando yo te vi
en la lluvia me
prometistes tu sangre
yo no me quedo

y aqui caiste en este mundo
cargo una navaja dios mio para ti
cuantas veces me mordiste
y cuantas veces yo me fui

ya no estoy enamorado
con tus mentiras
el infierno me duermo
porque el infierno es la unica verdad

en mi vida
el oscuro me mantiene
cuando yo te vi
en la lluvia me
prometistes tu sangre
yo no me quedo

en mi vida
el oscuro me mantiene
cuando yo te vi
en la lluvia me
prometistes tu sangre
yo no me quedo

estrella de la mañana
samael te persigo a ti
y si me quedo sin alas
ademas me muero por ti

estrella de la mañana
samael te persigo a ti
y si me quedo sin alas
ademas me muero por ti

------------

I got here sick
and to make me better I bum arround
dont give me your obedience
because i'll show you my body of wolf
where the skin was weak
with a hunger that doesnt let me sing

In my life
In the dark it holds me
when I saw you
in the rain you
promised me your blood
I cannot stay here

And you fell here in this world
I carry a blade my god for you
how many times did you bite me
and how many times did I leave

Im not in love anymore
with your lies
In hell I sleep
beacuse hell is the only truth

In my life
In the dark it holds me
when I saw you
in the rain you
promised me your blood
I cannot stay here

In my life
In the dark it holds me
when I saw you
in the rain you
promised me your blood
I cannot stay here

Star of the morning
Samael I go after you
And If I loose my wings
I will also die by you

Star of the morning
Samael I go after you
And If I loose my wings
I will also die by you

-----------

OK- by now you're probably thinking- OMG how goth! Yeah, OK, I admit it... I can be a dark little gal... but that's not just it. This song speaks to me on a really personal level and, to be honest, I get really annoyed with how sometimes it seems bellydance performance is all about a) being sexy b)being uppity. And I do appreciate good performances no matter what... but I feel like if I'm doing this to express part of me and to share/communicate with my audience, then I do have more to say then "I'm sexy and I'm sure uppity!"...

Now, as a solo performer, I had to take these lyrics and the mood of this song and say, "yeah, well what do I want to say? What environment am I creating?"

First off, Spanish to English is a but hard to translate at times, so I'll give you the sum of what it means to me...

It's the sad dark emotion of feeling like you came into this world crippled, wounded... It reminds me of my childhood, which was so painful at times that it's hard for me to put into words. This time is still so hard for me to look back on- but for some reason when I heard this song the first time, it took me to this meditative place where I found myself dancing and thinking about my relationship with my father- a very brilliant, yet cruel and manipulative man. A person I severed from when I was 16 because it just wasn't healthy to have him in my life. I find that dancing to this song gives me a healing and a power- to confront the past, to stand up to the pain and say, "there is hope for me and I can look your hurt in the eye and know that you didn't destroy me."

that's especially moving in the lines "estrella de la mañana samael te persigo a ti. y si me quedo sin alas ademas me muero por ti." Though it translates rather oddly, it's basically the idea of using the power and hope inside you to chase your past demons out, with resolution and determination.

And now that I sound hella goth, understand that I'm a wonderfully happy gal now who has fought those demons and won. And that's why I think this appeals to me. It's a sad, tortured song, but it ends with hope.

PHEW that was a mouthful.

Now, do I expect everyone else to get my own past connection? No way :) And I still hold firm that bellydance is not a narrative dance form. But I do believe there is a universal understanding of the ideas of hurt, torment of the past, regret and hope. I think that if I dance to express my connection to this it can be understood by my audience. I think the fault with many dancers trying to communicate their personal feelings through dance is when it becomes narrative- aka "you have to understand this exact link to this song."... which is pretty darned near impossible to do. Instead, it works so much better if you just express what you're feeling in its raw form and let the audience make their own connection.

so, there's part I: the emotion. Next post, the musical breakdown.

fumbling towards proficiency

2007-01-05T05:41:00.000-08:00

there are sometimes where I feel like I'm the worst dancer on earth. This usually occurs when I am coming down from a hot streak- I'll have 3 days out of my dance week when I'll be tearing it up in the morning, feeling like I've really "got it" and my movements are sharp, inspired, sassy.

Then there's other days where I get up, put on the iPodShuffle and it feels like I've never done any form of dance before, but merely heard some of the moves described to me be someone over a fuzzy cell phone connection and am ungracefully fumbling to remember them and translate them through my body.

It's on days like this when I stop improv dancing, pulling the needle off my dance record, and go back to drills. I start with basics: mayas, shimmies, umis, hip drops, hip bumps and then move up to my rib cage for extensions, pops, boxes, diagonal pops, then to the shoulders for the shoulder box *ouch, thanks Lisa*, figure 8s, snake arms in both tribal and big cabaret form and then to floreos, stomach rolls, body waves...

and it's here that I realize.. DAMN. There are a LOT of different basic, core moves to this dance that I do that I take for granted when I'm just DOING them without thinking. I think I love bellydance because there's always something I could be doing better, always something to work on. And, even when I'm frustrated and feel like the WORST DANCER EVER, there's these movements that are basic, but beautiful and amazing in the complexity that I can go back to. It's like being able to go back to baby steps, to step back from the full crazy expecation of Performing and just visit basics, becoming reaware of my body and how the movements effect me.

The past week, I've been getting up early and doing at least 1/2 hour of dance before work. This has really had an impact on my general well-being and I've found I'm not so grumpy and stressed at work. However, there's nothing more humbling than the days where I wake up and nothing seems to sink into place... but those days are blessings in themselves, as they remind me that dance will always hold more for me to learn, more ways to grow. and that's awesome.

you know you're a dork when...

2007-01-02T10:13:00.000-08:00

you pump your fist all 80s style and exclaim "yesssssssss!" to finding out that you can score some private lessons with an admired dancer.

now... all I have to do is:

*choose my songs (2) to work on
*start choreographing on my own for critique/assistance

Other things I've done today:

*bought the Gypsy Caravan's "Caravan Rhythms" so I can get serious about learning my basic beats- Saidi, Ayoob, Beledi, Masmoodi, Maksoomb. I am going to be plugging this all into my suffle so I can listen to one rhythm per week/practice with it to get it down.

I'm also feeling the need to get more involved in events around Baltimore. sigh. this means getting off my winter-blah tuccus and getting out there.

end transmission

Going Solo?

2006-12-29T11:18:00.000-08:00

I've had the urge for a while and I've finally gotten off my butt and started to do something about it...

I want to be a solo dancer. NO, that does not mean that I don't live my tribe or intend to keep dancing with them... but I also want to cultivate my dance on a personal level too. Now that's not to say that I haven't done Solos before- with my troupe, I've done more than my fair share of solos... but I mean dancing alone, no girls to back me up and give me that amazing TRIBAL energy...

This brings out the research aspect of the BrookeBrain and has sparked many questions in my head-

1) How do you get started as a solo dancer? What's the first step?
2) What makes a good solo?
3) Where do you premiere your first solo?

My first step is choosing the music. I have a few songs that I'm throwing around "Asilos Magdalena" by The Mars Volta , Thom Yorke's "Black Swan" and then I feel like I should find something else instrumental that doesn't suck...

Opinions? Does it matter if it's got lyrics? do they kill the solo?

2007 Dance Goals

2006-12-28T06:39:00.000-08:00

My Goals as a Dancer:

*To develop myself as a solo tribal fusion dancer.
*To hone my improv/ATS skills and become a tighter dancer with my troupe.
*To develop my own personal sense of style.
*To study with Caroleena and get certified in ATS moves.
*To find mentors/friends to help shape me and cultivate my own style.
*To spend more time dancing, less time talking about dancing.
*To work to facilitate a Tribal Collective in Baltimore so more dancers get recognized.

What I'm going to Do:

*Take my practice up from 4/week to 6.
*Get up early every morning to do some drills. Saturday/Sunday off.
*Expand my musical collection and experiment with what I like best.
*Hit the streets to find dance venues.
*Take private lessons with area teachers, focusing on solo work.
*Network, baby!

OK... now, let's see how many of these I can live up to. The challenge is ON!

dancers and criticism

2006-12-21T05:53:00.000-08:00

I have been oddly surprised at times how Bellydancers in particular seem to have really weak skins when it comes to criticism. Now look, I KNOW that what I just said is a broad and sweeping generalization. So, I'll amend it this much- I have met many bellydancers who respond wonderfully to critiques of their dance and even a big handful that welcome them. However, looking at my past experiences in dance/theatre, my experience is that Bellydance is the one art where I've encountered the most delicate skins when it comes to criticism.

I've seen it in almost any class I've taken- a person is doing a move incorrectly or is just not getting an aspect of it and the teacher calls them out in class... then, the response? A contourted face, a stiff lip and maybe, in its worst (and to me most immature phase) a snippy comment back to the teacher. This is escalated even further when peers/classmates remark on something that this student is doing incorrectly and usually illicites similar responses, though sometimes even ends in the offended party talking behind their critic's back.

Why is this? My first thought is because Bellydance is marketed as this expression of your own body, no matter its shape and, therefore, attracts those with positive and negative self-images alike. Now, this is one of the many things I find positive about Bellydance- it helps those with healthy body images flourish while supporting and correcting those with negative ones *because we're ALL hot!*

However, those who come to dance with already low body-images are probably more sensitive about their body in general and thus, they take personal offense to criticism. AKA- not seeing the comment, "you really need to have your hip movements clean and strong before adding embellishments, like a bellyroll or you look sloppy" as a good piece of critique to help your technique, but instead hearing something like, "your hips look bad and your bellyroll is awful."

Now let me get this clear- I have been criticised in EVERY form of art/expression I've done- dance, design, singing, theatre. I can't say that sometimes it doesn't sting- some teachers are a lot better than others at tactfully telling you that you're not doing something right. And it can especially be hard when compounded with day-to-day stressors.

However, there's a right way and a wrong way to take criticism. First off, if you trust your teacher (and I really think you should or why the heck are you paying them/taking their classes), you should know that they are telling you these pieces of advice because they want you to be a better dancer. They aren't trying to take you down a peg or get some weird twisted personal satisfaction out of harassing you in front of your class (though I'm not saying some teachers aren't like that... AGAIN, if this is really the case LEAVE THE CLASS). Most teachers are actually teaching dance because they want to mold, shape and harness the potential of dance in other human beings, not because you're just another paycheck. And also, they're there to make sure you're not going to hurt yourself, which is something to be thankful for!

If they say something that hurts your feelings, don't snap back at them! Talk to them after class and tell them how you feel- more than likely, they'll apologize but also let you know that criticism is just part of the deal. It goes with the trade. And in all honesty, would you rather be doing a move wrong and looking awful in a performance, or would you rather deal with some humbling words and then perfect your movements? I know which one I choose.

Though, sometimes, it's just an interpersonal problem. And yeah, I get that too. People rub each other the wrong way and yes, we have all sorts of personalities in our community- the know-it-alls (which I'm sure I'm lumped into!), the passive-aggressives, the meek, the loud-and-flightys... I, for one, believe it's the difference and amazing variety of personalities that make Bellydance so fun- it takes me out of my norm and lets me see how our differences complete each other... but I won't deny that sometimes I suffer from "urgh! why don't you think like ME" syndrome. Anyways, there are times when you just see personalities clash and that, I believe, is the hardest to combat.

But to wrap this all up with my final opinion- if you want to be a professional Bellydancer, a professional performer in ANY vein, then you've got to get a thick skin. Sorry, honey, but it's true. There should be no pussy-footing around the honest truth- if someone looks bad or may be potentially hurting themselve you SHOULD tell them- and they should be able to take it. A true sisterhood/brotherhood, as is so often the catch-phrase that sells Bellydance, includes care, honesty and respect- and that only comes by taking a good look at yourself and saying, "I'm human, I'm not perfect and I trust my sisters/brothers to be honest with me and to help nurture me as I should nurture them."

2006-12-20T07:32:00.000-08:00

I've been a dancer since I was born- I was known as the Family Ham, the resident Butt Wiggler, Singer Extrordinaire, Jukebox Choreographer, Creator of Skits and Pageants such as the likes of Olney had never seen.

My formative years saw me enrolled in the Triumverate of Girls Dance Rituals- Jazz, Tap and Ballet. I never got very far in tap, besides annoying relatives, however Ballet and Jazz soon lent itself to modern dance, which culminated in my choreographing of Very Important Pieces done to Bjork, Tori Amos and The Smashing Pumpkins... all of which, sadly, have been lost in time and ephemera.

Then I got into High School and was swept up in a world that strikes fear in many hearts- Musical Theatre. Yep, I was all-singing, all-dancing and, by the end of my reign, all-choreographing. Thank god I don't have any videos to commemorate this dark period in my life. My contributions included The Musican Man, My Fair Lady and The Pajama Game. Yeah, so don't dare try to challenge me to a jazz diamond face-off while singing, because I'll jazz-hand you into next Tuesday. This coincided with my other axis-of-evil: English/Scottish/Irish folk dancing at the Renaissance Festival...oh yes, oh yes... I delved.

Then college came and, though I tried to shun my dancing roots, I soon found myself taking both ballet and modern dance class. Now, I didn't really perform or anything, just put myself through hours of arabesques, floor rolls and pilates-inspired ventures into negative-space. It was really fun and at the very least it helped to expend my all too abundent energy flow. I played around with the idea of being a professional dancer but, much like my brief journey into being a pro-gymnast, my height was a hinderance. I was told by more than a few teachers in the realms of acting, dancing and gymnasting *is this a word? i think not* that I was too tall to really make any drastic impact on my chosen ventures.

Don't fear though- I love being an amazon... it's the best. I can reach everything.

Then, one fine day a few years back, I stumbled onto bellydance. Really this started when I was fifteen and attended my first Solstice Ritual in Olney, Maryland. Amid all of the chanting, the assuming of different goddess forms (I drew Amaterasu from the selection of Goddess Cards), there was a lady in her mid-thirties doing Egyptian style bellydance who scooped up my friend Julia and I and decided to teach us the art... well, I didn't retain much of "the art" past my brief foray into Wiccanism, however I did find that the intial spark still existed about 10 years later when I got into a bellydacing class.

I'll admit it- I was mostly there for the laughs. My friend Katie was taking a class from Lisa Zahiya at the Avalon Studio in Catonsville and told me I should come along. I was convinced that, though I knew my friend Michele was friends/co-workers with Lisa, that this would be some sappy and stupid Woman Power Womb Hour type deal.

Boy do I have to eat my words. Almost two years later, here I am- spending all of my free time *that isn't eaten up by my awesome husband and/or knitting* practicing my mayas, undulations, hip drops *which I am HORRIBLE AT*, taxims and any ATS stuff I can shove in. I have also found myself being a member of an awesome Improv Tribal Bellydance troupe of 8 (and sometimes 9) women and currently cultivating ideas to be both a solo performer and teacher in the somewhat near future.

But why do I really do it? For the costumes of course.

It's odd to think that Bellydance, something that I really did mock for being one of those cheesy dance forms for women with body-issues and/or exhibitionists who are just looking for sexual affirmation has become my salvation, my favorite sport. And oh, don't you forget it- it IS a sport, my dearies.

So, where does your inspiration lie?