Katia's 9th Annual Retreat 2011

Oh my goodness!  I'm so behind!!

Back in July, Katia of Boston hosted her 9th Annual Dance Retreat in Lakeville, MA.  This was my first time attending, though I had wanted to go in 2010.

It was a jam-packed weekend!  From Thursday to Sunday, we were dancing and learning and having a grand old time.  Over the course of 4 days, Katia taught 3 choreographies, and there was a show or gathering on every night.

Khaleegy Dance
Since I had a chance to learn some of Khaleegy through Meiver, I had already had a love for this style.  We got to learn a really fun choreography that had a couple of moves I was familiar with and some more that I was learning for the first time.

The interesting thing about khaleegy choreography is that you really have to pay attention to counting, especially if you can't hear the slightest changes in the music.  I found that I really had to keep counting the measures just to make sure I stayed on track.

But overall, it was a really fun choreography to do with a whole lot of us.

Moroccan Dance
Katia had taken a trip to Morocco earlier in the year, and we had the privileged of seeing some of her pictures and souvenirs as well as hearing about her experiences.  She even had a couple of folks model the variety of dress and style.

In the Moroccan Dance workshop, she explained the emphasis on hip movements and compared some of the movement vocabulary with ones we were already familiar with in raqs sharqi.  The emphasis in the music was also somewhat different from what we're used to.  It was interesting to see the different way of calling attention to the hips.

Classic Dance
The Classic Oriental Dance was one we worked on the most.  This dance involved a sheer chiffon fabric which we cut a large slit into and used as an entrance veil.  Having a sheer entrance veil was definitely something I had never thought of using before.  But it makes sense to dance during a long introduction, and to fill it with a little bit of drama and stage presence.

During this dance, I took it as an opportunity to practice working on my spotting during turns, as well as cleaning up my arms.  Katia talks a lot about character and carriage, both things that I need to work on.  The music she chose for this choreography really lent itself to creating a queenly persona, which seemed appropriate for working on carriage.

Friday Retrospective Show
This show featured some amazing performances from the Retreat participants, some of which were Katia's choreographies from past Retreats.  One in particular was dance 3 different times by 4 different dancers (one was a duet).  It was amazing to see the same song and dance performed in 3 different ways (to a 9 minute song, I believe).  It truly felt like a different dance every time.  The same 3 dances danced in different ways was a perfect example of exhibiting one's own character.

Saturday Show with Live Band
I had the pleasure of dancing during this show with some of the best musicians in New England.  Tony Chamoun, his father George Chamoun, and several other musicians came together to play some amazing music for the Retreat.  As we were preparing, I could tell that the other ladies were extremely excited to have those musicians play at the Retreat.  They talked about how nice they all were, and how they know how to play for dancers.

Compared to some other musicians and bands I've seen, I can honestly say that I agree.  From set up to the final notes of your performance, the band is not only considerate of the space of the dancer but also the dancer's needs.

I decided to go for a Classic Oriental piece with Akdib Aleik.  I was definitely extremely nervous about performing for my peers to live music.

It's always funny what runs through your head during a performance.  I was trying to remember all the things that Katia had taught us thus far, while also trying to sing the music in my head as a way to know when breaks might occur, while also trying to keep connected to the musicians.  I know I wasn't as good at everything as I could have been, but I did have a lot of fun dancing for everyone.

blurry but pretty picture taken by Nina

I felt honored to have spent the weekend with such an already tight knit group.  It was definitely a wonderful example of the kind of family feeling one can have in the dance community.  These ladies were true sisters, and they continue to welcome new members.

I am definitely planning to attend Katia's 10th and Final Dance Retreat in 2012.  In fact, I can hardly wait.

Amira Jamal's Student Recital 2011

I can't believe I didn't write about this already!  It's been quite a busy summer, indeed.

On May 7, 2011, Amira Jamal held her annual Student Recital at the Performing Arts Center of Metrowest.  Though her student recitals used to take up several hours, there were less performances this year so the entire recital was only about an hour.

From her advanced class in Boston, there were only 2 of us who were available to perform.  Amira has so many amazing students, and it's always been a blessing to be counted in that group.

Now that I recognize and know so many of the other dancers from other workshops and events, it's been great to see so many of them break out into solo performances.  Like me, I'm sure that they view Amira's student recitals as a wonderful place to try new things, even if that new thing is performing something on their own.

At this year's recital, I decided on dancing to "El Layali" by Nawal al Zoghbi, a more poppy tune.  Here's the music video for it.  So 90's!




It's a pretty fun song, and I chose to use the veil throughout the performance, making it more of an American Cabaret performance.  I thoroughly enjoyed this years recital, and I felt a lot more relaxed than I usually do about performances.  I hope that means that I'm also improving and growing in my dance.

2011 Goals - Mid-Year Review

Well, the 6th month of the year is upon us.   It's time to take a look at how I'm doing at my goals thus far.


Let's start from the beginning, shall we?


1.  Be better about practicing at home or outside of class.
Hmm...well, I've definitely done a little bit of practicing, but not nearly enough.  With taking on bootcamp on days when I also have dance class, it's definitely not easy to motivate to practice outside of those times.  However, I did win a bunch of DVD's in a raffle, so that is some extra motivation.

2.  Save enough money to attend all the workshops I want to attend this year.
Alright, well, I've definitely failed at this one, though for the most part it was out of my hands.  I did get a chance to go to Shimmies though I worked as  the stage manager for the show, and Faten Salema in April which was a great deal.  Mohammed Shahin's workshop was cancelled due to insufficient venue space.
Katia has a workshop in June, which I'm still a bit hesitant about because of my lack of funds.  But I know I will have enough for Katia's Retreat in July.  MassRaqs is in September, but I don't know if I'll be taking the workshops since I'll be working the event.   Since I do finally have some job opportunities, I'm hoping that I will have enough for Katia's workshop and Retreat.  But I also hope to continue with Najmat, and I plan on continuing with Amar Gamal.

3.  Technique:  Work on my spins and my shimmies.
Luckily, we have some spins in Amar Gamal's choreography, so I get to work on my spotting there.  It's tough to do it in my apartment with the kitties running around.  But I'm still working on it!
As far as my shimmies, I feel like they come and go.  I need to work on all my shimmies, from the earthier ones to the vibration.  I usually do a bit of shimmy practice before bootcamp as a way to warm up while no one is there yet.  I might also check out some more DVD's on shimmies, especially Amar Gamal's shimmy DVD.

4.  Props:  Work on fan veil and Isis wings.
I got me a pair of Isis wings! Yay!  But I just gotta practice with them.  Again, this is really dependent on me taking time to actually get out there and practice.

5.  Buy a new costume before the year is over, and take 2 dresses to Shadia to turn into dance costumes.
I'm hoping that the second half of the year will prove to be much more fruitful in terms of my cash, so that I can at least give 1 dress to Shadia.  But otherwise, this one is on hold until the finances are in better shape.


I've definitely slacked a bit on these goals.  But, it's good to get some perspective while checking in about these goals.  Now, it's time to refocus and get on it.

"From Tassels to Sequins" - Review for Belly Dance New England

For the complete article with images, please visit:
http://www.bellydancenewengland.com/sequins.html

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If you are completely new to the world of belly dance, then hopefully you made it to the "From Tassels to Sequins" event at Moody Street Circus in Waltham, MA, on Friday, April 1st. Showcasing dancers from all facets of belly dance, Baseema Moirae and Melina of Daughters of Rhea organized an entertaining and exciting show that could have acted as a great introduction for all that is belly dance.

If you have yet to visit the Moody Street Circus, drop what you are doing and make your way there immediately. The studio is beautifully laid out for both dance and circus classes, and it turns into a wonderful show venue for the many events that take place there. The posters of past events that cover the walls are only a sampling of the excellent events that have yet to be produced at this wonderful venue.

This event, preceding a weekend of workshops, featured Oregon-based dancer Sabine. She is known for her tribal-style moves and double-sword wielding abilities; the focus of the workshops. Considering that she and her two scimitars were the finale of the evening, the entire show was extremely strong from beginning to end. Every performer and troupe that walked onto the dance floor was high-caliber, the top performers of the New England area and then some.

Shimza, a new American Tribal Style (ATS) collaboration between Baseema and Sara Ford, opened the show by staying true to their name (Gypsy word for joy or happiness) and set the example for the joy that one should feel when dancing.

Bellybeat once again impressed the audience with their visually appealing formations. Their fusion-style choreography and movements were akin to sirens calling out to the audience to join them.

When Aurel walked onto the stage, she commanded everyone's attention as she balanced a tea tray on her head while descending to the floor. There is humor and a down-to-earth quality to her cabaret style that is refreshing, and there is no doubt that she has abs of steel under all that beading.

Ombellyco then brought us back to the ATS part of the belly dance world. It honestly blows my mind that ATS is mainly improvisational, but that all the dancers in a troupe understand the cues well enough to follow along. Ombellyco's formations not only exemplified ATS, but it also reminded me of a fractal, where each part is a copy of the whole.

Najmat is basically glamour personified. Her Egyptian-style dance is ever-captivating, and even though the wrong tracks played for the second part of her performance she never fails to impress.

We then had the pleasure of a sneak peak of Sabine's talent when her troupe, Tribalation, performed. It was clear in their dance that Sabine and Kathryn truly love the dance and have found true sisters in each other.

Denise, a member of the Boston-based Vadalna Tribal Dance Company, seemed to slither onto the dance floor. There was something about her dancing that almost made me want to rub my eyes in disbelief – her movements were so graceful yet sharp that I was almost convinced that I was watching a CGI instead of a real person.

When Kaylin stepped out in her beledy dress and whipped her veil around her effortlessly, I was absolutely mesmerized. There were so many instances during her performance when I took mental videos to bookmark for later practice.

Jaylee impressed the audience with her precise moves. She hit every break and every accent without fail. You could see the audience trying to keep up with her, but her pops and locks were much too quick for the human eye.

Sara Rodrigues Cabral graced us with the beautiful artistry of her piece entitled "Jewelry Box". There is so much imagination in her pieces, it is clear that she has been dancing and creating as long as she has been on this earth.

Before Sara could leave the stage, Melina's husband Sasha walked onto the stage. As they pretended to flirt with each other, Melina, the Mistress of Moody Street Circus herself, floated onto the stage and "caught them in the act". As she pulled out her dagger and her sword, you knew that she was not one to mess with. I personally could never tire of watching Melina balance the sword on the dagger she's holding in her mouth. Her Greco-Turkish style of belly dance is just so full of energy and surprises; you can't help but bow down to her.

The Magnolia Devi Dance Company from Maine then showcased their ATS skills. They were exciting to watch, especially when they slinked down to the floor. However, perhaps because of the seating arrangement, it was somewhat difficult to see what was happening when they were doing floor work.

Di'ahna Restry is a dancer who knows how to entertain. It was fun to watch her interact with the audience while combining a slow song with a fast song, her movements echoing the emotions and sensations of love, the subject of both songs.

Finally, Sabine's scimitars were placed on the stage. Truly, I could have watched her maneuver around and over the swords for much longer than she did. She moved effortlessly on the stage, while balancing not one sword but two. I could imagine a "Do not attempt this at home" disclaimer underneath her. She is truly a master at the Raks al Sayf, and the swords are merely an extension of her arms.

As someone who is more accustomed to the sequins aspect of belly dance, it seemed that there was a bit of a skew towards the tassels in this show. However, considering that the headliner represented ATS, and represented it gloriously, the tassel skew was appropriate and not unwelcomed. The variety in performances left me feeling inspired to try some new things in my own dance practice.

Congratulations to Melina and Baseema for a wonderful show and thanks for helping to enhance the belly dance landscape of New England!

Amar Gamal's Classes in Bridgewater

For the past several months, Amar Gamal has been in Massachusetts teaching beginner and continuing classes at the Maha Yoga Center in Bridgewater, MA.

Firstly, Bridgewater is extremely far from Boston.  With traffic, it's even further.  Luckily, I'm going down to Bridgewater with a friend, so the ride is a lot more enjoyable.

At an extremely reasonable price, it would have been crazy to say no to this opportunity to take weekly classes with a Belly Dance Super Star.  I'll be honest, I couldn't help but feel a bit star-struck.

She is an amazing dancer.  Absolutely graceful, poised, and precise.  Being in her class really makes me extremely aware of what I'm lacking or not doing right.

We're doing a series of combinations and then putting them all together.  Interestingly, I find myself able to pick up the combinations fairly easily.  However, I know I need to really clean up the moves and transitions.  I am proud of myself for keeping up with the lessons, though!

I am glad to have had such a diverse background in terms of dance teachers.  I feel like each one of them has helped to give me a strong foundation.  I'm excited to have Amar Gamal's teachings as part of my foundation as well.

Silencing the Noise

As someone who doesn't necessarily considers herself as a "professional dancer," in that I'm not really in high demand to do anything, there's still a lot of negative thoughts that still float through my head once in a while.

I know that I've come far in the past several years, showing more confidence in my performances and just generally having more fun.  But I still get really nervous right before a performance.

It's kind of funny what kinds of negative thoughts will flit through our heads in times of nervousness.  I think about whether I'm doing the dance justice, if I'm wearing the right kind of costume, if the costume will do something unexpected, if the music does something unexpected, or if I'm entertaining enough for the audience.

I have learned to push those thoughts away just as I'm about to step on the stage, but I wish I could learn to push them away during practice.

A couple of weeks ago during Amira Jamal's class, she lead a conversation about being present.  While we should be aware of what our bodies are doing (are our arms and hands full of energy? are we tucked? are we smiling?), are we able to ascend being physically present to being mentally and emotionally present?

During the undulations portion of our warm-up drills, I somehow became extremely disconnected with myself.  My undulations weren't doing what they usually would be doing, and Amira noticed it as well.

I remember thinking, "What in the world? This doesn't feel right..."  But I just kept going instead of stopping or really trying to figure out what was wrong.

Amira asked, "So, you were aware of the fact that something was wrong.  What could you have done to fix it?"

Seriously, she asked me a question that is basically defining my life right now.

I told her I couldn't answer that question, as it's literally been something that's weighing on me.  The more I thought about it, the more emotional I could feel myself getting.

Being in this state of unemployment with no direction has really been difficult for me.  At my last full time job, I was able to thrive because I was able to put a lot of my own ideas, and thus a lot of myself, into the work.  Because I was able to get out most of my ideas or even just be able to talk about them and hash them out, I think I was able to let the rest of my creativity flow through my dancing.

Does that make sense?

So, because I've been basically stagnant in my professional life, it's starting to affect my dance and my health.  It's almost like once I realized that I was blocking myself from creative expression, my body reacted to it by stuffing my sinuses and giving me a sore throat.  And honestly, I'm so angry at myself for letting it get the best of me.

Meditation and Chakras

I think what I'd like to do in the next couple of weeks is to sit quietly or with some soft music playing.  I would like to learn how to meditate and really quiet my ever-moving mind.  I will try to make sure that if any ideas do surface, that I write them down or draw them out. 

Holding on to it all hasn't been productive, and I need to try something new.

What has stood in the way of your dancing?  Is there a zone or a frame of mind that helps you to be creative?  What techniques do you use for silencing your mind? 

2011 Dance Goals

Happy New Year!

I figured that if I was making goal lists for my personal and professional development, I really needed to create a list for my dance development.

1.  Be better about practicing at home or outside of class.
For the most part, I practice choreography at home and once in a while I use a DVD.  But since I've been mainly focusing on weight loss, I've put the dance DVD's on hold.  Though, really, I should do my workouts and then do some work with the DVD's.  To get me more motivated, I think I will write in my datebook at the beginning of the week about some things I want to work on.

2.  Save enough money to attend all the workshops I want to attend this year.
Gosh.  There's Shimmies in March, Yousry Sharif in March, Faten Salema in April, Mohammed Shahin in May, Katia's Retreat in July, and MassRaqs and September.  So far.  And that's not even counting classes with Amira Jamal and Najmat.  Nor is it counting any other events that might come up throughout the year.  Unfortunately, this is really contingent on me getting a job.

3.  Technique:  Work on my spins and my shimmies.
I'm not really the best spinner.  I don't get too many opportunities to practice that at home, what with the kitties.  But, I know I really need to work on that.  My shimmies in general always feel messy.  I need to work on being able to have more control over my shimmy.

4.  Props:  Work on fan veil and Isis wings.
Okay, first I should probably own a pair of Isis wings.  But I would really like to work more with these props so that I can feel more comfortable using them and performing with them.  I've had this idea of using the fan veil in a fusion piece with traditional Filipino dance.  But I feel like I need to work some more on my fan veil technique before really being able to combine the two dances.

5.  Buy a new costume before the year is over, and take 2 dresses to Shadia to turn into dance costumes.
I really only have several costumes in my closet.  I would really like to continue adding to my arsenal of costumes.  It makes me feel like I'm able to do more performing if I'm able to show up in different pieces.  Don't ask me how that is in any way logical.

All in all, I feel like this is going to be an extremely exciting year in general.  I feel like all kinds of new things are going to happen and I will really grow in my skills as a performer.  So, here's to a sparkly and shimmy-fabulous 2011!

Hired for a Birthday Party

On December 4th, after being part of Raks Nativity, I drove down to Jamaica Plain because I was hired by a friend to dance for her birthday party.

I was honored to be asked to be part of her birthday party in this way, and I was excited to have an opportunity to dance more that evening.

This is my first ever dance gig that I was hired for, and I was excited that they even considered me.

I had prepared about a 15 minute long performance, and wanted to make sure that I got the birthday girl up there as well.  Considering that I hadn't had a lot of time to prepare for the gig since they had just asked me the previous Wednesday, I chose songs that I was already quite familiar with.

My playlist featured:  "Samra Ya Samra" by The Morgador Band, "Khawet Serena (Serena's Step)" by Hossam Ramzy, and "Enzal ya Gameel" by Walid Toufic.

There's always this little voice inside that causes me to get a bit nervous.  It usually says, "What if you mess up? What if you don't keep their interest long enough? What if what if what if...?"

I do have to remind myself that I was the belly dancer hired or chosen or whatever to be dancing there.  There's really quite a possibility that no one else knows how to do what I do, and not just concerning the dance style but also knowing the music and knowing how to improvise and work a room.

The guests stood in a circle around me, and I danced around in the middle of that circle.  There were definitely some things I became keenly aware of during my performance. 

I was suddenly very aware of the men in the room.  It felt very different from any recital, where there are also men.  But, it definitely felt that I was being watched almost a little too closely for my own comfort.  I made it a point to mainly make eye contact with the women in the room.

After my performance, I ran back into the bathroom, and changed back into street clothes.  When I returned, a lot of the guests were complementing me on my dancing.  It was nice to hear so many positive things.

At one point, one of the guests who was leaving asked me if I was Middle Eastern.  I must say that that is the first time I've ever been asked that!  The woman, who was Palestinian, said that I looked a lot like her cousin, but that she thought I might have been mixed with another Asian background.  But she said that I danced really wonderfully.

I have to admit that having someone Middle Eastern complement my dancing is a true highlight.

I'm really proud of myself for having just completed an amazing night with tons of highlights.  It felt great to be acknowledged as good enough to deserve a fee.  Truly, this experience will be a reminder to help me build my confidence as a dancer.

Raks Nativity 2010

On December 4th, a groups of belly dancers and their friends descended upon the town of Chelmsford, MA, to present the first production of Raks Nativity, the Christmas Story told through Middle Eastern Dance.

I was very excited to be chosen to play the Virgin Mary, which is really quite an honor coming from a Catholic family.

Publicity
On the night of the dress rehearsal on December 3rd, I received a copy of the Chelmsford Independent with the article on Raks Nativity right on the front cover.

There's me!

I'll be honest.  It was quite daunting to see that picture of me.  I really wasn't sure if I would be able to do the character justice, as I'm not really much of an actress.  But, I just kept telling myself to breathe.  All my peers were extremely supportive, and really helped to build me up.

What's a show without obstacles?
A week before the show, we learned that Amira Jamal would not be able to play the role of Anne, Mary's mother.  Her and I had practiced our part together several times already, but she was having a lot of trouble with her legs and knees, and I wouldn't have wanted her to hurt herself any further.

Truth be told, I was really saddened by the news.  I consider Amira my "belly dance mom," so it felt right that she would play my mom in the show.

However, when I learned that Najmat would be the official understudy, I was extremely excited!  Considering that we had joked back and forth about how she should be playing the Virgin Mary, it was all too appropriate for her to play my mom.

Debut
When December 4th arrived, I could hardly believe it.  I joked during the tech rehearsal that it would be over in 2 minutes, and we'd be wondering how we got there.

As show time closed in, I started to feel extremely nervous.  All my doubts suddenly flashed through my mind.  Behind the wings, I became intensely aware of my heartbeat.  Najmat assured me that I would do great, and I thought back to all the student recitals and performances I've been part of.  I even thought about how I had another dance gig I was hired for later that night.

I know this may sound silly, but the mere fact that I knew that acting (and serious, not being silly acting) was involved made it feel more important for me to do well.  I just didn't want to let anyone down.

Then the music started.  I took a deep breath, took one more look at my cast mates in the wings, and erased all those doubts from my mind.

As the first act came to a close, I felt myself breathe out as though I had been holding my breath the whole time.  It was great!  It felt great!  The audience seemed to enjoy themselves, and I hadn't fallen off the stage.

After some reapplication of makeup and readjusting of the costume, it was time to prepare for the second act.  I got to catch up with a couple of belly dance friends in the audience, but mainly tried to stay out of sight.

At some point, we were waiting in the wings during the second act, and I looked at the same people I was with during the tech rehearsal and said, "See! In like 2 minutes it's seriously over! How did we get here?!"

In preparing for the final scene, I sat in my chair and tried to channel a new mother's spirit.  I looked at the fake baby doll in my arms (though it was so real looking, it was kind of freaky!), and thought about what it must feel like to have just given birth and holding your new baby.  Then I thought how every mother must feel that their child is just as special as the newborn baby Jesus might have been.

On a side note, I know that I am definitely not prepared for motherhood, and this is why:  During rehearsal, I would constantly forget about the baby doll!  It was left on a table, or downstairs in the dressing room, or somewhere else.  But man, I am not prepared for babies!

The curtains opened and the final scene began.  This was perhaps one of the easiest parts for me, since I literally just had to sit there and look extremely happy.  But, in all honesty, I was extremely happy. 

The person playing Joseph (who I had only met the night before) and I were second to last to take our bows, and the drummers, Johara's Snake Dance Company, followed after us.

We did it!  We pulled off an amazing show, and each one of us were eager to talk to our friends in the audience to hear their feedback.

Reflections
Looking back at the event, I am still feeling this wonderful glow about me.  It's strange, really, playing such an important religious character but not being at all religious.  I can't help but feel a bit more spiritual and even more into the Christmas spirit after the show.

It was so lovely to see so many friends in the audience.  I remember at one point, noticing the light reflect off my boyfriend's glasses in the audience as I danced.  I get a bit nervous knowing he's there, mainly because his opinion is really important to me.  And at the same time, it's extremely comforting to know he's there because his opinion is really important to me.

They all said that I did a great job and how I was really expressive.  I had been much more concerned about looking pregnant, more than anything else, so I'm glad that I was able to accomplish both.

I now know that I do have the capacity to act as well as dance, and maybe even both at the same time.

As the pictures were published on Facebook, I felt like I was reliving the show all over again.  I honestly could have done it again, even 2 nights in a row.  Considering that it was about an hour of action and that it was a full house, we probably could have packed in another show.

All in all, I am so proud to have been part of this production.  I am proud of Nepenthe for being so creative with this vision, and I thank her for allowing me to be a small part of it.  Whatever she ends up doing next year, and if she does this again, I am so down!

For pictures, please check on my Photo and Video blog: Cecilia of the Sea

Chillaxing with Belly Friends

This evening, I went to Khayyam in Brookline to watch one of my favorite people in the whole entire world dance.

At some point after her performance, some girls in the crowd (who brought wine) wanted for us to get up and dance with them.  It was fun and all, but there was definitely a moment where I thought, "I've already had so much fun tonight, and not a single one of us in the group had anything alcoholic."

I feel like there's something to be said about that.

There's a potential for a reality t.v. show that would probably get horrible ratings for being so reasonable.

What do you get when you put together a bunch of confident, straightforward yet friendly belly dancers in a room together?  A lot of good times with a shimmy on top.

This Goddess Gets Virginal

In the past couple of months, I've had the pleasure of working with many of my belly dance classmates towards a fabulous show called Raks Nativity.

Raks Nativity, conceptualized by Nepenthe, is basically the Nativity Story told to Middle Eastern music.  From the Facebook page, it's "a new take on the Christmas Pageant. While the plot remains the same, this pageant depicts each scene with dances from the Middle East and fusion “bellydance”, including Saidi, Baladi, and Wings of Isis."

Well, ladies and gentlemen, I am blessed and honored to be playing the Virgin Mary.

Back in September, I attended the auditions thinking that I would try out for one of the more minor roles.  But then I was told to act/dance through Mary's introduction scene, and they said that they imagine her to be kind of like a Disney Princess.  Pppsshhhhaaawww!  Well, snap.  I can do Disney Princess.

So, here I am, preparing to play the Virgin Mary.  Believe me, the irony is not lost on anyone in the cast.  But, luckily, we all have a healthy sense of humor and know that we need to keep some things discreet.

But it just gets better.

Back in October, I was doing a party.  I pulled out my vagina puppet, which I use for the anatomy portion of my demo.  One of the guests suddenly exclaimed, "Is that the baby Jesus?!?"

I cracked up!  Before explaining why I almost died laughing, I said, "You have no idea how funny that is to me!"

I told some of the organizers and staff, and promised that I would bring the puppet to one of the practices.

Unfortunate (or fortunately), I happened to bring it when there were official photos being taken.

Photo by Dreamer's Realm Photography
Can you guess what was sitting in as the Baby Jesus?

I'm honestly really excited about being part of this show.  It's just going to be a lot of fun, and really a great way to bring different people of different denominations, beliefs, and experiences together.

Then I learned that the Chelmsford Independent, their local newspaper, printed an article about the event using the promotional image.  Except, they cropped the middle image.  Here's the screen shot of the website.

holy...moly...

Okay, so this is where I'm starting to freak out a bit.  Truth be told, I knew what a responsibility it is to play the Virgin Mary.  I did grow up with a Catholic family.

But it wasn't until I saw that website that I realized what a responsibility it is to play the Virgin Mary.  Sure, the Nativity Story is mainly about Jesus' birth.  But, really, that's just the climax (that's right, I went there).

The story is really about Mary's experience.  From the Annunciation to the Presentation, Mary is the actual driver of the story.

I know that I'll do the story and Mary proud, but I'd have to say that I'm a lot more nervous after seeing the press this event has received.  There's a part of me that knows about all the other better dancers out there, all the other better actors out there.  There's the little voice of doubt that has suddenly appeared.

But, for this first Raks Nativity production, I know that this is my Mary.  And I'm going to be the best Virgin Mary that this Goddess can be.

Belly Basics from a Baby Belly

On Friday, October 15th, I was invited to do an Athena's Party at Girl Power Fitness in Hyde Park, MA.  The Hostess and owner of Girl Power Fitness is a friend of one of my close friends who teaches Zumba, and soon got word that I am also a belly dancer.  Since the night was also going to feature a strip tease lesson, she asked if I would be able to teach a short belly dance lesson.

Truth be told, I don't think I'm necessarily qualified for the job.  Though I've been studying for about 8 years, I've only taken my commitment further in the past 3 years.  I don't necessarily plan on becoming as professional as some of my friends who are dancing at restaurants, but I absolutely love this dance.

Luckily, I had seen a fellow dancer, Ma'isah, the night before and told her about my upcoming lesson.  At that point, I had no idea what my lesson plan was, and I was too nervous to really think about it.  I am extremely lucky that she had a clearer head than I did, and she helped me break it down and feel more prepared.

I knew I had to start with the basic history and background of belly dance, starting with the term raqs sharqi.  I explained to the room full of women that the dance was more about dancing for other women and less about dancing for a man.  I stressed the importance of why it should be more about enjoying the dance, rather than just performing.

I knew I had to go quickly through various moves, but that I wanted to touch on a lot of the basics.  After my brief history lesson, I talked about the importance of posture and demonstrated the "right" and "wrong" ways to stand.

In My Goddess and Belly Dance wear

I started with hip and rib circles, moving slowly then a bit quicker.  I made sure to give the room ample time to practice, while also being aware of the time.  I touched on horizontal figure 8's and vertical figure 8's.

Then I moved on to undulations, starting with the hip then the ribcage.  In the theme of undulations, I moved on to snake arms and noted how difficult it was for many in the room to grasp.  I tried various ways of explaining it, though I knew that the time allotted would not be enough for everyone to really hone it in.

Then we moved onto the faster movements, namely shoulder and hip accents and shimmies.  The shoulder accents gave way to shoulder shimmies, and the ladies really seemed to enjoy that.  I then moved to hip hits going up and hip hits going down, focusing on one side at a time.  I also introduced them to the Egyptian Hip Hit and the Drop Release movements.

I had index cards with notes, just like when I had my very first party as a Goddess :)

Finally, we moved on to the shimmies.  I started with the basic knee shimmy, then the hip shimmy, and finally the 3/4 shimmy.  After going through the basic moves, I put on Betwanes Beek and I led them through the various movements I taught them throughout the song.

Afterward, I thought of all the various things I didn't get to tell them.  I touched on layering, but I didn't really show them an example of it.  I talked a bit about placing your arms in a way that frames your body, but I forgot to end the final song with a pose.  I got so nervous, that I didn't even suggest that I could dance a bit for them while we were waiting for the next portion of the evening.  I didn't get to talk about level changes, smiling and facial expressions, or using the movements to move across the room.  I know it's silly, considering that I really only had enough time to go through the basics.  But I just like being thorough.

Nonetheless, the women seemed thoroughly excited and happy with my quickie lesson.  They said that they were surprised at how hard some of the movements were and how much they were sweating during the lesson.

I had created a list of teachers in the area to hand out to the girls, encouraging them to seek out lessons with some of the top performers and teachers in the area.  It felt encouraging to hear that some of them enjoyed my lesson and would have also enjoyed continuing lessons with me.

Again, while I don't think I'm necessarily qualified to teach beyond a beginner level, experiencing being a teacher was incredibly insightful.  If anything, it helps me to be a better student.

MassRaqs 2010 - Part 2

I decided to cut the post, since it was getting a bit too long.  Now, where was I?  Oh yes, the final day of MassRaqs 2010.

Sunday Workshops

Sunday, September 26th

Sunday was going to be a jam-packed day with 4 workshops and a Gala show in the evening.  This day felt a lot more relaxed, interestingly.  Perhaps because we already knew what to expect for the workshops.  Also, knowing that Springstep's staff would be in charge of setting up chairs really took a lot of stress away.

Shadia - Double Cane Technique
I have very limited experience with the cane, though I have to say that doing the saiidi choreography with Meiver for Barka helped to make me feel more confident about using this prop.  But 2 canes?  Well, that's a completely new adventure.  Truth be told, this workshop was a huge wake-up call for me.  Shadia stressed practicing at least 5 minutes a day with a cane, and in both hands, would really help everyone's technique.

My favorite part of this experience was learning some new tricks with the cane.  There was one trick where we twirled the cane and caught it on the other end (hard to explain, but really cool to watch!).  I found it hilarious that everyone (including me!) was dropping our canes during the practice.  We all had a lot to learn, but we are eager to do so.

My least favorite part of this experience was that I completely forgot that I hid my canes during the Gala and I forgot them at the venue!  Luckily, dowels don't const that much, so I can easily replace them.

Shadia - Bedouin Styling
Shadia, a master in folkloric style, introduced many of us to the Levantine and Bedouin style which is a lot less hips and more hands and arms and shoulders.  We went through a combination of steps and movements that are characteristic of these folkloric styles.

Then she paired us by height and we did some debke line dancing.  This was so much fun!  First of all, it was hilarious to see how fast the tall group moved across the room, and how much slower it took for the shorter groups.  But the beat of the music and the fact that it's a group line dance just makes it feel like a party.

Boẑenka for Cassandra - Oriental Technique Tune-Up
Boẑenka took us through some modern oriental technique work, leading us across the floor with different combinations and different facial expressions.  In a way, this felt like an extension or a second part of her Arms and Hands workshop from Saturday.

It was fun to cross the room with so many of my friends, and it was nice to watch the other dancers in the room strut their stuff.  It felt like we were all really cheering each other on, and just plain enjoying ourselves.

Boẑenka - Drum Solo
Perhaps one of the most exciting parts about this workshop, aside from learning some technique from one of the most renowned dancers, was that we had a live drummer to dance with.  One of the local drummers who was performing with the band at the Gala helped us learn a little bit about how to connect with the drummer.  Boẑenka stressed that while it often feels that the dancer has to chase after whatever the drummer is doing, the dancer can do a couple of things to signify that she will be changing her movements.

She had us individually approach the drummer and signify when we would be finishing a phrasing.  It was fun to watch each person dance and learn what moves help to signal to the drummer.  Then, several of the attendees picked up some drums and each of us participated in a drum circle.  We each danced to a full drumming group, and it was fun to show what we had learned.

In total, I have to admit that Saturday's workshops felt more like a lot of hard work, whereas Sunday felt a lot more relaxed and fun.  This isn't to say that either day wasn't filled with both hard work and fun, but there was definitely more of one aspect present on one day versus the other.

Sunday Gala
Goodness.  I feel absolutely blessed to have started and ended the weekend watching such a huge variety of amazing dancers.  The performers were a mix of people I have watched several times and people I had only heard of.  The Gala really felt like a perfect bookend to an already inspiring weekend.

Let me start by talking about a little bit of trouble we ran into before the doors were even officially open.  One woman was extremely angry that we were unable to take credit or debit cards for admission.  She said that we should have advertised it, which is true, but there was no need to be extremely angry at us for not having the capability of card swiping.  That is definitely something to remember for next year's and any upcoming events.

The first set of the evening was the folkloric portion.  There was some cane action from Chantel as well as some debke line dancing from Shadia's Mirza Troupe, both of which made me sway along with the music.  Then Boẑenka performed a maleya leff, which is flirty and uses an embellished veil.  She looked like she was having such a fun time with the dance.

The second set of the evening was mainly raqs shaqi dances.  Watching Meiver and Najmat dance is always such an amazing experience.  Meiver with her amazing combinations and Najmat with her delicious gooeyness are enough to bring in a whole new group of belly dance enthusiasts.  Though Nina had performed at Baraka, I didn't get a chance to watch her move, so I was excited to get the chance during the Gala.  Local favorites Pheadra and Hanan also graced the stage, playing zills and twirling double canes, respectively.  I tried to pay attention to their technique, especially since we had worked on those two this weekend.

Then, of course, the Gala closed with another performance by Boẑenka.  She is just amazing!  If you ever get a chance to learn from her or to watch her move in person, it is something you really want to strive for.  But, let me not forget to mention her AMAZING costume!

Boẑenka's gorgeous costume

I'm pretty sure even the band members were mesmerized by her movements.  Her costume only helped to accentuate how amazing she is.  It's always very interesting to watch dancers of such popularity live in action.  She really exudes confidence and a love for the dance - something we are all striving to naturally exude.

In Conclusion
MassRaqs was really a complete success.  Sure, there were some unhappy folks about Cassandra's absence, and I'm sure that not everyone was completely happy about the weekend.  Sure, there could have been a lot more tightness in the event implementation and organization and time management.  These are all things that we will be aware of in terms of future event planning.  Some things worked, and some things didn't.

With the New England belly dance community recently having experienced some negativity in the form of undercutting and gossip, this weekend (which also featured a tribal event organized in Boston) was really needed.  Starting the weekend with an open dialog about what makes Boston and New England such a stronghold for the belly dance community, filling in workshops that could only enhance everyone's dance, and ending with beautiful dancers just felt cohesive and inspiring.

Considering that I woke up this morning feeling like I just wanted to keep dancing and then reading about other people's feelings about the weekend on Facebook, it just means that MassRaqs 2011 (Save the Date: October 21st-23rd) is just going to be better in every way.

MassRaqs 2010 - Part 1

What an amazing weekend!  I wanted to write about my MassRaqs experience as a participant and as an assistant in the process.  I was more than happy to share my skills to help this event, and I feel like I've learned a lot about the process as well.

First of all, MassRaqs was created as a way to bring the New England belly dance community together for a weekend of discussion, learning, and performing.  In that respect, I believe that the event was a complete respect.  But, being the first year the event took place, there is definitely much for all of us to learn from.

Panel Presentation and Performances
Friday, September 24th
The first event of the weekend took place in Green Street Studios in Central Square.  It's amazing how one of the studios is able to change from a regular looking studio into a beautiful performance and show space.  One of the drawbacks, however, is the poor air circulation - when it's hot, it's hot!

As an event assistant, I knew that we had a limited amount of time to organize the space before the event could begin.  There were definitely enough hands, and we even got some help from one of the audience members.  Unfortunately, we did get started a bit later than scheduled, and we definitely ended a lot later than scheduled.

Perhaps it would have been useful to delegate exactly what needed to be done to the specific people who were going to be there to help.  That way, everyone could focus on their specific task and help anyone who might need extra help when they're done.

My approach to event organization is definitely one of multi-tasking.  Even if you were the one delegating tasks, you need to be moving around and helping with things as well.  "Floating" doesn't mean just standing around while everyone is moving.

As a participant of the event, I though the discussion and video sampler of Amy Smith and DeAnna Putnam's "Aziza!" was wonderful.  There were conversations about the changes in the New England belly dance scene throughout the years, thoughts on preserving the past as well as the present, and hopes for the future of the community.

I have to admit, I was enthralled by the conversation.  I felt proud to be part of the New England belly dance community, considering that the American belly dance scene really started in Boston.

After the panel, difference dancers from all over New England (from Connecticut to Maine, Rhode Island to Vermont, and everything in between) performed their different styles of raqs sharqi.  It was a pleasure to watch the dancers, many of whom are my friends.  I have to admit that my face hurts from the joy of watching them.

After the event was over, there was, of course, the break down part of the event.  Again, while it seemed to take less time to take everything down and put everything back, it still would be useful to have delegated tasks.  Also, the event should have been planned down to the second.  Dancers arrive at a specific time, panel ends lasts a specific amount of time, etc.  Overall, though, the first event of the weekend was a success.

Saturday Workshops
Saturday, September 25th
Saturday featured 3 workshops from 3 different teachers.  Unfortunately, Cassandra had an injury and was unable to come to Boston for the weekend.  I know that many participants were eager to learn from her, and many were disappointed that she wasn't able to teach her workshops.  However, I do think that Meiver did what she could at such short notice, and considering that Boẑenka was the replacement teacher, I think that we were lucky to still have the workshops available to us.

Obviously, it would only benefit us to be exposed to a variety of teachers.  Though, on the other hand, I think it would have also been awesome to extend Boẑenka's already assigned workshops.  I mean, who couldn't use more work on their Hands and Arms?

As a event assistant, I was mainly charged with preparing registration sign-in forms and making sure the vendors had all they needed.  I definitely went into event mode the second I stepped off the bus.  The vendors were one of the first to arrive, and I helped to get them set up on their tables.  I also helped to set up the registration table, prepared with signage and tons of pens.

Throughout the day, I stayed relatively vigilant about who was coming in through the doors and elevators, even though I tried to focus on participating in the workshops.

Meiver - Exciting Combinations for Modern Oriental Style
Having studied and learned some Modern Oriental style with Meiver for the Baraka event, I was proud to know that I was probably a little more advanced than some of the others who were new to Meiver's style.  Considering that I found the Modern Oriental to be the most challenging, I knew it would only benefit me more to take this workshop.

Part of the combination was similar to the choreography we learned for Baraka, but the changed in the choreography were just as challenging as learning it the entire choreography the first time.  Honestly, I think Meiver's choreography and combinations are beautiful and exciting.  It takes some serious skill to produce choreography in the graceful way that she does.

Boẑenka - Arms and Hands: Technique for Fluid Arm Movement and Emotive Gesturing
I think that part of what made me fall in love with belly dance was the snake arms.  I know, however, that it's something I need a lot of work on.  Boẑenka worked us all very hard!  There was definitely a lot of movement repetition and keeping our arms up.  I was scared I was going to be extremely sore the next day, but I wasn't.

You definitely need some serious arm and shoulder strength to help you get to the point of having gorgeous arms and hands.  But Boẑenka's stretching suggestions were also extremely helpful.  I know that I don't really think about stretching my hands and wrists very often, but now I will be more conscious of doing so.  Watching her move her arms and hands really made me feel inspired to keep working on my own technique.

Boẑenka for Cassandra - Beledi Stylings
I heart the beledi.  It's so earthy and fun.  Boẑenka reminded us, however, that while it is an earthy dance style, it is still a very proud dance style.  Earthy does not mean that technique gets lost, but that it is a different feeling added onto the technique.  She taught us a bit of combinations and then took us through some zill/zagat work.

It was interesting to see how she taught the finger cymbals.  Most of my instructors have focused on alternating the hands, so that both hands are used.  But Boẑenka stressed that the right hand (or your dominant hand) kept the beat while the left hand inserted little accents.  I have to admit that it was difficult to change to that way of playing after having played a different way for so long.  But it was an interesting way to think about the zills.

By this final workshop of the day, my feet were achy and I was tired from getting very little sleep the night before.  I was excited to go home and rest for the final day of MassRaqs.

Coming Up Next:  Sunday Workshops, Gala, and Final Thoughts

Belly Dance Community

This is a hot topic right now among the belly dance community of New England, and I wouldn't be surprised if it was a hot topic in other areas as well.
What is Community?

Giving Zumba a Try

Recently, a friend of mine has lost a lot of weight and looks amazing after getting heavily involved in Zumba.  I was thoroughly impressed by her efforts, and I had heard a lot about the classes.

Basically, Zumba is a high-energy dance-based class.  Though most of the elements are from Latin dances like salsa, cumbia, and merengue, there is also hip-hop, samba, and a little "belly dance" (I'll get to this in a second).

I had a Groupon coupon for the Oak Square YMCA in Brighton, and there were several Zumba classes to choose from.  So, I tried one out, and I must admit that I had a lot of fun.

It really is just like dancing around.  While some of the transitions need your concentration and it probably helps if you have rhythm (or if you don't care whether or not you have rhythm), it's really what you make of it, and it can be really quite fun.  I find myself smiling through most of it.

You can definitely work up quite a sweat from all the dancing around, and I can see how someone can lose quite a bit of weight if they dedicate several workouts a week to this cardio class.

Now, while there isn't a lot of Middle Eastern-style dancing in the classes, there are definitely incorporations of it.  I feel bad whenever this part of the class comes up, mainly because I get a bit critical about the moves.

I, of all people, understand and value the fusion of belly dance with other styles of dance.  I'm not forgetting that I still want to somehow fuse traditional Filipino dance with belly dance.  But I think that the fusion is more impressive when parts of the different dances are still visible, recognizable, and respecting of the different styles.  That's just my personal style and take on the whole thing.

So, when the Zumba instructor says that we're incorporating belly dance into the moves and it reminds me more of bangara or doesn't feel like belly dance, I find myself really struggling with understanding what is happening and really struggling with the specific moves themselves.

On some level, I feel proud to be able to distinguish different versions of the dance.  But on another level, I feel like a jerk because I know I'm being too critical of an already-fusion style of working out.

I should just not care, and go with the flow.  I should just not think about it too much.

But then I become really aware that a lot of the other folks in the class are not necessarily as educated about belly dance.  The little bit of exposure they have in Zumba class isn't enough for them to really understand what raqs sharqi really is.  With all the misconceptions there are about Middle Eastern dance, I personally feel wary whenever something is called "belly dance" and it doesn't feel "right" to me.

This isn't to say that Zumba instructors are in the wrong.  I do think that more education needs to be done about Middle Eastern music and dance before people just go around identifying snake arms or hip hits as the "belly dance."  Perhaps there is just a line between fusion and...not fusion?  Here is an example on youtube of a Zumba/belly dance routine.

I don't know if I'm explaining it well enough.  I don't want to come off as really snobby about it.  Hopefully the fact that I keep going to Zumba classes will mean something.

I do think it's important to be aware of your biases before you go into a Zumba class or any other dance class, for that matter.  Otherwise, just have fun with it!

BARAKA: A Benefit for MataHari

Remember back at the end of May when I spoke about Meiver's Intensive Repertoire Class?  Well, there was a total of 3.5 months of intense work, learning, dancing, and feet aches.  It all culminated on Wednesday, August 18th, at the Multicultural Arts Center.

The ceiling of the MCAC

The stage, Pre-Show

Meiver has been working her tail off, with the help of some of her students, to organize an extremely successful event to benefit MataHari: Eye of the Day, a great social justice organization that works towards immigrant, refugee, and workers rights.

In my previous post about the choreographies, I talked about all the things I was learning and all the things that I could do better.  In this post, I want to talk more about the choreographies and about the experience of being in the show.

Being A-Part
To be honest, in the beginning, I didn't really know how major the show was going to be.  But as the months passed and more was revealed, I got more and more excited.  To be even more honest, a lot of my fellow dancers were extremely anxious about the show, but I felt more excited to be part of the show.

With at least 10 different people with at least 10 different schedules to coordinate, it was difficult to try to keep steady progress on learning all the choreographies.  Also, it being summer, there was a lot of summer traveling (as was the case with me).

As August 18th drew closer, there were many things we all needed to work on in terms of the choreography and details.  But I truly believed that we would rock the show.  I believed that my classmates would do their best.  I believe that all of Meiver's and our hard work would pay off.

I know that I haven't been part of a show of this level since my undergrad days and the Queer Fashion Show.  There was perhaps less makeup back then, but there was definitely more glitter now.  But the stress seemed to be about the same.

Glitter provided by Sassy Sparkles.

Speaking purely from my own personal experiences, I know how difficult it can be to coordinate so many people, regardless of availability, regardless or experience, regardless of commitment.  From the talents shows with 3rd through 8th graders to coordinating a single dance with 20 members, there's a lot of work that needs to be done.  I couldn't help but feel empathetic to Meiver's workload.  But still, I had confidence about the show.

On some level, I felt bad that I wasn't able to connect with some of my fellow dancers on how stressed they were feeling about the dances.  I was more concerned about the costuming, as I had already spent so much money that I didn't have, and there were some unforeseen last minute changes.  But overall, I was feeling really positive about the show itself and our abilities to produce a great one.

Modern Oriental
As the opening number to the entire show, it was fabulous.  Personally, the technique was perhaps the most challenging to me.  Aside from remembering my posture, I had to remember how to hold my hands a different way then I'm used to, point my toes to hide my heel, and remember the various transitions.  It was a challenging piece.  But even though I wasn't in the audience, I'm sure it was such a glorious way to open the show.

"Sahra" by Bassil Moubayyed

This dance is a perfect example of how an ensemble of dancers should look on the stage.  Though some of the aspects of the dance are influenced by the ballet, I felt like this choreography was something you would see the Bellydance Superstars performing.

There were times when I would practice the choreography in my head and I would get distracted by wondering how one even designs something like that dance.  Making sure the right groups of people or even one person would end up in the correct spot, going from point A to point B, who turns in which direction.  The dance-math is making my head hurt!  But kudos to Meiver for such a gem of a piece.

My Solo
Holy quick costume change, Batman!  Thank you to Ma'isah, Aleksie, and my other classmates for helping me with my super fast costume change!  My solo was the 3rd act of the evening, and I had to get my outfit and my zills ready.

I was sweating so much from the first piece and from changing, that I carried a little napkin with me backstage and behind the wings, and left it in a corner where I would be able to grab it later.  But I continued to sweat throughout my entire performance!  Later, the boyfriend told me that he couldn't tell that I was sweating, which was a relief.

I look so at ease for sweating so much!

Actually, the boyfriend told me that I looked so comfortable and confident during this performance, and later Meiver tells me that her roommates and boyfriend said I make it look so pleasant.  I honestly feel speechless about those compliments.

I know that I was happy to see some of my fellow Amira Jamal classmates and my boyfriend in the audience. In a way, I was dancing for them, in true balady fashion (this was the "Balady ala Accordion" that I danced to during Amira Jamal's student recital in May).  Perhaps this was why I felt so confident even through my sweating.

Fan Veil
Well, I'll be honest here.  I felt like I was a sausage being squeezed into its casing, but it was just that I was so hot and sticky and trying to fit into a body suit that my butt was too big for.  Don't get me wrong.  I think in the end we all looked pretty darn awesome!  But I did have my doubts, and I was just nervous that I would make this piece not look good.  But hot damn, did we look awesome.

Hot Fan Veil Action

I absolutely loved this piece.  The music, the fan veils, the choreography.  I don't know if anyone was tripping out in the audience from the beauty of the veils, but I know I was having my own personal hallucinogenic trip being part of it.  I can't wait to see it on video.

I realized, however, that the choreography and the technique went hand in hand.  If you were unfamiliar with the fan veils, the choreography would not be as strong.  It was somewhat impinging on us as the dancers to really get comfortable with fan veils.

As I have already loved the veil, loving the fan veils was just too easy.  Whenever the kitties were asleep, I would sneak in a practice session with my fan veils.  Learning the technique felt more like play than anything else.  I'm eager to find some fan veil tutorial DVD's to further my education.

Khaleegy
The most difficult thing about this piece was trying to slip bracelets on my wrists.  I have huge hands, so I don't ever wear bracelets since it hurts to put them on and take them off.  There were many hilarious jokes about using lube to make it easier on me when I was getting ready.  I just braved getting my hands scraped by the bracelets, and in the end it was fine.

I was really nervous about all the spinning.  I didn't know how my body would react.  Originally, this was going to be the final piece, but the acts were moved around a bit, and this was our second to last dance.  I was hoping that if something were to go wrong, I would at least not need to dance again.

I thoroughly enjoyed this dance.  I felt like my timing had been off during all of the practices, but during the show I knew what I was doing.  This was another song I would play over and over on my Zune while riding the T.  My neck wasn't sore the next day, nor was I ridiculously dizzy after all the hair spinning.

Photo by Jonathan Williams

In that picture above, that's the moment we've just concluded all the hair spinning, dropping down to the floor, and picking our hair back up.  I was definitely sending messages to my brain and my inner ears to chill.  Again, this is another video I can't wait to watch.

Saiidi
This dance, perhaps the most polished one, was the finale of the show.  We had our nicely spray-painted canes, our bedlahs, and our smiles.  No one dropped a cane, no one hurt someone else with a cane, no one got left behind.

This was the choreography that I felt very confident about, though my can twirling needed some practice in the beginning.  Whenever I would walk to practice with my cane, I would twirl down the street, of course making sure that no bystanders would be affected.

Working together in our pod

For me, ending with the saiidi made me feel like we owned that stage.  We had been working so hard in the past several months that we deserved to wave our big sticks in victory.  Of course, this isn't to say that the other performers hadn't worked as hard.  But some of us had 4 or 5 costume changes!

We had an amazing show, and each and every one of us danced our hearts out.  Backstage, amidst all the chaos, there was a lot of conversation and a lot of laughter.  On stage, we tried our best to bring Meiver's vision to an audience in awe.

I'm a true believe that you make your situations what you want them to be.  This particular situation was just exhilaratingly inspiring, and I'm proud to have been part of it.

Video: "Yearning" with Fan Veil

On August 6th, I participated once again in the Quarry Hill Talent Show that is the precursor to the All Night Costume Dance Party.  This event, in it's 27th or 28th year, originally started as a birthday celebration, but grew to be a reunion of the kids who grew up there as well as an all-around summer celebration.

I took the opportunity to perform there 2 years ago as a way to get used to dancing in a public arena, especially where the audience was made mainly of other dancers.  It's been a great experience for me, as I am free to explore new things without too much pressure.  It's a Talent Show, and one that is mainly for fun!

This was my first time using fan veils in a performance.  Since I've been participating in an intense repertory class with Meiver, I've come to really love the fan veils.  I need to practice with them a bit more and learn some more techniques, but it's just so much fun to play with.

Originally, I was planning to dance to "Miserlou," a song popularized by Dick Dale in his surf guitar style, though its roots come from deeper in history.  But, I just was having a hard time working through the song with the fan veils.  I felt that they needed more drama associated with them.  I decided on "Yearning," by Raul Ferrando, another popular song among dancers.  The drama and the beauty that I associate with the fan veils really come through in that song.

So, here is a video of my performance taken by one of my friends.  Enjoy!

Video: Amira Jamal's Student Recital

It took a while for me to finally get my things together and grab my copy of this DVD.  It then inspired me to dig up my past recital DVD's just to see how much has changed in the past several years.

My goodness.  I don't know if I could really show you those videos of me.  Perhaps if you would like a personal viewing, then...maybe...

But I'm really quite proud of this year's performance.

Thank you so much to Nadira Jamal (www.taktaba.com) for the videography!!

Meiver's Intense Intensive Repertoire Classes

For the past month, I have participated in an intense set of classes that have pushed my skill level and my bank account.  But it's been completely worth it.

Meiver, one of the top teachers/performers sent out the word in late April about a set of intensive repertoire classes in which we would learn 4 different choreographies, with the possibility of performing them in different events.  I knew I needed to participate.  While I'm feeling quite overwhelmed by my schedule, I wanted to push myself to try new styles and teachers.

The 4 choreographies we were learning were Saiidi, Khaleegy, Modern Oriental, and Fan Veil.  I want to talk about my personal challenges and strengths in these choreographies, and hope that I will improve by the time we will be performing.

Saiidi
Challenges:  With the Saiidi, I have to really practice my can twirling skills.  Though I've learned a little bit about how to use the cane, I haven't tried to do an entire dance with it.  In the tiny space we were practicing in, it was somewhat difficult to feel confident about twirling, and there were definitely a few bumps that happened along the way.  I've also needed to work on perfecting the details in the dance.

Strenghts:  I feel fairly confident about this choreography.  I've manged to pick up the steps relatively quickly.  I even bought my first ever Saidi dress!

Saidi habibi

Khaleegy
Challenges:  The Khaleegy is probably going to be a bit challenging for me overall.  Though I was able to purchase a thobe, it's not one of the best qualities and I'm finding myself tripping a bit on the beads.  But the most challenging part is the spinning.  Oh my goodness...the spinning.  I know that I need to practice my spotting, and then I really need to understand the mechanics of head spinning.

Strengths:  I really want to do well at this dance, or at least survive the spinning, mainly because then I know that I've reached a higher level. Also, the dance is so fun!  Regardless of the spinning, the dance with the thobes is beautiful!  It's really fun just to watch the costume move.

Modern Oriental
Challenges:  I need to work on the transitions between sections. I know that I've focused so much on the choreography and less on the little details, like pointing my toes or how my hands are.  I'm also working on getting a costume for this dance as well.

Strengths:  The high-paced Modern Oriental is another beautiful dance.  With so many of us in the room at times, I still feel that I'm able to appreciate the look of it while we're practicing.  Again, this is another dance where I feel like I've been able to grasp the choreography.

Fan Veil
Challenges:  In general, we need to really work on the actual choreography.  I definitely need to practice using them, as it's a completely new tool for me.  Specifically, I need to work on my left arm.

Strengths:  It's so PRETTY!  I mean, I can't get over how amazingly gorgeous the fan veils themselves are.  But then you make them move along with the dancers, and it just blows my mind!  It took me a while to get a hold of my own personal fan veils from Fairy Cove Silks, as there was some problem getting a hold of my information.  But, I love them!

Prettyyyy!

Though the month has gone by, we haven't finished learning all of the choreography, since we're all comprised of different levels and need to work a bit on the finer details.  Luckily, we all want to work on perfecting the dances as this is such a great opportunity.  Groups of us are working together, with lots of help from one of the students, and are hopeful that we will be ready to learn more when practice sessions with Meiver resume.

The whole month, I've felt like I'm learning so much about myself as a dancer.  I know I have so much more to learn, but I'm feeling very proud of myself for stretching out of my comfort zone and getting more involved in the dance.  I will hopefully be doing more with this group and performing at larger shows as a troupe.