What is Your Missionary Position? Focusing Your Dance Career

A dance peer of mine who currently lives here in Chicago is pursuing her PhD at Northwestern. For her thesis, she is interviewing bellydancers on certain topics, and mentioned one particular interview in which she was speaking with a woman who had done a lot of different things with her dance: festivals, teaching, etc. What she found interesting was because this woman had no specific focus or mission, her resume was very sporadic and her imprint on the dance world was perhaps shallower than expected.

This got me thinking. As a dance artist, when applying to various festivals and shows that include other art forms, there is often a section on the application for your mission statement or what you hope to communicate with your work. Several times, I have written in some way or other that my mission is to spread my love and appreciation for Middle Eastern culture and dance through teaching and performance. This sounds rather generic, I know. However, what this entails is more than meets the eye upon first glance.

To me, this means getting out into the community and showing or teaching Middle Eastern dance to those who have never seen it before. Post 9/11, there is a lot of prejudice toward Middle Eastern cultures in general with regard to religion. Many people confuse location with religion, and religion with politics due to their ignorance and the headlines. I believe that in showing American people this folk art, which is secular and can unify many sects of society,  they get to see the happy, fun and interesting side of a culture which they may have come to regard as conservative or hostile due to their limited exposure.

Another reason I find it necessary to go out to "the people" is that I find the bellydance community to be very insular. Many bellydancers solely write or teach or perform in places where people already know about Middle Eastern culture and dance, such as haflas or facebook groups. Likewise, while doing a show at a Middle Eastern club is the most gratifying dance show experience because the crowd is the most enthusiastic and understands the function of the bellydancer and the music, in order to educate people and bring forth greater appreciation, I have made an effort of boldly going where other dancers have not gone before. The ATS (American Tribal Style) community has done a good job of this, however they have done this by using popular American songs and altering their costume to appeal to a "hipper" audience; consequently, they have come so far from traditional bellydance as to be almost unrecognizable, but rather another art form entirely. Teaching in volunteer circumstances is the best way I have found to expose people to bellydance who otherwise would never see it. Performing in variety shows where other art forms are on display has been my best performanc tool thus far in the quest to "spread the love".

To learn bellydance, one often takes a class at a special studio which is not affiliated with other forms of dance. We also take private workshops from masters of the dance, hosted by a local dancer. In my view, if we don't attempt to align ourselves with other forms of dance, we will never gain the legitimacy we are hoping for and will remain an insular community. This often proves to be more difficult than expected. In the future, I hope to be a part of dance festivals which include other forms if dance, such as ballet, jazz, and tap, or perhaps an ethnic dance festival.

Keeping this mission in mind, I hope to increase awareness and understanding of this dance which we call "belly". :)

Deep Thoughts by Phaedra Darwish

Last Night's Lesson: When two bellydance costumes get in a fight, the one with the most prongs wins. Ergo, the more "experienced" costume which is missing rhinestones will kick the newer one's butt. Relative life lesson, or do I just need a new costume?

Same Site, Different Name: BellydanceByPhaedra.com

It's not much, but I call it my own.

My website address has gotten simpler. You can now view it at:

www.BellydanceByPhaedra.com

There is a "Contact" form, so stop by and say "Hi!" or cuss me out, whatever you'd like.

Get Your Groove On: RECOMMENDED WORKSHOPS FOR 2013

New Year, New Workshops!

It is important to continue your training ALWAYS, even if you are working as a professional. Bellydance trends are always changing, and let me tell ya: the more dance I see, the more I can tell what era a girl was trained in. It's like when you see someone wearing 90's flare jeans with a light wash now- it's alright, but they are dating themselves - and probably no one else. KIDDING!

With that in mind, here are a few recommendations for workshops in 2013 with a CHICAGO-area focus in mind. We have been lucky in these fast few years to have more and more wonderful people coming to town, which is better for the bank account...saves me a trip to NYC! (Not that I mind.)

APRIL 6 & 7, 2013: DAHLENA returns to CHICAGO, hosting at Belle Plaine Studio. Dahlena is an American classic. She can be seen on the "American Bellydance Legends" DVD - check it out.

APRIL 26-28, 2013: LITTLE EGYPT presents AIDA NOUR, ASMAHAN, and MHOMAD KAZAFY in CHICAGO
This will be a big deal, and people will be coming from other states, etc. The cheapest rate for the weekend package is available via Little Egypt's website til jan 31st.

MAY 8&9: IRAQI DANCE comes to CHICAGO!
Pineapple Dance Studio, Oak Park
This is not to be missed, especially if you are a Middle Eastern dancer in CHICAGO, as we have a large population of Assyrian Iraqis here. It is important to learn their dance and show appreciate for their culture. Also, it is an extremely rare offering. I think Iraqi dance is the next big thing, and it is very difficult to find a knowledgeable teacher here.

AUG 2 & 3, 2013: LUNA OF CAIRO comes to the burbs!
RAKSANNA will be hosting LUNA. She lives in Cairo, is from Brooklyn, and went to Harvard. She has a youtube channel and a very interesting blog, "Kisses from Kairo". I cannot wait for this! It is very useful to have a teacher who understands Middle Eastern dance and culture, but has an American perspective and way of relating - RARE!

Stay tuned for more!

Bag O' Tricks: The Bellydancer's Best Friend

I have a little travel cosmetics bag which unfolds that I like to call my "BELLYDANCER'S BEST FRIEND". In it, a person would find everything they need on the road outside of apparel and jewelry. Although a magician is not supposed to reveal their tricks, I am not a magician. So, in the interest of full disclosure, allow me to present the contents of said bag:

*PINS! A must-have to avoid wardrobe malfunctions. Janet Jackson wishes she had my bag.
*LIPSTICK I usually do makeup at home, but I find it necessary to replenish my lipstick often.
*LEG SPRAY To hide those unsightly discolorations we have all been blessed with
*GLITTER Need I say more?
*BABY WIPES There are a lot of dirty floors out there. Best not to bring them home on your tootsies.
*DEODORANT Make sure to check for flakes before you get onstage.
*SHAVER While you're checking for flakes.....
*PERFUME Before and after.
*SEWING KIT It's a mini. In case you pop and you can't stop.
*BRUSH AND COMB For the real and fake. No one wants to present the coif of a 10-years-used Barbie.
*BAND AIDS What's a little First Aid among friends?
*MIRROR I bet you think this song is about you.
*HAIRSPRAY I now have an adrenaline reaction to the smell like Pavlov's Bellydancing Dog.

I also carry a few items that are too big for this little carryall, such as a face towel. I will take a look-see later to make sure I haven't forgotten anything. Hope this helps!

UPCOMING WORKSHOPS 2012

For an updated list of my recommended workshops, click here.

Show 'n' Tell: The Art of the Teach

My mother is a full-time teacher, and although I do not possess a degree (degreed teacher friends: you can mentally slap me for this article), I feel like teaching is in my blood. However, I have taken so many classes and studied various subjects so intensely throughout my life, it is hard to say whether my being drawn to teaching has come by nature or nurture. Following in my mother's footsteps, I have taught voice, dance, and saxophone; more significantly, I have taken lessons privately in voice, dance, saxophone (14 years), piano, guitar, clarinet, flute, and yes, even the recorder. Aside of this, I have taken group lessons in just about every performance form you can imagine. Thus, I have witnessed many teachers and teaching styles in my life, and truly believe that teaching is an art form unto itself.

I find the phrase, "Those who can't, teach" to be very offensive. However, it can also be said that great performers don't make the best teachers, and vice versa. In music school, I have to say that some of the most notoriously mediocre players were in music education; however, these same musicians snagged some of the most sought-after teaching positions, and have thriving band programs which inspire new students with music every day.

It stands to reason that teaching dance has a lot to do with one's ability to narrate instruction and break down moves in a comprehensible way. No matter the subject, there are some students who just "get it", but for others, it is necessary perhaps to explain a concept of movement perhaps 3 different ways until you find something that will stick with them. Knowing how to cater to the individual is a key skill that I am constantly developing in my own teaching. Being able to see the needs of each student in a group setting without being able to give each as much individual attention as you would like is always something you have to deal with during a group class; the balance of individual and group attention is a precarious one in order for everyone to move ahead.

As with my education in the art of Middle Eastern dance, I can only hope that by experience and example, my skills in the art of teaching continue to develop and improve with study and reflection over the course of this lifetime.

I have a website. It is not too fancy, but it works.

A big THANK YOU to my dear friends Jenny and Gary for helping me out with this. What took Gary about 15 minutes to set up would have taken me a lifetime. This is where you can find out more specific stuff about where I perform and teach, etc., which is a little off topic for this blog.

Check me out by clicking HERE or on my cleavage in the pic below. ;)

photo by Chad Pickett

background editing by Laura DeBaca

Frenemies: The Fine Line Between Allies and Competition in Bellydancing

The subject line of this article has been in my "draft" folder for months, a thought with no backbone. This is one of the hardest parts of bellydancing: the social aspect. I am Chicago, the third largest city in the United States, and sometimes it seems smaller than my hometown of 6,000 because the bellydance community here is so close. Well... maybe "close" isn't the word. Let's just say the girls who perform all know each other. Now, do we all like each other? That is the tougher question to answer.

I am speaking now not only of my own personal experience, but the stories I have heard from my bellydancing friends. As can be expected, bellydancers have a lot of similar interests and tastes, which makes us gravitate toward the art in the first place. As previously mentioned ("What's with Bellydancers and Their Cats?"), even pet preferences seem to be the same (with the one exception of yours truly). And speaking of cats, bellydancers can be a lot like cats: we preen ourselves, and are VERY aware when someone new comes into what we perceive as "our territory"; however, instead of peeing on them, we decide to express our distaste in other ways.

A wise, fair, and experienced dancer who had many years of performances in Chicago once told me something like this: "Hey, I don't own any restaurant; therefore, I do not own the gig. It can be taken from me anytime at the restaurant owner's whim if he decides he wants to try a new face on a Saturday night." That made sense to me. If you are the best, show up without fail, and you get along well with the owner, the best case scenario would be that they would in turn be loyal to you and when another dancer inquires, they will say, "Thank you, but we already have a dancer." Unfortunately, this is not always the case, and there are always jobs out there that will be taken or tried out on someone newer, prettier, younger, or potentially more reliable. It's just the nature of the beast, and I don't know if we can blame other dancers for trying. It is a competitive sport and livelihood, and that is not likely to change any time soon.

Can we be both friends AND our own best competition? THAT is the question. Bearing the above in mind, I believe this is possible, but remains to be a regular occurrence. I know some ladies in this city who have mastered that skill - we can only hope that it catches on by osmosis!

What are your thoughts?

The Boob Tube: International Bellydance TV

According to a recent article I read, the Egyptian Gazette recently announced that there are 3 new television stations coming out of Cairo that will be "bellydancing" stations. Bellydancing 24-7? Where do I sign? Assuming this is exactly what that means, here are the station titles-watch for them:

1) Darabuka
2) el-Teet (I am not saying a word-we can't take ourselves TOO seriously, can we?)
3) el-Farah

Also, keep in mind, if you have DISH Network, TV Dandana has all the sweet Middle Eastern pop videos, which can be a great cultural lesson, depending on what you watch.

If anyone has a way to stream these off the internet or another suggestion, feel free to comment!

Pulling a Costanza: What They Didn't Tell You In Class About Bday Gigs

A good friend of mine who has been training in bellydance for years and finally is going for the Pro status was recently telling me about doing a birthday party where she was afraid she had done something wrong. She came in, did the show, and they cut her off early. They thanked her graciously and tipped her, but she was under the impression she did something wrong because her show was cut short.

"Here's the deal with birthdays," I told her. "You have to pull a Costanza."

What do I mean by this? Well, do you remember that (very funny) Seinfeld episode where George Costanza is obsessed with leaving the room on a high note, so right after his punch lines, he rushes out of the room? It's kinda like that.

Sometimes, especially if the birthday party you are hired for is an American audience, they just want you for the comic factor. They do think you are pretty, they want to see you dance a LITTLE, but they don't know what to do with you for an entire show. The main reason you are there is to surprise the birthday boy, embarrass him a little bit by getting him to dance (which his family and friends will think is silly), his wife or coworkers will take some birthday pics of this, you deliver the bday message of love from his dear ones, and then GET OUT on a high note. This may take 10 - 15 minutes.
Should you dance solo? YES, while you are trying to get everyone into the spirit. Should you try to get the party to dance with you? SURE; but you have to feel the room and make sure they are game for it. Otherwise, it gets awkward. REALLY awkward.

Feeling the room and knowing when to make your exit on a high note is the hardest part.

You have to pull a Costanza.

Get Your Groove On: Classes with Phaedra!

WED: HIP HOP "HIPnotic" Bellydance with Phaedra
EVERY WED 7 to 8 PM at
Goodgyrrl Studios in Bridgeport
Bridgeport Arts Building, Lower level
(35th and Racine)
Package Deals available
www.goodgyrrl.com


THURS: Bellydance at Vaudezilla Studios
EVERY THURS 6:30 - 8:00 PM
3614 W. Belmont (right off the Blue Line)
Package deal available
www.vaudezilla.com


Both places require reservations!
See you there!

Club Bellydance: It's Not a Fitness Boutique

So, here I am again, giving you my opinion, even if you didn't ask. This past Friday was the Chicago leg of the Bellydance Superstars' tour, Club Bellydance. And if ya don't know, now ya know...couldn't resist that. Anywho, Sabah, director of the BDSS, who is originally from the suburbs, wouldn't organize a tour and NOT put us on there, would she? Of course not.

Unlike past tours, the character of this one is a little more stripped down and WAY less marketed, but it could be a genius concept in the end, and a moneysaver for the group, and I'll tell you why. Half the show is done by some of the BDSS (who are growing more homogeneous in their look all the time-I couldn't tell most of the traditional dancers apart), and half is performed by local dancers. I have to say, because I was familiar with or personally knew all of the local dancers, I was way more committed as an audience member and had a more emotional stake in it.

While this event was done with a smaller budget and little-to-no marketing in the local papers that I saw, I think the choice of doing the show at a local venue which would have patrons who are not into bellydance will broaden their audience in the long run and increase the fan base. Typically, the BDSS selects a venue which is typically used for tours, and thus not so in touch with the people. This show was at Alhambra Palace Restaurant in Chicago, which regularly has a bellydance show; however, a lot of their clientele are Middle Eastern, and thus, while they may enjoy watching the dance, perhaps may not have heard of the BDSS previously. Some of these people in the audience may have been there just to have dinner and will buy a ticket next time the BDSS is in town. I am also assuming that because this tour has less overhead than most, they will be making more stops than usual, which will also increase the public's awareness, hopefully. Also, the local bellydance communities no doubt feel more involved and excited, and less separated from the tour when their friends are in it. I know the girls in Chicago had been buzzing for weeks on Facebook (do you see how FB has taken over my LIFE??)

I was very proud of the Chicago dancers, and thought the selection and variety presented by Surayah Al-Muddaris represented our city well. She had some very well-known dancers in there, and some I had forgotten about because it had been years since I had seen or heard from them. If you have read my previous blogs, you will know that sometimes when we have Masters in town, the presenter has to pick politically, and I am sometimes disappointed and worried that we are not representing the best Chicago has to offer. This came as close as I have seen, although I know Surayah also focused on picking her show based on variety of styles as to present a well-rounded program, more than representing Chicago. And of course, there are many lovely dancers in the area who were not performers that night, but I am sure there just isn't room for everyone when one has an hour's time limit. I think everyone was as pleased as I who saw the show.

As a dancer, I was very happy that the program included all the tracks that the girls were dancing to, and this is always a point of curiosity for me in the audience, and if I like a jam, I will search for it exhaustively afterward. The atmosphere at Alhambra is incredible-no better place in Chicago for something like that. I believe I saw about half the amount of girls I expected to come out and support their local dancers, but there was still a pretty good showing.

I kept thinking of it as the Chicago Bellydancer's Prom that whole week. What did YOU think? Let me know...

Teaching Certification Workshops for Bellydancers: BS or Worth It?

It has come to my attention as of late that there seem to be a lot of Teaching Certification Workshops out there being offered by bellydancers who have a strong studio or spend their lives on the road touring and teaching. I have never been to one because I was wary it was a ploy to get more money of out workshop participants.

The questions in my head were: "How can I learn who is good and who isn't?", "Is it more to learn the teacher's specific style and be approved to teach it, or is it about how to teach?", "Is it just crap?". As I have never had the experience, and there is not a helpful, shoot-from-the-hip review blog about them such as this (SOUND CUE: horn toot!), I posted to my friends on Facebook for their input.

After reading what a lot of dancers had to say, my theory is basically proven. In other words, WATCH OUT. Everyone is offering these, and a lot are crap. Know your teacher and the subject material in advance. "Certification" through a teacher can mean mastering a style, a specific subject, or how to teach, among other things. As with any workshop (see previous post "What to Look for in a Workshop"), do your research before you commit your time and money.

Update: Sienna Miller Pics Out for Bellydancing Movie

Extra, extra!

If you have read previous posts, you will know that this year, I had the fun experience of being an extra in a movie starring Sienna Miller in which she bellydances. Here is an article and a picture with further details. Coming in Spring 2012.

Article



Pic from same site as article above...

Look out Below!: Underwear, Under Where?

Today, I have a little inkling of practical wisdom to share with my fellow bellydancers. As if our costumes aren't restrictive enough, I have sometimes found that my undergarments add an extra line at the hips which I do not find flattering. It's like having an additional muffintop. I have no doubt some girls bypass this problem by not wearing any at all. That, in my opinion it is unhygienic, to say the least, which leaves me back at the original problem: trying to avoid pantilines of any kind. Once again, the underwear gods have blessed us with innovation, and I have found that the style of underwear which has been popular stores lately with the bands of lace on the side really does the trick. They expand where you expand, per se, and the elastic does not sink into your skin, leaving no trace of a line at the sides. Problem solved!

Mad About Madison: Top Ten from the Mahmoud Reda Workshop

During the last weekend in July, the Midwest was graced with the presence of master choreographer Mahmoud Reda, hosted by Arielle and Madison Dance Life Studios. It was nice to get out of the city, and I couldn't help but reflect on some of the outstanding characteristics of both the Madisonians and Mr. Reda. Thus, I have comprised the following list (read it all the way down, it gets funnier, I swear):

TOP TEN THINGS I LEARNED AT THE MADISON REDA WORKSHOP:

1) REDA'S COMBINATIONS ARE CYCLICAL

     -before you know it, you are weaving a bellydance web in which one combination can be done in an eternal circle or can perfectly flow into the next, ballroom-style. GENIUS! He really kept us moving, so a participant could really understand the basics of his teaching by the end of the weekend.

2) BEING AN OCTOGENARIAN DOESN'T MEAN BEING SEDENTARY

     -This guy gets up and does the steps as an example, almost tirelessly. Very impressive display of energy. I can't say I will have that much energy when I am his age; heck, I'm not sure I have that much energy NOW.

3) "MADISON LOVES MINNEAPOLIS" - PASS IT ON!

     -I am FROM the Midwest, and I didn't even know that Minneapolis had a dance scene, but guess who did: Madison. There were more girls from the Twin Cities than I thought, and most of them were already familiar with the girls from Madison.

4) SAYING ARABIC WORDS AS IF YOU ARE ON FIRE MAKES THEM MORE FUN.

    -At the gala show Saturday night, I noticed the trend in Madison was to encourage other dancers by saying, "yallah" (let's go!) or "aiwa" (yes!). This is understandable; however, these girls tend to shout it as if they are being pinched suddenly and in a very uncomfortable place. This I found hilarious, not to mention the improper syllable stress. I also noticed a definitive lack of the zaghareet (expression of elation or joy produced by trilling the tongue with a high pitch), which, granted, can be debatable as to its propriety when it comes to encouraging the bellydancer (if you don't believe me, ask a non-American Arab). Still, just as the zaghareet has become standard in the bellydance world, these expressions of joy were still nice to hear and build a sense of community.

5) ALWAYS CROSS IN FRONT.
    -I think if Mr. Reda could give a shout-out to the whole world, it would be this.

6) THERE IS ONLY ONE HOOKAH JOINT IN THE ENTIRE STATE OF WISCONSIN.

   -And it's in Madison. I am not joking. But the good news for Chicagoans about this joint is that they also serve food and liquor, a combination which is not lethal, but also not legal, in Illinois. Put that one in your pipe and smoke it.

7) WISCONSONIANS ARE JUST NICER.

    -Have you heard of the "Midwest nice"? Well, they've got it, and they are not afraid to show it. These girls are sweet, even when they are tired and beat.

8) BELOIT LOOKS BEAUTIFUL, BUT I BET IT'S INSANE IN THE WINTER.

   -Just an observation from the drive up. Beautiful, full of trees, lovely houses, an awesome gas station, and lots of open fields. But I bet the cold can blister.

9) UW MADISON SERVES BEER IN THEIR STUDENT UNION.

    -And it's illegal to tip. And it's overlooking a beautiful lake. This was either a really good idea, or a really bad idea. When I asked my friend, he said, "We are in WISCONSIN." ('Nuff said.)

10) THERE IS NO NUMBER TEN.

    -Thanks for reading, and if you were there, please feel free to share your comments!

Welcome to 2007: I'm now on FACEBOOK.

Finally have my face on the books, so hit me up and be my friend! www.facebook.com/phaedradarwish

MEOW! : What's with Bellydancers and their Cats?

Loyal Readers (if you are out there), please help me out by explaining to me what's with bellydancers and cats. I mean, am I the ONLY dog/bellydancing enthusiast? Is it the ultra-femininity involved in both cats and bellydance that somehow binds? For realsies....let me know.

Just Like an Extra: My Experience Bellydancing with Sienna Miller

So, as fate would have it, after posting a tongue-in-cheek blurb about celebrities bellydancing (see "Lights, Camera...SAY WHAT?" from 03.08.11), I had the opportunity to be an extra in the movie "Just Like A Woman" starring SIENNA MILLER, in which she plays a bellydancing Chicago housewife. I will be curious to see A)if this movie goes straight to DVD, and B)if my right elbow or any of the rest of me makes it to the big screen.

Because they were filming some scenes in Chicago, I knew that I would already know most of the other extras in the "bellydance class" scene. This turned out to be a great way to bond and a great time-filler, because, for those of you who have been extras before, there is a LOT of waiting around. We rehearsed  a little combo with the choreographer, FARAH from Paris, two weeks before the scene was shot, which was a lot of fun. FARAH is a very sweet lady who has done a lot of choreographing for other movies.

All in all, it was a fun day with some great ladies, and on top of it all, we got paid, which of course was a plus. What a wonderful experience!

Belly Bliss: Reflections on a Weekend of Virginia's Vivacious Teaching

This review is coming out a little later than expected, due to some unforeseen technical issues....my apologies!


As you may know, VIRGINIA OF MIAMI came to Chicago to do a weekend of workshops May 7 and 8. I will start off by saying this was one of the best workshops I have attended for a long time, for many reasons. VIRGINIA is a very approachable teacher with a lot of positive energy that seems endless. I was very impressed by her stamina and also the stamina of her positive attitude. There is sometimes a point toward the end of a workshop at which the students are tired, and the teacher is getting visibly unnerved at their lack of enthusiasm or laziness. This was not the case with VIRGINIA. She started the workshop smiling, and finished that way.

The first event was actually Friday night, a recital to welcome her arrival. I was surprised at the low attendance for this show, because seeing VIRGINIA perform is a real treat. As I learned later that weekend, the workshop attendance numbers were not all they could have been, either.

 There are three factors that may have been the cause for this, despite VIRGINIA's awesomeness as a teacher and performer. I believe the advertising for this could have been better on the part of the host - there should have been more students from all over the Midwest. However, this brings me to another point: I think the Midwest is not familiar enough with VIRGINIA and is not aware of her awesomeness. Had I not studied with the SHARIFs so many times and been abreast of their world of bellydancing, I would not have met VIRGINIA, and may not have known who she is today. The last thing that we cannot forget is that workshops cost big bucks, and although I thought this one was fairly priced, people are still feeling the strain of a recession (no matter what the government says). For whatever reason people missed this workshop, they were missing a lot of useful information and a darn good time.

I have to take the time to muse on a few things that always strike me whenever there is a guest artist in town. First of all, let's just say it: in Chicago, there are dancers who take workshops, and dancers who have regular gigs, and it is rare that the two cross over. I am a workshop taker. I suppose if I had gigs every weekend, there would be no time for this, which is why it always is the case that some of the really good dancers in town  are never at these workshops. I am going to hope it is because they are too busy and not because they believe they are done learning.

Also, I realize that the show to welcome the artist is a chance for the people taking the workshop to perform. However, it has always been in my mind that the purpose of the welcome recital should also be to show the guest artist what Chicago has to offer, and more often than not, this is not the case, maybe for the reasons stated above. Most likely, the guest artist isn't even watching anyway, as they are the headliner and are probably in their dressing room preparing to dance, anyway.

As is customary, VIRGINIA performed the two numbers that she was to teach us that weekend. This is always very helpful, even if it is before the participants learn the choreography, so they have a vision in their mind of what it will look like at performance level, so they can comprehend the potential of the dance they are learning. Audience members can have fun while watching VIRGINIA dance, because she really enjoys the music, and the spirit is contagious. In my mind, this makes the viewer appreciate the dance that much more. This spirit in the dance is something I believe is lacking with a lot of American dancers.

Maybe because VIRGINIA was teaching Egyptian style that weekend, there was none of the Latin flair in these choreographies that I am used to in her performances. Although VIRGINIA is a disciple of  master choreographer YOUSRY SHARIF and really has his style downpat, I always think there is a bit of Miami flair that comes out in her dancing which reverberates with Latin influences, and sets VIRGINIA's dancing apart from that of her primary teacher. This was not so apparent in the pieces she performed and taught on this particular weekend, which was something I kind of missed; however, this is not detract from the total effects: her performances were amazing!

Since traditional dancers in America (as opposed to American Tribal) seem to always have their roots in the Egyptian style, learning with Egyptians who are here doing a workshop circuit is always a blessing because they are so authentic; however, there may often be a language barrier and so the workshop can turn into an endless choreography so you can "learn by doing". This is great for getting new ideas for moves, but this is not always the most helpful way, I believe, because a lot of the dancers' mental focus is wasted on remembering a choreography they will most likely never perform, and they may not leave the workshop a better dancer.

What struck me as an incredibly effective way of teaching in VIRGINIA's workshops is when she taught the different combinations. Here, we did expand our movement vocabulary and had a chance to get good at a sequence of a few phrases, rather than drowning in a long choreography. The drum solo workshop, in which we did learn a choreography, was taught in a way as to have enough repetition before moving on to the next phrase so that the dancers could remember nicely and not just fluff through it. It can be rough to teach a long choreography in a workshop because dancers of all levels will show up, even if the artist has specified the level at which they are teaching. The shimmy workshop was helpful as well, because I feel as if every teacher has a different way of explaining the technique behind various shimmies, and VIRGINIA's was very effective.

As I have said earlier, VIRGINIA is a very approachable teacher, and never seems annoyed with any question that may be asked of her. Although this may sound like how every teacher should be, it is not reality. We did pause a bit due to some questions in general about culture, which is very important for dancers to learn, especially in terms of etiquette. I have said this same thing about NOURHAN SHARIF and KARIM NAGI, and I will say it about VIRGINIA as well: when you can ask someone who is fluent in English and the ways of Americans as well as Egyptians questions about the culture, it can really help because their explanation has the potential to relate to your sensibilities from an American mindset.

All in all, it was a wonderful weekend, and I hope the dancers of the Midwest who may not have been as familiar with the awesomeness of VIRGINIA OF MIAMI previously could walk away with a true appreciation of her artistry. COME BACK SOON, VIRGINIA!

Dance Fever! UPCOMING BELLYDANCE WORKSHOPS

Here are some upcoming workshops I feel are notable that are upcoming in the Chicago area:


JULY 28 - AUG 1, 2012 - CHICAGO: DAHLENA will be back in town for her yearly summer intensive. She is an American Legend of bellydance, and offers quality instruction. Also, I feel it important to note that her workshops are VERY reasonably priced, which is not always the case with these things.

JULY 2012 - ITALY: Check out the lineup for HESHK BESHK this year. Amazing! Are any of you going? If so, I am jealous in advance. I added this out of jealousy for those who can go. Pretty much everyone I want to study with will be there.

AUGUST 23-26, 2012 - CHICAGO: DAVID OF SCANDINAVIA is back in Chicago, with more fun! Planned workshops have something for every level. Check out the descriptions here.

OCTOBER 5-8, 2012 - MIAMI: VIRGINIA OF MIAMI brings her annual event, RAKSTAR, once again in Miami, with a host of celebrity bellydance teachers, including: YOUSRY, TITO, MERCEDES NIETO, and herself. Intensive is in a beautiful hotel on the ocean in Miami - could you ask for more??

OCTOBER 19-21, 2012 - CHICAGO: AZIZA is back, brought in by Sonya. She is a veil master. When we are talking veils, I would be especially cautious regarding space and limitation of guests (refer to my previous article, "What to Look for in a Workshop")

Here is my workshop wishlist - if your hear of any of these ladies coming to town, please let me know!
1) Amar Gamal
2) Fahteim
3) Serena Ramzy (a girl can dream!)
4) Aida Nour (just cuz everyone should)
5) Artemis Mourat (just cuz everyone should)
6) Randa Kamel
7) Ranya Renee (because I, too, am a Sharif disciple)
and so many more.....

Disclaimer: the workshops I pick to post on the blog are about dancers I know and thus I can vouch for their teaching style. I realize there may be other workshops available.

The Missing Link: Yousry Sharif is my Kevin Bacon

Revelation! As you may know from reading this blog, a few of my favorite dancers here in the US are Amar Gamal, Jillina, Fahteim, Nourhan Sharif and Virginia. I most recently learned that there is a link between all of them - Yousry Sharif! (Well, in truth, I knew of some, but not all.) So much has been said about his teaching, but no statement stronger than the work and performance of this students and the excellence of their dancing.

UPDATE: I also love Ranya Renee, and guess who was HER teacher?

A Bellydancer's Vanity: "I gel; therefore, I am."

Do fake nails make me a better dancer? No; but they make me feel like a new pair of shoes does when I am in my "civvies": FANTASTIC! I think it comes from watching a million videos of Amar Gamal and her ten-foot-long nails. When we say, "energy all the way out through the fingertips",  I always think about Amar Gamal, who exemplies this perfectly with her graceful limbs. Just watch: you will see what I mean ;)

Photo from website bellyqueen.com

Celebrities Bellydancing: First Sienna Miller, now Kim Kardashian????

Ok, so even though I don't condone Kardashianisms, I have a secret girl crush on Kim Kardashian because she is so undeniably gorgeous, in my very humble opinion. Now that she is taking bellydancing class (insert eye-roll here), I may like her more.....

View article here.
Photo from i.dailymail.co.uk website

Post-Holiday Review: Arab Dance Seminar 2010 in NYC

I went to this conference way back in November, and wanted to post something while we were in the "post-holiday" season. I will keep this as short as I ever can.

The instructors were Amel Tafsout (North African), Nourhan Sharif (Egyptian), Kay Hardy Campbell (Gulf), and Karim Nagi (music). This review is more a reflection and subjective rather than based on the outline of what was learned.

I felt like Amel had a lot more to say than time allowed, and was very wise. What she had to say about her history and growing up in Algeria was great. I feel that the Algerian/Tunisian/Moroccan part of the Middle East is not very well understood by bellydancers, and remains a mystery and gets lumped together, as you have just seen me do above.

Nourhan is great at translating the culture into something that we as Americans can better relate to. She is an American with a very personal experience of the Middle Eastern culture, and has a lot to say about that. If you are a regular reader of this blog, you may know how much I love Nourhan, so my views are always biased when writing about her.

Kay Hardy Campbell is more an ethnomusicologist than dancer, and I would have liked to hear more about her experiences in the culture, but I have to say that her Khaleegi choreography was probably about the most true-to-form that I have learned yet, because she learned it from being there at the Saudi parties as opposed to a workshop given by an American bellydancer as second-hand knowledge, as is typically the case with learning Khaleegi.

Here is an important lesson for all you future workshop-takers: when Karim Nagi is on a roll, DO NOT interrupt him with questions. It's always good to review debke with him because you can get names and cultural differences within the steps from him. I do not like the attitude with which he sometimes, however inadvertently, responds to students with questions almost as much as I do not like when other bellydancers answer for him. (Another word of advice: if you are taking the workshop, you are not the teacher. It is NOT your job as a student to be answering questions, or you would be the one at the front of the room getting paid for your knowledge. Can you tell this is a pet peeve? ;) ) This happened consistently throughout the week, and not just to me; however, by the time we were through, I think he had trained the students not to interrupt his teachings.

WHAT WAS GREAT: open question sessions where you were allowed to ask the teachers anything about them, the culture, the dance-whatever. Very interesting! Also, the bellydance party at the cultural center right by Wall Street was great: live music, and very impressive displays of dancing by certain invited workshop participants!

WHAT WAS NOT SO HOT: I really liked the song analysis, but way too much time was spent singing. The seminar weekend way too short a time to make any sense of the Arabic words we were singing as the Arabic language is so complicated, and way too short a time to fully understand and get rooted in each Maqam, which I know was the point of all the singing. I really appreciated the introduction to each Maqam, but spending all the time singing does not help the student who barely understands music to get a better grasp of the Maqam. That takes a lot longer, and the time could have been better spent learning different dances and their backgrounds more thoroughly, or different rhythms, as those would be better understood and more readily useful to the dancer. I also realize that the singing was necessary to give a rest to the dancers and teachers alike, but it was not a productive use of downtime.

Overall, it was well worth the time and money to spend a weekend for such a comprehensive Middle Eastern dance experience. Thank you, Karim!

For Aubre Hill's review on Gilded Serpent, click here

Lights, Camera...SAY WHAT?: Sienna Miller bellydancing movie

Sienna Miller is apparently filming a movie about being a Chicago (that's right!) housewife who absconds to Las Vegas with her bellydancing teacher to enter a competition. It is called 'Just like a Woman'.

Sienna Miller is one of those new-ish Hollywood actresses who is blonde and looks like everyone else, for those that don't know.

What I am CURIOUS to see if who the bellydancing extras will be. This should be a hoot!

http://www.deadline.com/2011/03/sienna-miller-to-play-belly-dancing-chicago-housewife/

Top Bellydancer : A bellydance reality show! Oh, Gawd.

Okay, I just have to post this. Watching this makes me queasy, and yet I cannot stop. So I will share it, like a bad Rick Astley song that gets stuck in your head: if you pass it on, it will go away.

www.topbellydancer.com

This is an American, web-based reality television show, and it has all the trumped-up dramatics of a regular one, with bellydancing as an added bonus. I haven't watched them all yet, but you get the picture. There are some really good dancers, and some horrible, reality-style interviews. Like I said, nauseating and addictive.

I only recognize two of the judges, Aradia of Las Vegas and Michelle. Even they are not immune to the harsh lighting of the television cameras.

Check it out, and COMMENT! I dare you ;)

Note: there was a really good reality show on Turkey's television stations called "Oryantal Danser" a year or two ago, which can be found on YouTube. In this show, the girls are challenged with a different style of bellydance each week. It is an EXCELLENT way to see the differences between Turkish, Egyptian, African, etc., styles of bellydancing.

The new "Cairo style" : Just a Dina imitation?

Recently, and as usual, I have gotten sucked into the world of bellydance videos available for viewing on YouTube, and have commented and gotten replies on a certain topic which always incites some heated debate among bellydancers.

In viewing a video of Leila of Cairo from the member dinavienna's channel, it struck me that, although the girl in the video was dancing beautifully, what was referred to as her "style" was basically an imitation with slight variation of the famous and legendary Dina of Egypt, who is often the object of both admiration and ridicule among bellydancers, depending who you talk to. That being said, two things are undeniable: Egyptians love her, and she is so imitated that "doing the Dina" is now referred to as the new "Cairo style" of dancing. Another dancer who is very obviously a student of the Dina school, yet is worshipped by dancers near and far, is Randa Kamel. If you deny the influence of Dina's style in her dancing, you are just lying to yourself.

And so ensued a conversation between the poster of the video and myself. The one thing it did bring to light is that Dina's style is so pervasive in today's bellydancing, that has almost ceased to become her own and, as previously mentioned, is now referred to as the "Cairo style". But let's give a little credit where credit is due.

Just as the style of a few key musicians gave birth to an era called Bebop, let us not forget from where our influences come.

Phaedra's Youtube Channel - a resource for class

www.youtube.com/user/PhaedraDarwish

If you go here (copy and paste the link into your web browser's address bar if clicking doesn't work), it should take you to myYoutube Channel. A lot of the Bollywood dances I have taught in class are here, and well as bellydance references or songs we have used. Look at my PLAYLISTS, and you will see I have them categorized. My FAVORITES are crap: ignore them.

1) Bellydance/Middle Eastern - some really great and/or famous dancers or troupes

2) Bollywood - original movie videos from the dances we learned in class

3) Folk Dances - mostly Middle Eastern; good for the bellydancer to be well-versed in this

4) Classic Arabic Favorites - these are songs you will ALWAYS hear, so get used to 'em!

5) Translations - translations to English of popular Arabic tunes while the video plays - every dancer should know what she is dancing to (remember: the bellydancer is the dancer, the drummer, and the singer in one package); VERY useful!

How can I subscribe to this blog?

If you would like Bellydance in Chicago....and Beyond sent directly to your email, I have just installed a fancy new gadget on the upper right side of my page. This way, you don't have to keep checking the site for new articles - they will come right to YOU!

I have also added the sidebar "Divas Who Read this Blog" now, which has a sweet FOLLOW function that will hopefully make it easier to get this blog to you, lovely reader!

Hope this helps!

What the what???? : Get This. True Story.

A few months back, I was in a class and talking to a local dancer who shall remain nameless and does dance for money (notice I didn't say "professionally" - oh, the snarkiness!), and when it came to workshops, she said,

"Oh, I don't do that."
 I said, "Do what?".
 She said, "Workshops."
 I said, "So you don't train?"

Well, nope, I guess she didn't. She went on to tell me how she didn't want to ruin the authenticity of her dancing with the styles of others that may be somehow tainted with American ways (I'm paraphrasing). 

Let's keep this one short and just shake our collective heads in disgust. I don't care how long you have been dancing, having lessons with many and varied teachers will always help (PS: see article below, "I CAN"T SEE: What to Look for in a Dance Workshop"). Maybe they are not always affordable, which I understand, but you MUST always be willing.

Whew, I had to get that one off my decolletage. :)

Step by Step: Recommended Instructional DVDs

Let's get down to brass tacks: there is a LOT of crap out there! While nothing can compare to being in an actual live class with a teacher whose style you love, there is a plethora of bellydance DVDs out there. I have made it a fun little mission of mine to try and see all that I can in this genre. Basically, if it is on Netflix, and it has to do with bellydance, I have seen it. There are a ton of DVDs not available on Netflix, but I don't have the time to hunt them down. There are a ton of beginner level CDs, and comparatively far less intermediate to advanced. Here are some recommendations of mine (ATS not included) which I will add to upon further thought:

1) Jillina   

I have probably seen at least 4 of her instructional DVDs, and although her style and 

performance could be described as very technical, this is what I love about her teaching. I really

love her explanations of the technique behind the moves she chooses, and I find that she will use a

move or two that you may not encounter in a basic bellydance class.

2) Sharifs
This refers to Nourhan's videos in which she teaches you a dance made by Yousry. I have to
say that this is more about choreography than instruction, but Yousry has a very unique style and
can really open your mind if you are in a choreographic slump. The Saiidi/Cane instructional
DVD is a pretty good intro to those techniques, however.

3) Ramzys
This refers to Hossam Ramzy, the musician, and his wife, Serena, the dancer. I LOVE her! I
have seen a couple of their videos, and I really like her technique breakdowns and movement
choices as well.. I also love watching her final performances at the end, which combine
technique and feeling wonderfully.

4) Sadie
 She is more popular with the tribal circuit, I know. I would say her style and choice of movements
 is very American versus Egyptian. She uses a lot of chest and pop and locks, which a lot of
 people I have studied with preach against as unhealthy for the body; however, it is good to witness
 her doing these things in what seems to be an effortless manner, and her accuracy and body
 control are nothing short of miraculous. Her dance language is also different when she is naming
 some typical bellydance movements (e.g., she refers hip drops as "downs"). She is good at
 mentioning the techniques behind "tricks", such as a stomach flutter.

5) Amar Gamal
She has a basic technique DVD out there, but the one I particularly like has only choreography. Amar is a beautiful dancer, very accomplished, and following along will help you improve your technique and perhaps find the key to emulating some of her style.

To be continued....

Hear Ye, Hear Ye! : 24/7 Radio MAQAM online ALSO offers MP3S

You may have seen my previous posting announcing www.radiomaqam.com the 24/7 online Middle Eastern radio station. My newest revelation:  I just went to this site, and it is AWESOME! Why? Because you can purchase the songs you hear!

 I have tried to search for good bellydance and Middle Eastern music on other online stations when it says to click in order to buy the mp3 you are listening to, and it is almost never available for purchase, but on this site, you can purchase points and get any mp3 you are listening to, and search specifically for Bellydancing music! I am in heaven right now. Dancers, eat your hearts out.

UPDATE: These bellydance radio stations can also be found online:  RADIO FREE BDSS, official bellydance radio from the Bellydance Superstars, and BELLYDANCE RADIO, sponsored by ASI HASKAL, famous Middle Eastern male dancer.

On a Downtick: Bellydancers Driving Down the Market

Ladies, ladies, ladies! We are very fortunate in Chicago to have venues in which to perform professionally, unlike a lot of cities which are rife with bellydancers, but starving for Arab and Middle Eastern culture. We also do not have quite the influx of bellydancers that other cities have. I know you want to perform, but DO NOT PERFORM if you are going to undercut the standard rates! This drives down the market permanently, and pretty soon we will be having a situation like the New York City area, where the dancers perform for practically nothing. You are only hurting yourself in the future if you do this.

Being a "professional" means you get paid. So get paid. There are many dancers who go "pro" WAY too early, but this is not news. If you are good enough, you can command a standard rate. I am not saying to charge exhorbitant prices. Ask your fellow professionals what the standard rate is for the area in which you are dancing. This is something I do not believe should be kept a secret. If dancers are not told the standard rate, they cannot know if they are undercutting; however, if you are charging under just for the opportunity to dance, you should think about waiting until you are good enough to get scale.

Fellow Dancers, it's not like we are unionized, so WE must stick up for ourselves! That is the only way to keep a consistent scale of pay. We want the ability to do this as a profession, don't we? That will not be an option if you cannot make a living wage, and it is up to US to say "no pro pay, no pro show". Of course, there are dancers who have built their reputation for quality shows and get paid more than scale - this is GOOD news, ladies, not BAD! That means there is potential for upward movement if and when you get to their level and/or build that kind of a fan base.

Next time you go to a workshop (and you SHOULD go to a workshop), sniff around and ask dancers from across the country what the standard is in their area. You will be surprised at what you hear.

DHOOM 2: Unbelievably good, unbelievably bad

So, I have recently viewed Dhoom 2, the Bollywood musical, starring some super hot dude who was an amazingly good dancer and Aishwarya Rai. Aishwarya is also a great dancer, but when a guy does it, it always impresses me, because due to whatever reasons, societal or biological, the advanced level of coordination that men can achieve when dancing is rare to experience. I know, I know, I am late to the dance on this one, since it is from the year 2006, and everyone has already seen it. Since it was so popular, it is one of the few Bollywood flicks readily available here in the U.S. - I rented it from my Netflix subscription.

The way Bollywood segues into song always impresses me. Here in the United States, we have been producing musicals for years, and the introduction to each song tends to come off as either tedious or too obvious. It seems like, with Bollywood, they are singing and dancing before you even realize it, even though it may not have that much to do with what has actually just happened plot-wise. Typical Bollywood dancing, which has in the past been laced with Bhangra and Bharata Natyam moves, is now saturated with hip hop. I have been known to characterize Bollywood's foray into Western dancing styles as "cheesy hip hop", which, in my opinion, has been behind this country's development of hip hop by about a decade at least; however, I was very impressed with the choreography in this one, and it did not strike me as "behind the times"; in fact, I found the choreography in the hot guy's scenes mesmerizing. This may, however, have had a little to do with his good looks! ;)

Bollywood also knows how to bring the sexy without actually doing anything physically graphic. I love this, because you feel the tension, which is so much more titillating than having the actors actually copulate or get together in front of your eyes. This way, you can also be assured that you can let teenaged children see these movies, unlike American movies, which you have to thoroughly research to make sure there are no objectionable references, etc. The tension between the two main characters in this was almost palpable.

This was an action movie that would appeal to both sexes, which is less frequent in American cinema. As I was watching this movie, I kept thinking (although this may be a little sexist) that this is what action movies would be like if women wrote them. Aishwarya really knows how to play that sassy girl that every woman wants to be. I also have to mention that while I was watching this movie on my laptop, a male friend of mine passed by during the fantastical opening action scenes in the desert, and he immediately thought that whatever movie this was must be awesome and inquired about it.

Okay, now for the BAD. Going back to my previous potentially sexist comment, I have to say that this movie ended up concerning itself more with the overwhelming theme of "doing anything for LOVE" than making the plot believable. The very unbelievable twists and turns, and and plethora of loose ends would never fly in the US with audiences. For example, the main character employs endless gadgets of genius technology to narrowly escape getting caught, yet his pursuer doesn't even wiretap his house, knowing full well where the hideout is. There is also a lot of "Matrix-like" physically impossible action, which I am definitely getting tired of seeing so frequently in movies, no matter the genre.

The plot we expect to see unfold in the beginning has absolutely nothing to do with where it ends, and there are entire character stories left untold. The main cop has a pregnant and whining girlfriend who we assume he is going to cheat on with an old flame who is better suited to his style. Much of the beginning of this film is spent building this part of the story, so the viewer is wondering which path he will take: the virtuous or the visceral; however, we never do find out what happens to either the pregnant girlfriend or the returning flame. In fact, we never see them again and that storyline is left completely unfinished, focusing the rest of the movie almost entirely on Aishwarya Rai and her badboy love. It's almost as if the people who made the movie went on a tangent and never viewed their final product before sending it to fullscreen distribution.

As with most Bollywood movies, it is so very long that I almost forgot about the above mentioned characters of whom the movie lost track, so that by the end, I was completely into it hook, line, and sinker, and my disbelief had so far been suspended that I ceased to scoff at the impossibilities abounding everywhere. Surprising myself above all, I have to say I would watch it again, my attention utterly rapt by the characters speaking in "Hanglish" throughout: an interesting combination of Hindi and English. Overall FUN, FUN, FUN.

How is a blog like a punk band?

Is writing a blog like being in a punk band? Everyone is in a punk band, but no one really listens to it. It seems like everyone (me included) is blogging these days. But does anyone read them?

Can anyone SPELL these days?

Honestly, people! It's as if the accelerated pace of today's media communication has downgraded our collective reading level. I cannot tell you how many times, within the past 48 hours, I have seen spelling errors! And this is from people with a Master's degree, a law degree, as well as on signs published in public! I mean, I have to confess that my punctuation accuracy has slipped way below what it was in high school; however, if I were a COMPANY putting up a sign in public, I would double check the editing before putting up my storefront sign/subway posting/bus ad/newspaper. I mean, these things have to be expensive, and aren't there at LEAST two pairs of eyes (editor/graphic designer/writer) that view an ad before it ends up in its final location?

The question is, "WHY?" Are we in such a hurry to keep up with the media that we do not stop to proofread? Are our teachers letting kids pass in grade school at an improper reading level? Have we stopped reading books and stick only to the 3rd grade level of published media for our stimulation?

I don't recall seeing this proliferation of incorrect spelling until the past few years or so-and I would have noticed, trust me.

PS: I hope there are no spelling errors contained in the above post, or I will feel like a complete nincompoop ;)

"Gurl, we in a recession!": Keeping bellydance alive in Chicago

In this past year or two, Chicago has witnessed its fair share of Middle Eastern restaurants and hookah bars closing, or opening only to close shortly thereafter. Starting with the smoking ban, which made it very hard for restaurants that catered to a crowd who love hookahs, we saw the closing of Arkadash, Alexandria, Double Apple, Byblos and Tizi Melloul, all of which had bellydancing shows. This does not even include hookah bars that I have seen open and close before I even knew their official names. (for more info, see "Where Can I See Bellydancers in Chicago?" below)

Some restaurants which remain open have cut the frequency of their shows, while some shut down the show altogether. And so I ask this of you, the reader: if you select your restaurant for the evening with the intent of seeing a bellydance show, please let the person who is taking your reservation as well as the manager at the restaurant know that the experience of a bellydance show turned your business in their direction that night.

Thank You!

Should I? A View of YOUSRY SHARIF'S teaching

Coming up in the first weekend of June is the much-anticipated workshop of Yousry Sharif. This is only his second time teaching in Chicago in a very long and illustrious career of teaching and choreography, which is very curious to me. Yousry hails from NYC, and is Egyptian-born, so unlike a lot of dancers, his name is NOT fake :). A lot of his former or continuing/lifetime students are dancers you would know, such as Virginia of Miami.

Yousry is often described as a "legend". I have been in quite a few environments in which he was teaching, mostly on his home turf of New York. Last time he was in Chicago, he did Egyptian choreography and a class with the stick, which is his specialty. I have to say he looked a little disappointed with the level of dancing of the attendees and obviously toned down the difficulty of the movements with and without the stick, based on what I had experienced in prior classes with him; however, the choreography was still inspired and showed each dancer how very simple movement choreographies can be woven into a very professional-looking dance, which is a lesson in itself.

Like last time and as per the usual, the two big day classes will be an extended Egyptian-style choreography; what I am REALLY looking forward to is his master class, the subject of which has been announced as "Sha'abi". If you are my student and reading this, there is no explanation necessary :), but if you are unfamiliar, get hip to it. I would say it is the next big thing, but I would be about 6 years too late.

What can you expect? Unlike Dahlena's workshops (see previous posting), generally there is not as much explanation of technique and personal correction as much as learning by demonstration and example through working on an extended choreography. On that subject, Yousry's choreographies are very original, and he typically makes them up right then and there, which is always fun to watch. Although bellydance is still the main focus of movement, he takes the choreography to a more esoteric level, very imaginative and "artsy". If you are in a position to create choreography for a performance or classes, his choreos will help you think more "outside the box". So, to recap: lots of non-standard choreography, not a lot of explanation.

Also, I do not know that there is a cap on the number of attendees outside of the master class offering, and Visceral dance studio does not have an elevated space for the instructor. This is definitely a "con" in terms of workshop logistics (see previous posting: "what to look for in a workshop").

See you there!

BOLLYWOOD: BIG hits from BIG India

Hello, BOLLYWOOD fans!

Here is a little, very incomplete listy of some hits, some of which I teach the choreo to right now, some in the future - but if you like Bollywood, you should check these out! I will be posting a "great choreographies" list in the future to be more specific. Spelling corrections to the titles happening soon....

BOLLYWOOD HITS

1. Kajre Re
2. Salaam y Ishqq
3. Chaiyya Chaiyya
4. Jai Ho
5. Dard e Disco
6. Crazy Kiya Re
7. Desi Girl
8. Aja Nachle

More to be added....certainly NOT a complete list...feel free to add some in the "comments" section!

How can I contact or email you, Phaedra?

All comments will go to my email for moderation before publication on this site, so if you want to contact me just leave a comment, and the message will go to my email before it gets posted on this blog.

How do I leave a comment?

Under each post there, should be a "comments" section to click on. Type in what you want to say, then you are going to use the drop down menu directly under where you typed to select a profile. Choices are things like Anonymous, or you could choose to leave your name or website. Then you will have to click "Post Comment". Then it will go to me for moderation - why, you ask? NO HATERS ALLOWED!!!! :)

USED means USED

When it comes to buying used costumes, I have to say: "USED means USED". I was at a costume swap the other day, and saw a few used costumes for $650. Really? They were beautiful and in good condition; however, I have gotten professional costumes brand new for less. What gives?

Need...more....costumes......

Okay, it may be time for me to purchase an Egyptian-style addendum to my bdance wardrobe. Any suggestions?

What wares to wear where?

Just a thought....I have to say that I am a definite supporter of SHARIFWEAR. Is it more expensive than some other gypsy tops you can find? Yes; however, I have bought cheapos from eBay, knockoffs from vendors at workshops, and truth be told, Sharifwear lasts through many washings, does not shrink (of course this is also fabric dependent), never bleeds all over my other garments, which I have found with certain gypsy-style tops I have bought from others.

Also, on a personal note, it is important to me that Sharifwear is manufactured in the USA, because the manufacturing industry in America has seen a lot of factories shut their doors. I feel like in the '80s, there was a big "Made in the USA" marketing push going on in stores, but that sentiment has faded, like the industry here. Now off of the soapbox, Phaedra!

UPDATE: I have since ordered from and been completely pleased with purchases from SUGAR PETALS out of California. She makes the stuff herself, is great with communication, ships quickly, and has reasonable prices. Best part is the quality! I feel like that stuff is solid and never going to wear out.

Dahlena's Workshop April 2010 Chicago

Well, folks, I attended the Sunday portion of Dahlena's workshop this past weekend, which is always a nice experience. I'm pretty sure we studied the same choreography as last year. I would say there were a little over 20 people there, which was nice because the studio is small.

Dahlena has a very specific instruction style, which I really enjoyed, and her choreography is very authentic. I only wish she was here more, as I would enjoy her instruction on a regular basis.

Another good point about Dahlena's workshops is that I have found them very affordable, and well worth the money. This leaves your pocketbook still full to buy videos, etc.; however, this year there were only Dahlena's DVDs to buy, unlike last year where they were vendors and clothing.

You can find some of Dahlena's earlier work on the American Bellydance Legends DVD.

Today's Find

Been looking at

www.folktours.com/media.html

This has some very interesting videos of past events/camps. Some very interesting, rarely seen/casual videos of performances by Artemis, Dalia, Aszmara, and more.

Global Grooves: New WORLD MUSIC albums

Lamajamal will be coming out with a new album this summer. This group is awesome!
Rodrigo y Gabriela and Lila Downs just put out an album. Look around for it.

Where can I see bellydancers in Chicago?

Here are some venues in Chicago that have regularly scheduled bellydance shows:
Sofra Turkish Kitchen
Barbri Yianni
Alhambra Palace
Fire Rock Hookah
Kan Zaman
Turkish Cuisine
Juliana
Arabesk
Layalena (Niles)
Let's hope this list gets longer - when you go to an establishment to see the show, mention that to the managers!

Oh, and feel free to add to this list in the comments if I missed any.

Helpful Websites

This list will be constantly updated, but below you will find a few of my favorite resources online.

www.shira.net - full of helpful info from costumes to history to styles. Shira is a very lovely person as well!

www.al-bab.com  - links to sites about the Arab world: current news, culture, music, history...you name it!

www.youtube.com - member algerina2308 publishes translations and transliterations of Arabic pop tunes in real time with the videos - very helpful for those ever-elusive pieces of hot music. She (?) will also answer your questions promptly if you ask her.

www.casbahdance.org - Morocco the Oriental Dancer's website. Good articles.

www.serpentine.org - I have found some helpful things here, including translations and good articles by Artemis.

www.bhuz.com - I have used this site to troll for used costumes and to see national workshops.

I CAN'T SEE! What to look for in a dance workshop

I have spent many a dollar in many a studio taking master classes with some wonderful teachers and had great experiences. I have spent many a dollar taking master classes with some not-so-wonderful teachers or had some not-so-great experiences while taking them. In every experience, however, I have learned something.

Here are some key observations on how to make sure your investment of time and money on a workshop is not wasted:

1) KNOW THE TEACHER.

Have you heard of them already? If not, that doesn't mean they aren't going to be excellent , but do your research and make sure you like their dancing and background/training before you drop a cool hundred.

 I remember a workshop I attended last year where the instructor (who shall remain nameless) spent most of the time talking and stroking her own ego. Talking (when used correctly - ha!) can be very informative, of course, if information is gained, but there was not a lot of dancing, which is not conducive to my personal learning style (KNOW YOURSELF). I ruled it a bust.

2) SUBJECT MATTER.       

This is a no-brainer, but be careful to look at their background. Are they a worthy source of information for this particular style/technique? There is a lot of false information floating around out there.
                                               
If you are at a basic level class, it's like taking an Intro to Guitar class: you almost can't screw it up, because the information is so general. The same applies to a workshop which is mostly going to be choreography - just make sure you like their dancing.

3) THE VENUE..  

This is an important sticking point for me, and one I have misjudged multiple times.
Three very important things to try and find out in advance:
                                              
1) Will the instructor be on some sort of raised platform?
This is important if there will be a lot of participants, which brings me to my next point.

2)  Is there a limit to the amount of participants?
Remember, folks, that this is a business, and some workshops will pack so many people in that you cannot see a thing in the room. This can matter especially if everyone is on the same ground level, or there are veils involved.

3)  How big is the studio/space?
Sometimes there is no way of telling in advance, but most places have pictures or specs online on their websites, especially if the space is  regularly open for rentals. For example, 40 people may not sound that bad for a workshop, but if you are learning in a sardine can, it can really interrupt your focus and you may not glean as much information.

Although this is probably not new information, I hope these little tidbits will serve as a reminder next time you prepare to shell out the big bucks to train with a master.

Sound the trumpets, beat the drums: UPCOMING WORLD MUSIC EVENTS

Okey dokey, time to get your WORLD MUSIC on!

To be updated in the future.....!

Has anyone seen my contact?

I have often wondered why bellydancers look down at the ground or at themselves while they are dancing. If you have ever studied Western styles of dancing, you have been told this is not something one should ever do. Is it because they want to make sure that what they think they're doing is actually what is going on? Are they shy? Our costumes would answer that one for us: NO!  I have always believed it may be to further focus their audience's attention on the hip action that is going on; however, until this mystery is solved, here is a little sarcastic humor to explain it:

"Why does a bellydancer look down while she's dancing?"

"To calculate the amount in tips she is giving up to the restaurant owner"

Argh! A bellydancer's conundrum

Wouldn't it be nice if the number codes for hair dye shades were coordinated with the number codes for hair extensions/weave? I know I'm not the only genius who has ever thought of this. Make it happen, beautistas!

Why the quotations on "world" music?

To call a genre "world" music is to use a very generic term, yet many will know what you are talking about. This term, "world" music, generally seems to mean anything not associated with Western styles, but that is so silly. Like saying bellydance, when we mean Middle Eastern. But we can't call it Middle Eastern dance, because that in itself encompasses a lot of other things. So we call it Oriental dance. But wait, by Oriental, do we mean Asian? Of course not. But by saying Asian are we including Indian in our meaning? And if we are in America, Indian could be interpreted as Native American. Phew! It is hard to label things, isn't it? Exhausting - let's not try that again. Sounds like another "Who's on First?" routine.

Hello, and WELCOME to my first post!

This is me. This is my first posting to this blog. I hope you enjoy it.

 As an introduction, let me state its purpose(s).

-If you are a student, you can use this as a tool to continue your learning beyond my teaching, and get information to help you with what we covered in class.

-If you are a bellydancer, I will be posting topics of interest both for the local scene and beyond the area. Of course this is all subjective, but I will try to post things I think are especially intriguing to our community.

-If you are a "world" music enthusiast, so am I! As I am especially interested in Balkan/Gypsy, Arabic/Middle Eastern, and Indian music, I may post about events you can catch around town from time to time that I feel are not to be missed.

-FEEL FREE TO COMMENT. I would love your helpful additions to these topics. You do not have to be a member to leave a comment, but I will review them before I post them.