Divine Feminine

This is a term that's bandied about in the belly dance world. It sort of hit mainstream terminology after Dan Brown's book "The Davinci Code", but it's been around since the women's movement began. How does this term apply to belly dance - or does it?

In a patriarchal society (cause that's what we are here in the US) many women began wanting to find a personal connection to the divine (call that what you will - this is not a religious blog) and found that most - in fact the vast majority - of our divine images in this country were male. Now with the rising women's movement - they decided to start looking for female images of the divine. They found them and some have made their way into mainstream society. So, how does that apply to belly dance?

For some dancers, it doesn't. Not at all not one whit. Period. Discussion over. So, we'll move on to the dancers that it does apply to.

Art is creative and certainly the art of the Renaissance had many divine images in it as does the art of many other cultures, but since I'm writing to a mostly Western audience, I'm going to stick with Western images - no disrespect meant to other cultures. In Julia Cameron's "The Artist's Way", she postulates that all art is divinely inspired - the creator created beings that then create themselves. This does not mean that all art is religious (another topic - see above statement on religion). It means that she believes that art is transcendent of our world and I agree with that. All art isn't good - all art doesn't speak to me - but all art is transcendent of this world. It all reaches out to emotions, images and concepts that are beyond our day to day life - even if the theme of the art is our day to day life.

Now, if we apply that concept - that all art is divine - then is it any wonder that belly dance seems to inspire the concept of divine feminine? The art form is mostly performed by women (the reason for this is for another time and no disrespect is meant to the many talented men who perform this art). Belly dance has an interesting affect on the women who study it - increasing self-esteem and opening up their world in a way that other dance doesn't seem to do. Tribal Belly Dance is particularly accepting of women "as they are". Talent is just as important - if not more so than looks. This attitude can be found in the cabaret world as well - but not so much in the Restaurant scene which is where most cabaret dance is performed publicly (though, I think that may be changing slowly).

So women, who bring their own personal spirituality to this art, come to class and discover that they too can create art. The ability to create art doesn't mean that your art is publicly profitable, creating art is creating art for the sake of creating art. So they come to class and go "wow" - I can create art! I can make something beautiful and moving beyond what I do to make a living and beyond what I do to care for my family. And this "divine" experience often makes them look around and see the divine feminine in the other women in class who are also creating art and living beyond their work and family.

So many of my students refer to class as "my time". It's their space to explore the art in their soul and to do it in the presence of other women. Now, don't get me wrong Men Rock! They have some very wonderful qualities - not the least of which is to look at us when we're sweaty and have baby puke all over us and see the glorious goddess within and desire that! Believe me on a bad day - loving eyes are pretty awesome. But time spent with other women who are experiencing life in a similar way is priceless. It allows us to develop female images of strength and beauty that haven't been airbrushed and don't exist just to look "sexy".

So is it any wonder that the phrase "divine feminine" gets bandied about more in belly dance than it does in say Ballet or Hip Hop? And the women who are drawn to belly dance are often looking for that connection - whether they know it or not. And the ones who aren't usually progress on to their own needs - whatever those might be. Belly Dance is beautiful and feminine and Ballet is beautiful and feminine in a totally different way - both valid and both serving different needs for the women who dance then and the audience who watches the art. Both technically difficult in different ways and both entrancing to watch.

This past week I had the great pleasure of watching a video of a performance that demonstrates this term the way I see it. The artist is one of my favorites and the performance brought me to tears and I hope that all of you can see the divine feminine in this video:


Donna Mejia's "The Private Rapture of Mary Magdalene"
http://www.youtube.com/watch?v=BAUyx2wm5Wk

Be sure to read the notes on this found in the upper right corner under the poster's information.


Enjoy and Be Inspired to Create!
Halleyah

DragonCon2009

Well, WOW! 30,000 (I haven't heard final numbers, but that's the usual turnout these days) people in downtown Atlanta split between one mall food court and 4 hotels is just wild! Made it through registration to pick-up my prepaid badge in only 1 and a half hours! It's a record! 3 hours is about average. So that started things off in a good way.

I spent lots of time in the art show with a friend who was in the show and selling her art at a table - great glass bead stuff! Visited with folks that I don't see that often - and attended a few panels. Usually I do a lot of night time costume/people watching, but as I was driving in each day instead of staying at a hotel - I missed all that this year. I did end up getting invited to sit on my first panel at the last minute (ME Costume) and that was a hoot! Watching Ziah and Magda put up their hair with no mirrors from memory was a blast!

Unfortunately I missed my Writer's Meeting (we all took AC Crispin's workshop in 2002 and still meet regularly) due to some stomach issues! Truly bummed about that, but saw some of them at other places in the Con. Bought a few things - never did get back to Krishna's booth for another look-see! And then we managed to extricate ourselves from the art show - no thanks to an overzealous Atlanta Police Officer who just looked lost! Home for me and much needed rest!

Usually I do quiet a bit of belly dance related activities at DragonCon. There is a huge drum circle most nights, I usually dress in full costume and wonder around getting my photo taken and I usually end up at the Silk Road Dance Show. Missed all that this year due to driving in and not being at the hotel. Must save pennies so I can stay on site next year!

Now Back to the Real World of Belly Dance!
Halleyah :)

Judgement and Art

This week, I hit my nose smack on that irritating wall called judgement. Now, we all should exercise assessment. Assessment is good. It allows us to look over a situation and weigh the pros and cons and decide that texting while driving 75 mph down a crowded rush hour freeway MIGHT be a bad, bad idea! Judgement, however is another thing all together. Judgement weighs two things, people, situations, etc and decides that one is BETTER than the other. So this week I got JUDGED. Yuck!

This week it was judged that only one belly dance performance could be included in a local festival. Now this is a festival that I've danced in for many years, but evidently there was this unwritten rule that there could be only one - that I was unaware of. There can be unending numbers of cloggers and country line dancers (which I totally enjoy doing and watching - mind you) and multiple jazz numbers, hip hop, and tap. Multiple rock bands are evidently a plus - but horrors of horrors let there only be one belly dance number! Why if we allow more than one - I don't know maybe the world would come to an end or HORRORS we might multiply and there would be more of us! Gasp! (I truly hope the fact that my tongue is firmly in cheek is coming through here)

<SIGH> So, we will be unable to dance in a festival that my performance class looks forward to all year. We make a day of it. Getting dressed together and helping each other do make-up. Then we drive over together and saunter through the crowds until we get to the performance area. We are always stopped for photos and occasionally we end up in the local paper. We enjoy cheering on and applauding the other performers in our school and then we use the gardens to take some really nice photos while we've got all our gee-gaws on! We pass out flyers for class and sometimes we all stop in and have lunch or dinner (depending on our performance time) and rehash our day. It's a bonding experience for the students and a great deal of fun.

My question is "Why can there only be one?" This is where the wall of judgement comes in - belly dance is judged as being too "iffy" to allow more than one. Some folks don't see us as family entertainment. Never mind that for thousands of years belly dance was done in families. Never mind that even today having a belly dancer at your wedding is a must in many Middle Eastern countries. Never mind that we wear more clothes than most of the other dancers - and truly do not compare to the hip hop dancers where risque dance moves are concerned. At least we're adults and not 12! Some unnamed "people" get upset that we're there so the festival organizers feel like they have "bent over backwards" (yes that is a direct quote) to include belly dance. Perhaps they have. I don't know. My point is that it is a shame that they might have to do such a thing in the first place. Truly this is an example of how my area is sooooooo not an artistic community. Way too much judgement!

Art doesn't really flourish in a judgemental atmosphere. Now, we all assess which arts we like or don't like. But if you judge art as it is being created - you sort of kill the creative spirit. This festival is local and not that big. It's an opportunity for the local folks to shine. Because if you want super talented professional performers at your festival - you pay them. Mostly local clubs and students perform and those people who are trying to move from amateur to professional. I enjoy supporting the arts in my community so I have performed in the past, but these days it's just as likely that I won't and let my students do the performing. So, a little less judgement please and a little more support for the arts would be nice!

Next year, I will make sure (now that I know there can only be one) to have my application for the festival in on the very first day - since acceptance is done on a first come first served basis! But this year - I'm feeling judged!

Halleyah

Meow! That's Hot!

Heather (one of my students) and I attended Yasmine's Duo Combo workshop on Saturday at Meow! That's Hot! Great workshop, even though my bum shoulder only let me get half-way through the workshop (why I seem to always be injured when attending one of Yasmine's workshops is an unanswered question!). I enjoyed the combos and got lots out of it - even if I did only watch the last half.

I also love that Yasmine usually provides a handout of what she's teaching! I don't worry too much about taking notes. I sit down at the end of class and scribble my own little do-das once she hands out her notes. It allows me to really focus on what's being taught.

The space was very nice - a real surprise! We were a little crowded and the post in the back in the middle of the floor was a pain as I seemed to continously run into the darn thing - but otherwise a nice space. I enjoyed browsing the neat metaphysical shop and I saw several nice things in the vendor room - finances just wouldn't allow me to shop!

All in all a nice day!
Halleyah

Student Recitals Put To Bed!

Good grief it's been a month - but it's taken me that long to recover! ;)

Student recitals have come and gone and it was another wonderful year of watching students achieve things they didn't think they could do! Everyone seemed to have a good time and some of the students were just popping with excitement!

AFBS recital went off without a hitch thanks to students who listened and a wonderful backstage assistant! The bellydance class has the orchestra pit as a dressing room since there are so many of us there and we're there for all the shows (most students aren't). We have a good time down there and it's nice to have some room to move around. The shows went well and no one made any huge mistakes - so each performance was a good one! The audiences were really neat this year - they are learning how to respond to belly dance and the clapping and zaghareets ringing out were awesome. It's always interesting to see what move or combo the audience likes the best and rarely is it the one I think it will be. As a choreographer, it's really fun to sit in the audience and experience their reaction to what we've created. A really great day and I'm very proud of my students!

Dominy recital was a bit more complicated! Dress rehearsal ran late and due to having two seperate numbers in each show - costume changes were crazy! Definately a learning experience there. Having one of my advanced students total her car the night before the show was also scary! Believe it or not the girl danced both shows, with some choreograhy changes to accomodate her injuries!!!! What a trooper! We also had our first experience with technical difficulties in the form of two weeping fog machines! My thanks to the gentelmen who ran the fog for handling a wet mess in the middle of a show with dancers everywhere! Another learning experience! In the end both shows went well and our numbers were well recieved. This year's audience was unsure how to respond to us, but many people came up afterwards saying how much they enjoy us and at dress rehearsal one Mom stopped one of my dancers to plead with us to rehearse soon as her daughter's wouldn't leave until they saw us dance and she was TIRED! One of the best compliments I've gotten over the years! ;) Again my students did me proud and we ended on a high note!

Halleyah :)

Guedra

I had the wonderful fortune to attend a workshop by Morocco - the dancer not the country - on Guedra. I first learned about this "dance" (we'll get back to that later) years ago in the SCA (Society for Creative Anachronism www.sca.org) and have participated in many guedras over the years. Attending this workshop gave me the opportunity to clarify a few questions and to learn the "dance" from the main instructor in the United States. For a background on Morocco and her research into this "dance" see www.casbahdance.org and look for her article on "Dance as a Community Identity" about the Berber National Identity and Guedra.

First off - the reason I keep putting the word dance into quotations is that one of the things she emphasized was that this was NOT a dance, but a ritual. "It's not a dance, it's never been a dance, and it never will be a dance!" I've always heard it referred to as a dance and this one statement completely changed how I thought about this ritual. The article listed above will give you a good background on the ritual and why it's performed. I'm not going to go into that - I'm sure you can all read! ;)

Some of the things that I took away from this workshop:

1. Clapping and Chanting: This was presented in a much different format to how I've always done it. The method I was using worked, but the method she presented was much simpler and less structured. I can't wait to try it out!

2. Magic Necklace and the Man's role: This was really cool! While only a woman can perform the guedra - men do have a role in this ritual and I loved the "magic necklace", which is the term Morocco used for the necklace that the guedra wears. The idea of a community building their own magic necklace that is then used for guedra was really enticing!

3. No Flailing: I'd always understood that the increased movement or "running man" or "flailing" at the end of the ritual was necessary to trance. Morocco was very clear that this was not so and could even be very dangerous to the woman performing the ritual! I spoke with her after the class and her best guess was that this came from a staged performance that she and her troop did where two of the girls added such movement in order to increase the umph of the performance. It was not traditional to the ritual and not necessary in order to trance. So while there is swaying and chest lifting - the arms are held fairly steady at shoulder level and the chin is just gently lifted and turned. Morocco said that if everything else was done correctly the movement was not needed in order to trance. The trance was about the energy work - not the movement. I've never liked the flailing at the end of the dance due some neck issues and was quiet happy to hear I could stop performing it that way!

4. Drum Rhythm: I'd always read that the drum beat was a heartbeat rhythm, but I've never - not once - had such a rhythm played at a guedra that I'd participated in. Most of the time the rhythm played was a Moroccan 6/8 - which works just fine, but isn't authentic. Morocco had a CD of several performances of guedra recorded in the 1970's and the difference in the sound is profound. I think the heartbeat will assist in the trance and it's much easier to play. Can't wait to try this one out either.

All in all it was a really great class - more lecture than movement, although the time we spent practicing the hand flicks, salutations, etc was really fun and I definitely felt it in my wrists the next day! It was also wonderful to see this legend in belly dance perform not once but three times in the show that evening. Morocco is a "granny" of belly dance and let me tell you what - it doesn't take amazing strength moves or super ooey-gooey undulations to create a great performance. I truly began to comprehend why they say in Egypt that no woman younger than 40 can be a great belly dancer - she has nothing to say. Well Morocco had something to say and I was thrilled to be able to listen that evening! I hope that when I'm a "granny" of belly dance that I can rock the stage - literally - with my shimmies that go on forever! Take that Belly Bunnies of the World!

Halleyah

Student Recitals

Most students decide at some point that they want to perform. Some students want to perform right away and others take a bit longer to get their confidence built up, but usually they all want to perform. I mean they've spent time, money and effort learning how to dance and they want to show it off. All very natural - I'm a big fan of performing myself! ;)

What many students don't think about when this urge comes over them is exactly what "performing" entails. Since a first performance is usually at a student recital, I'm going to use that as our example. There are rehearsals to attend, choreography to learn, costumes to purchase or make, accessories to purchase or make and usually some extra make-up to purchase. There are often photos to have taken, tickets for the show for family and friends, dvds of the show, etc, etc. "Performing" can get expensive fast!

Aside from the money, there is the time. Most shows rehearse for at least 8 -12 weeks as least one hour a week, sometimes more. It is good manners to show up for all of these rehearsals, so that is a major time commitment. Often students don't realize how important their attendance is. First performances are rarely solos, so if one person doesn't rehearse, then the whole group ends up looking bad. It's selfish and unprofessional to not consider how an individual's actions effect the group. Some teachers require extra paid classes if you should fall behind, others just remove the absent student from the show. Some do nothing and in my opinion that is a disservice to the student. It teaches them that they have no responsibility to the group and just causes future escalation of the issue. But to each their own!

Members of a performance need to show up on time, know their choreography and practiced outside of rehearsal time, be warmed up and ready to go, be dressed appropriately and remember to bring their props to rehearsal, to show up in a good mood, and work hard to not let their own personal frustrations (Why can't I get this right?!) to effect the group. It's not OK to snap at the other students, roll your eyes at the director, or stomp off in a huff! It makes rehearsals tense and stressful for the group and while we all feel frustration - it's our job as mature adults (and I'm assuming we all are mature adults here) to manage their own emotions. You may think that your frustration isn't showing, but most of the time everyone in the room is aware if someone is angry or upset and certainly if you start snapping at folks it's pretty obvious. Take a minute to go to the restroom or get a drink of water from the fountain in the hall (even if you brought a water bottle to class) so that you can take a deep breath and let go of your frustrations in private where others won't be effected. It will help you to feel better and it will contribute to the group and make others more willing to assist you as you try to do better.

All to often students think they know better than the director. This tendency really seems to come to the forefront during preparation for a show. The director says, "Be here at 1:00pm" and the student thinks, "Oh I don't need that much prep time! I'll arrive when I need to." The director says, "No food or drink in the dressing room." The student says, "Oh, I'm an adult I can manage not to spill." The director says, "Don't wear strong perfume." The student says, "I can't live without my perfume - everyone else will be fine with it!" I could go on and on - but I'm sure you get the idea. Please - PLEASE - give your director the benefit of the doubt that she/he just might know what they are doing. PLEASE! I know that for every one of those little nagging rules, there is a very good reason in my shows. Things happen over 20 years and you learn a few lessons - also the director may well have knowledge you don't. For instance perhaps one of the students is asthmatic and strong perfume could cause an attack on the day of the performance causing this student to be unable to perform! How horrible would you feel if that happened? I mean this poor lady spent the same time and money preparing as you did - not because one person couldn't follow the rules or thought that they knew better someone is horribly disappointed. Trust that your director knows what she/he is talking about and that there is a reason for what they do.

Things to remember on the day of the show:

1. Bring everything you might possibly need! Check your list twice and then do it again!

2. Show up on time. Allow time to get lost or park or whatever if you've never been to the location before.

3. Stay calm and considerate. Nerves are running high on the day of the performance for everyone. So do your best to be calm and flexible. Things happen that are beyond anyone's control - loss of air-conditioning, delays, sound mess-ups, lighting issues, etc. STAY CALM!

4. Do not leave the performance venue for any reason until you are finished for the day, evening, or show. Accidents can happen and how terrible for everyone involved if you get in one while running to the corner drugstore for something!

5. Allow time for visiting the friends and family that come to see you after the show. Don't book your time so closely that you have to dash off immediately following a performance. It's rude! They were gracious enough to buy tickets and take the time to come and see you, at least you can chat with them for a few minutes.

6. Be dressed, in full hair and make-up, and warmed up ready to go well before your stage time! You don't want to be the person who causes the whole show to be delayed or worse yet, be in the bathroom when your music starts!

7. Manage your own physical needs. Make sure you drink enough, eat if need be, take medications, don't stand around all day until your feet swell, etc, etc. You know best what issues and needs you have. Don't expect others to remember all this on the day of a show. You are responsible for your own needs.

8. Be considerate of others when you are not performing. Don't hog the mirror, don't make noise backstage, don't parade around in public before the show in full costume and no cover-up, keep your supplies, clothes, etc in as small a space as possible, pay attention to time, be kind and helpful and please try to overlook the other performers not in your group who may not be as well trained as you are. Nerves explain only so much bad behavior, but it does no good to start WWIII backstage during a show. Wait until afterwards to let your director or the dance school owner know about any incidents.

9. Follow the building rules. The venue will have rules that may not be what you are used to. FOLLOW THEM! Many dance schools have lost venues due to the bad behavior of one student. Don't be that student!

10. Last, but not least - Have a good time! You've earned it! You've worked hard, so take the time to take a deep breath and enjoy the day!

"Performing" can be one of the greatest experiences in your dance studies. Just remember, you're not the only one on the stage and your needs and desires do not take precedence over the other performers who are just as excited as you are about this special day.

Halleyah

It looks like my advanced students and myself will be performing at the Conyers Fine Arts Festival with Dominy School of Performing Arts on Saturday May 16th. As soon as I have the venue and times, I will post them. I hope to see you there! 

Also, on Saturday May 30th 1-5pm I will be hosting a Hair and Make-up workshop for students looking to explore the fantasy "Gypsy" look. This workshop is designed for my students who are participating in the June recital, but there will be good information for anyone interested in this theme. Jennifer Harmon, a professional hair and make-up artist, will be the co-instructor for the seminar. We will be covering stage make-up applications and achieving the "natural" look without disappearing under heavy stage lights and will also be looking at several loose hair styles that will give you that fantasy "gypsy" look. Those interested should contact me at holliewilliams (at) gmail (dot) com for details and fees. I hope to see you there! 

Halleyah

Dance and Energy

In the belly dance world one will often hear folks talk about "energy".  When I first started dancing, I wasn't really sure what they meant - was this some nebulous thing, was it something I'd have to work hard to learn, was it going to take me places I did not want to go?  It made me nervous - what the heck did they mean by "energy"!

Over the last almost 20 years, I've learned a lot about this concept and agree with my early teachers - it's important!  According to Quantum physics - we're all energy.  Energy that forms into solid matter and then unforms and reforms into something else.  Science says that energy can change form but can not be destroyed.  Now, I'm no Quantum physicist so that's my very basic explanation of the science of energy where this conversation is concerned.

So if we are all energy and we need energy in our dance, than it stands to reason we already have this nebulous quality in us.  That however does not mean we control it - just ask any cat owner.  One can have a cat - that in no way means one can control said cat!  However, let us assume that we can learn to control this energy that we already have.  How is that relevant to our dance and why is it important?

I'm sure we've all seen dance performances that look like they are having fun.  They are animated, they are looking at the audience, they are technically perfect - and we are bored to tears!  In old Hollywood, they used to call it "star quality" - being technically perfect, beautiful, and talented wasn't enough - there was something else out that you needed.  That, Ladies and Gentlemen is "energy".  Its the performer's ability to control their energy and use it consciously to effect the audience, the musicians and the other dancers on the stage.  A perfect example of this was Donna Mejia's performance at Tribalcon this year (see my earlier post).  She was beautifully dressed, she was technically perfect, she included the audience and then she did that last element - she used her energy to effect us!  And boy howdy did she effect us - she received a standing ovation and had half the audience tearing up or outright crying.  That is "star quality" and it comes from consciously using her energy.  I have no doubt she's studied many different disciplines in order to do this.  Like the cat analogy - I doubt she began life being able to do this.

So what can we do to add that component to our dance.  It's powerful - very powerful both for the dancer and for the others in the room.  Let's start small - how many of us have been dancing somewhere - performance, hafla, class, in our living room - and lost ourselves?  We could dance longer, faster, slower, it almost hurt to dance it was so intense and yet the "pain" was amazingly satisfying and wonderful?  I would imagine that anyone who has danced for any length of time has experienced this at least once.  The Spanish call it duende'.  That is connecting with and experiencing the energy.  Sometimes when this happens we can consciously use it to effect others.  Sometimes not - if we have no training, we can only ride the experience and not direct the train - so to speak.  Years ago at an SCA hafla, we had danced for hours.  I was on an endorphin high and it was late well past midnight.  I was dancing with good friends and the drummers were almost all good friends and all the loud party people had passed out somewhere.  We danced one last song and I was in duende'  I was faster, hotter, more intense - it was an amazing experience and one that I remember almost 15 years later as if it was yesterday.  And on some level I must have directed my train that night - because when we were done we were all on a dance high and I was almost in tears.  One of the drummers, someone I didn't know who had stuck around for the last dance, dropped down on one knee - kissed my hand and looked up at me with wonder in his eyes and began to tell me how I had effected him that entire evening.  It was overwhelming and I was very embaressed.  He ended as he stood up and bowed thanking me for the great privilege of watching me dance as it had touched his soul.  Now the SCA is full of flowery men who pay ladies flowery compliments, but they don't usually do it with tears in their eyes.  Scared the dickens out of me!  When I saw Donna Mejia dance I knew what he meant and I regretted that I hadn't been able to handle his compliment with more kindness and grace.  Duende'!

So, I know of my own experience - both as dancer and audience member, that this is possible.  Now, how do we achieve this in a more controllable way?  Or can we?  I think that we can.  The important thing is to control it without loosing it's amazing power and breathtaking duende'.  If we loose those things then it becomes rote and we'll loose the energy.  I personally believe that you aren't controlling it, if you loose those things.  If it becomes rote, it's because you aren't actually doing it anymore.

The answer to this is we have to study energy.  I don't mean scientifically, although if that helps you to connect -feel free to add that to what I'm about to suggest.  As humans, we already have institutions that deal with this concept - so start there.  For many people their personal religion has an energy component - investigate this look at how worship involves the use of your energy.  Do you achieve duende' in worship?  That is the most common place for anyone to begin their study of energy.  Yoga is another place to do this.  Yoga is definitely about the study of energy.  Many martial arts, particularly those from the East, have an energy component.  Meditation is another way to tap into this (pick your style).  Meditation is definitely about energy - controlling it and directing it.  These are all places to start.  Note that not one of these is in a dance class.  You might find a dance class that is about investigating energy - they do exist, but they aren't everywhere and the other suggestions are often easier to locate.  Here is my caveat' - not all Western practitioners of these methods actually focus on energy work.  So be discriminating as you investigate teachers.  You might find an amazing yoga teacher who does deep and intensive energy work at a gym, but it's more likely that you'll find one as a private practitioner.  Energy study often scares the average workout junkies - so practitioners tone down classes or ditch it altogether.  Talk to teachers, how comfortable are they in discussing this?  Do they outright dismiss the concept?  Move on talk to someone else.  Trust me they are out there.

If you want to take your dance to that next level - consider a study of energy work!

Happy Dancing,

Halleyah :)

Tribalcon V

For the last five years, a most wonderful belly dance convention has been held in the Atlanta area.  For the last four years it's been in quaint downtown Decatur, where everything is pretty much in easy walking distance - including MARTA.  This is my fourth year in attendance - I missed Icecon the first year due to a previous commitment.  Each year this event gets better and better!

The event is put on by Ziah of Awalim (www.awalim.com) and she puts a great deal of effort into making this such a well run event.  The teachers are from all over the US and she runs a complete music track as well as a dance track.  On Sunday, she holds open discussions with all of the teachers and it gives you dedicated time to ask those questions that go beyond technique and stage presence (such as - how to manage a troop, where do they see the new trend going, what neat things are they seeing/experiencing as they travel around the US, etc).  Friday night is an awesome open music performance and hafla with the music instructors and local folks who join in after the hafla starts - some of the most amazing live music is played and we all get to dance!  This year everything was seen - poi, hula hoops, solo noodling, traditional folk line dancing led by one of the music teachers (Dennys) and a well known local restaurant owner (Niccola), and large circle ATS.  It was awesome!  

That is followed by an amazing show that has performance styles that run the gamut of Tribal Belly Dance.  This year was no exception.  The show ran smoothly and the performances were again wonderful.  I always tell my students that if they can't afford anything else - GO TO THE SHOW!  It is a wonderful teaching tool and the following week in class we spend time discussing what they've seen and how they feel about it.  All of my students say it's a wonderful experience and this year I had a student offer to sponsor a beginning student to attend the show next year!  That act speaks for itself - she felt it important enough that she wants to pay for a total stranger to attend next year!  Way to go Ziah!

The meat of the weekend is the classes.  Each year a variety of teachers come to share their knowledge and wisdom with us.  I count on this conference each year to learn new concepts, and to inspire and refresh my own dance.  I attend as many other workshops as possible during the year - but so far none have compared to this one.  This year the line up was amazing and while all of the classes were good and I learned something from them all - my two personal favorites were Mira Betz and Donna Mejia.  These two ladies taught some amazing things this weekend and I came away with so much information and experience to process that I had trouble speaking coherently for a couple of days!  Any chance to take class with them is worth the money and the travel - don't miss it!  

I've taken workshops with Mira Betz last year at Tribalcon and what was wonderful is that she covered many of the same truly important concepts in a new and different way!  She considered the concept that many of us may have taken workshops with her before and crafted a workshop that was good for both the student who had not taken previous workshops and those who had.  Prepare to be worked hard in dance technique and combos that challenge.  I'm not personally a fan of the trend in workshops that offer a yoga or exercise class.  While it is often interesting to take those types of classes with workshop teachers - I'm more interested in dance technique and combos or in finishing and polishing work.  So I love the fact that Mira Betz's workshops are filled with technique drills, some technique strengthening work, combos and finishing pointers.  I'm always dripping in sweat when I finish and happy to be exhausted - but I'm never so overworked that I've actually damaged myself.  A fine line to walk with a room full of varying levels and abilities.

Donna Mejia was a new to Tribalcon instructor this year and WOW - did we get our money's worth and more!  She started the weekend with a lecture class on the ethics of fusion.  At the end she handed out a reading list that ran the gamut from women's spirituality, dance history, cultural studies, dance and body health, to artistic inspiration!  Awesome starting point for anyone wanting to take their dance knowledge and understanding to new levels.  I was pleased to note that I'd read many of the books, owned a few and most of the others were on my own personal need to read list.  I was very happy to add the new ones to the list.  The lecture was well thought out and presented some tough challenges to a field of dance that is just beginning to look outside itself and consider what we're doing in relationship to the larger dance world.  Then her next class truly opened some eyes (at least it did mine) to how much one can actually pack into one workshop class!  I've taken university level dance classes before, but Donna Mejia's workshop surpassed any of those and left them in the dust.  She had an extensive warm-up that really and truly worked every muscle in the body and touched the spirit of the artist as well with visuals to complement the mind body connection.   She started with breath and ended with breath and along the way imparted many safety concerns for dancers who want to stay healthy and still be dancing when they are 80!  Since I have some physical limitations, this was much appreciated as she said things like "If this challenges your knees, we'll meet you on the floor" so those of us who knew better didn't feel the need to push past safety into a danger zone.  Awesome!  She also made it a point to visit other teacher's workshops so she knew what we'd been working hard on all weekend and then made choices which still worked us but allowed us to rest some of our bodies that were really stressing - like my arms.  The last workshop she taught was slower and more focused on alignment, posture, and muscle usage - really nice to know that I had my concepts correct!  I also learned some really nice exercises to approach the concept from a different direction than I usually do.  So the teacher side of me was much nourished by Ms. Mehia!  The class ended with some dynamic movement across the entire ballroom floor as by then many attendees had left the conference and the class was smaller.

Combining both Mira Betz's class and Donna Mejia's on Sunday was a serious challenge to my endurance, especially since lunch didn't really happen for me, so I was physically tired, mentally exhausted and my blood sugar was dropping - but I was happier than I'd been in a really long time!  Way to go ladies!

Oh yeah, and somewhere in there I shopped!  Tribalcon always has the most wonderful vendors who bring a wide variety of goods to purchase.  I went home with a basket, lace gloves, a hair nubbin, the FCBD Devotion dvd, and a new rose hips topper for class!  A great weekend!

For those who had to miss - PUT IT ON YOUR CALENDAR!  It usually happens towards the end of February each year and start saving money - registration usually opens in the fall.  

Happy Dancing!

Halleyah

Student Hafla

The student hafla went off wonderfully this past weekend!  The weather was crazy, but lots of folks were brave and made it - I hope they had as good a time as they seemed to be having!  We opened with performances from Daughters of Djinn and Halleyah Raks (Performance Class Members) with the incensing of the room, tossing of rose petals, sprinkling with rose water and fire!  It was really cool - the first time we tried this and then we closed the song with the ATS Moving Meditation in silence.  Then Halleyah Raks performed and did wonderfully!  After that two students, Jennifer and Heather, performed their first choreography duet and were awesome and we closed with a Daughters of Djinn performance by myself and Bella.  

At that point we opened the floor to dancing and got all the folks there up and dancing including the studio owner who had dropped by!  She finally got to see what goes on at one of my haflas.  The table was overflowing with yummy foods and the room smelled amazing and the twinkle lights and tapestries gave the room the most wonderful atmosphere!

It was magical...... Hope to see you there next year!

Halleyah

A New Year of Dance!

Well, the new year is off to a bang!  I'm booked from January 17th to the end of February and March and April are already starting to book - be careful what you ask for - you just might get it!!

A new restaurant opened in the local Old Town area of Conyers (Borage Grill).  Mediterranean is how they are billed - what that boils down to is a mix of Indian, Lebanese, and Greek food.  I was thrilled that I might not have to drive into Atlanta to get Middle Eastern and Indian food - so a couple of friends and I tried them yesterday for lunch.  Good Food!  Awesome bonus - not just OK, but GOOD.  Certainly not the best Mediterranean food I've every had but good solid food.  YEAH!  While I was attempting to order - I got into a conversation with the waitress about being the local belly dance teacher and the owner overheard.  Wow, was he excited!  He wants dancers every Friday and Saturday night and I want to do some student showcases with the "dinner and a show" format.  Also I'm considering doing some full stage shows in the local black box theatre right down the street - not even a block away and his restaurant would make a wonderful after show location.  Plus it's not far from the dance studio - so dinner or dessert after classes just got easier!  I have a meeting set up with him for today to discuss all the possibilities, hopefully this will go well.  Boy Howdy did life just get more interesting!

I'm not a big fan of restaurant dancing, so I may not take him up on that aspect and just give him some recommendations for folks to contact on this side of town who do that sort of thing.  I haven't decided and to be honest the bottom line will probably be what he's willing to pay me.  Money is tight for many of us in this economy and I don't know that I'll turn down the job if the money is good.  So my quiet last day of vacation just got hot with too much stuff to decide!

In addition to the bomb that went off yesterday, I was already booked hot and heavy for January and February.  

January 17th is my yearly student hafla.  Doors will open at 7:00pm.  Entry Fee is to bring a munchie to share.  Daughter's of Djinn and the Performance class will do a few performances and then the floor is open to everyone to dance and visit.  Lots of fun!

January 24th I'm teaching workshops (Hair, Make-up and Costuming)

January 31st I'm participating in a friend's Graduation.

February 7th is a personal retreat.

February 14th I'm teaching workshops (dance).

February 19th - 22nd I'm attending Tribalcon to take workshops and network - It's sort of a working vacation and dance renewal weekend for me!  I just really enjoy the event and this year there are some awesome folks teaching so I'm really looking forward to learning new stuff!

In March I get a short break after which I'm preparing for performing at the Conyers Cherry Blossom Festival - this will be a new one if I get in.  The jury process is pretty intense - but I'm planning for a positive outcome!  And if negotiations go well with the Borage Grill mentioned above, I will  be prepping for my first Student Showcase Dinner and a Show!  March is also when I start rehearsing my students for recitals.  We usually spend about 12 - 14 weeks working on this one hour a week.  

In April, I'm hoping to offer my Hair and Make-up workshop that was so popular last year.  I'm also hoping to make a Morocco workshop in South Georgia to do some Guedra training with the best!

May starts to slow down on the calendar - but to be honest I know it won't be slow by the time I get there!  It's the month before recitals, so we're usually in the middle of costume craziness and I'm sure some other performances and teaching opportunities will show up!

June is recitals at both schools - two weekends of mass craziness and lots of nerves!!!  And hopefully my second Dinner and a Show!

Yep, the new year is off with a BANG!  Hope yours is going as well!

Halleyah :)