Dancing out of the box

This past weekend my troupe had the honor of dancing at our friend Chris's wedding. Chris is Flissy's dance partner in Verve tribal, and they danced too (so Flissy had double performance time and handled it like a pro). This was all at the reception which luckily was indoors, and I say luckily because the weather was in the low 40s and raining all day long. The happy couple had wanted to rent a park pavilion and have an outdoor event, but it was too hard to get alcohol and loud music permits. We did get a chance to "enjoy" the weather for a bit because their wedding ceremony was at the Maryland Renaissance Festival (the original intent was for everyone spending a few hours enjoying the Faire after the ceremony before heading to the reception). It was a bit of wet chaos but right at the crucial moment it all pulled together and they had a lovely, heartfelt ceremony. My SO and I stayed on at the Faire for another 4 hours, hanging out, watching shows and generally feeling like "It's raining? Well we'll still have fun!" before heading to the reception. And dry clothes. A sense of humor, a resignation to getting wet, and a warm dry cloak (for me) make all the difference. 

For the wedding I had proposed the idea of writing a choreography to one of our selected songs (Tim Rayborn, Zaman). It has very quick changes and some tricky bits, so I felt it might be nice to make something definite to the music instead of winging it with improv. I wrote the preliminary choreo, then Flissy and I got together and worked out the tricky or vague bits, then it went to the whole troupe and we polished the whole piece. We'd planned bits of other songs before, and learned a short choreo from Ali of n.o.madic tribal, but this was out first total almost six minute piece. 

It wasn't perfect, we all had bits of "WTF am I doing right now?", but we felt good about the piece and our performance and most of all the Chris and Jason were happy with it and that is what really matters. The hours of troupe rehearsal (five in the 5 days before the wedding) paid off. It was awesome to look over during the intro (we led in with the FCBD dance meditation/prayer) and see Chris's huge smile. We segued from the choreo to improv, first with a slow piece doing dueling duets, and the last was lead out with a very upbeat song by Turku. My SO remarked at one point all four of us let our arm posture give a bit, and I told him I think the long day hit us all right at the same time, but we all perked up and rallied to the end of the set. Then we relaxed with cupcakes and open-dance-floor, no pressure, get your groove on dancing with the guests. 

A Balkan Beat

This past Saturday my SO and I made the very, very, VERY smart decision to attend Balktoberfest in Silver Spring, MD. Oh, it was awesome. It was held at a Ukrainian church, the first part outside and the evening show inside. The location made me think of church events I went to as a kid, though this was a LOT more fun than anything I attended at St Mary of the Mills Catholic Church.

Halfway through the evening, hanging out with J and some of our marching band mates, I made the comment that I really, really wish I saw more belly dancers there. In particular, I'd love to see some tribal/fusion dancers, particularly with the recent Balkan music craze going on in the scene. I didn't want to see them there belly dancing, I wanted to see them there absorbing the music and dancing in a back-to-the-roots way. Get at least a little closer to the source, then work from there.

Highlights of the evening, for me, were seeing a number of women rocking out on the tapan, whipping my head around towards the stage at the first amazing sounds of Elitsa Stoyneva, everyone crazy jumping up and down dancing to "Kalashnikov", and finally catching on to the patterns of the group line dances. On that last note, I managed to pull the muscles in both my calves while doing those dances. Next time I'm warming up first.

Performance Prep Tip

This morning has been a leisurely one at the Notary Republic*. Last night my SO and I played with Barrage Band Orchestra at a local bar's Circus Saturday event (where we marveled at the trapeze artist's ability to avoid swinging into the bottles behind the bar or the bar itself, as the trapeze is right over the counter). I've had a lazy morning, eating ramen (with kale and an egg mixed in to make it "healthy") and reading Princess Farhana's blog while my nail polish dries.

I'm also burning our CD for tonight's show as well as putting the set list on my iPod as a back up, and that's what make me think about passing on this tip for performances. If You are using your iPod for your performance music, or as a back up, make sure to mark what playlist is yours on the iPod. My method for this is electrical tape. Buy a roll of light colored electrical tape (I have some in yellow and white). Put a strip on the back of the iPod and use a fine tipped Sharpie to write the name of your playlist, how many tracks it is, how many songs it is, and the total running time. I say mark tracks and songs because I once told a (not very nice) music tech that our set was one track and how long it ran, just hit play. Even though the track was still running he stopped the music, which led to the events retold in this post. Because of the Sharpie the info won't smudge and because of the tape it can't be separated from the iPod, and you can easily peel up the tape after the show.

Here is to many music-drama-free dances for us all!


* Whomever rented our house before us was a Notary Public, and it says so on stick on letters on one of our porch doors.

It's that time again!

Over the past year my troupe's performance schedule slowed down a bit. One member had a baby last fall, another has other performance obligations, and we all have busy personal lives. We're trying to get back into the swing of things, and so far we have long(er) sets to dance at two local events at the end of May and June. What that means, though, is it's time to pick music.

Ugh

It's tough. Different people with different opinions, though we usually manage to find a middle ground or compromise. Sometimes we're excited about something we all want to dance to. I've been having a lot of trouble finding music I like lately, and all the classics feel so . . . blah. Sometimes I think I should put together the most repetitive and boring practice sets possible (or sets of things that are danceable but not really for performance) so when we pull out "the good stuff" we're excited about it. I have some iTunes credit and a gift certificate to Amazon that I should put to good use, but then I end up paralyzed with indecision! I'll freely admit, too, that I am the pickiest person ever. I have a very clear idea of what I think works for us musically, it's just finding something that matches that idea (oh, to have a band to work with!).

To top it off we have to pick costumes. I've been wanting some new "looks" lately, but along with time constraints it can be hard to get it to where all of us have the money to make and or buy new costumes pieces.

At least we have almost 6 weeks until the first performance!

A new direction

While my troupe mate Lyra has been taking a baby break, Noralita and I have been playing around with a choreography. So far we have one minute, twenty two seconds worked out. Not completed. Not polished. Not done. Just worked out. We have two minutes and twenty two seconds left to work out. Lisa Z. told us to factor in one hour per minute of song. I believe that!

It's been fun. No, I don't think this is a permanent direction change but it has been a fun way to play around with music and dance in a new way.

TGIT (Thank God It's Tribal!)*

I wrote this for my regular blog, to amuse my friends and show them what things we go though as dancers. Of course I have to repost it here.

This past weekend our friend Cathy hosted Zafira for 2 days of workshops. It was incredible. I've taken workshops with Maria and Olivia twice before, at Triboriginal in 2006 and 2007, and even though some of the material this weekend was familiar I still walked away with so much new knowledge, so much inspiration, and so much of my a$$ being kicked (in a good way). I love them. Or lurve them. Or luff. With two effs.

Saturday night was the gala show. Cathy scored the Theatre Project, which I feel was (physically) an awesome venue, even with the tiny backstage (and tinier backstage restroom, which really makes you understand the term "water closet"). There were a lot of people in attendance, and though it was not a dance crowd (i.e. very quiet while you danced) they were very receptive and appreciative. Also, very patient and gracious with the sound mess ups. I'll get to that in a second, but first:

The good: Piper rocking her solo even with the horrible sound, getting to finally see Sammati from the audience (go zills!), Piper and students dancing with drums!, Levialora's beautiful basket dance with live music, Naimah showing us her softer side and endless shimmies, the huge group improv set with baby dancers to seasoned pros all dancing together even though most of us have never danced together before, Shems' glittering veil solo, getting to dance with Lyra and knowing that no matter what happens we've got each other's backs, Mavi being an incredible sword goddess, and Zafira working an amazing spectrum of dance from a saucy vaudeville number straight through to heart meltingly romantic belly dance.

Now, let me tell you about the crazy parts!

I have this part under a cut on my other blog, titled "You thought we would stop dancing, but you were wrong"

There were sound problems all through the show, starting with some of the CDs not working during the sound check. Piper's music from her CD was barely audible, full of static and the sound person cut it early, who knows why!! The crew didn't seem to understand that Zafira wanted their music to start and then took their time turning it up loud enough. Even though the sound guy said our CD worked, I ran for my iPod during the intermission, which was good because the CD of music for the large group set wasn't working and I thankfully had let the practice playlist on the pod. I didn't trust our CD to work, and I was worried even with the pod.

At first, despite the crew not understanding "Bring up the music and lights at the same time", it went well. But then, well, here's what was going on in my head:

First song done! Why are the lights going down? We have another song. It rocks! What? Okay, we'll stand here. And smile. Smile more. What is this! Okay, I'll start to taqsim just to do something. Hey, people are clapping, and it's a 4/4. We can dance to this! This is okay! Maybe the music will be fixed! Wait, this could go on forever. Thank you Mab for wrapping that up. Standing. Fine, I'll go up into the booth. *hike up skirts, run up the steps, pull up the exact song we need (the performance was single tracked)* "Don't hit play until I get down there!" *climb back to the floor* "Brooke, you go first!" Man, I am out of breath, but smile! Uh, why is our first song playing again? Okay, we'll dance to it! These poor people. I am so hot and sweaty. My arms hurt. Hi Brooke, look at us dancing! Hello people in the front row, are you tired of me yet? Okay, that's over. Pose, smile. Why are the lights going down! *scowling* Sound guy: "There's only one song", Me: "It's single tracked!" Suddenly! Our second song! Yeah! But it's too low. Make turn it up motions. Both of us yell: LOUDER! Hey, there it is! Me: Shimmy shimmy shimmy! Brooke: Shimmy shimmy shimmy! Both of us: dance dance dance dance. Totally rock the ending! Pose! Applause! Smile! Bow! Walk off. Sweat, gasp, gulp water.

So yeah, have I told you lately about the glamorous world of belly dance? On the other hand, improv rocks my world!

*Tribal group improv, that is

Performance Realization

I spent the weekend at a non-dance festival, hanging out, volunteering, listening to some great music, hooping a little bit, having a great time. I also had an interesting dance realization, regarding performance.

I prefer to (belly) dance in more formal situations.

Formal is the best word I can come up with, though it may not be the most accurate. Perhaps defined situations? Either way, some friends were performing at the festival and months ago had invited me to "sit it" (dance in?) for a song during the set. With planning for the weekend and costuming things and running around all weekend I didn't really do that, though I did jump around and get down a bit during some of their sets. I was totally happy to dance around but realized I was feeling well, shy might be the best word to use, or hesitant, about getting all belly dancer-y down during their set. So I had to think about this a bit.

I don't know if this comes from my inherent personality shyness* or from my experience as a dance performer, but I think I really like to have a definite idea of what's going on when I dance. Even in situations such as the DCTribal Holiday Hafla or the D.C. Jalsah it's a little hard for me to get up and belly dance. Sometimes I feel too, "I'M A BEAUTIFUL BELLY DANCER! LOOK AT MEEEEEE!". Or I wonder if the musicians really want me to be up there. Or I feel like I'm hogging the limelight. Or I feel slightly off, which my troupe mate pointed out may be that I'm feeling the lack of official belly dancer drag that we put on for a performance. If I'm dancing with my partners I start to think, "Are we taking up too much room? Too much attention? Putting the focus on us too much? Can't stop thinking AHHHHHH!" I also think I get super sensitive to the fact that not everyone likes belly dance and I don't want anyone thinking, "Would she just stop and sit the hell down?".

On the other hand, if someone wants me to dance and we arrange it I can show up in my dance drag and have a bit of a clue of what's going on and if I feel like I belong there and it's okay that I'm taking up people's attention then it's totally fine. I will dance and smile and make eye contact and shimmy around, even when I am alone and missing the back up of my troupe mates. The stage is set, I am there as a part of what's going on, I feel appropriate and pulled together and in the right head space and it's fun and even if I'm nervous it's okay. And if anyone doesn't like what I'm doing than tough!

So if I'm at some event and there's great music and everyone else is busting out a shimmy or some snake arms or something on the dance floor and I'm not, it's not because I don't want too or don't like the music, I just feel weird. And if someone asks me if I'd like to maybe dance along with their music or DJ-ing or whatever I have to figure out a way to say sure, but I need to have it be in a performance based way or else I feel like an attention hogging ass.

Just to make it more confusing, if I'm at a non-BD dance party or club or something I am out there shaking my butt all over the dance floor, and I'll even dance when no one else will. I didn't say this all made sense, it just is.


* Yes, I am shy, you can stop protesting now. Wonder why I talk about my cats so much? Can't think of anything else to say. Why, when I do start talking, I have trouble stopping? Total brain freeze freak out and can't shut up, breathe or let anyone else get a word in edgewise. Talk to you without ever introducing myself? Forgot such social cues as, "Hello, my name is ___ and I'm glad to meet you." Use very animated facial and hand gestures? Hamster wheel is the brain is going a thousand miles a minute.

ETA: New thought. I am a control freak! Maybe that's why I worry so much


ETAA: Ah, I think I may have thought of something. It's doing versus thinking. In an organized dance situation I know what I have to do and I do it. OK, it isn't that utilitarian, but that's a nice summary. In a less organized situation I have to think too much about what I'll do, how to do it, etc. and then I start over thinking and then I'm so in my head I can't dance.

Discussing with another dancer in my livejournal about dancing with a group versus solo made me stumble upon this thought. Dancing tribal group improv with people I already know what I'm doing and how to do it and it's pretty easy. Dancing solo is new for me and I still over think it and worry, which is why I'm currently taking classes with a someone who teaches solo style dancing because I need to work on that weakness.


Hmm, that's a lot of thinking for today, maybe I'll need to watch some Youtube videos later, maybe that Engineer's Guide to Cats one.

Music reviews and reservations: Beats Antique, Le Serpent Rouge and Tribal Beats for the Urban Streets

I am slow to buy new music, I think because I am so sad when a CD disappoints me. I did decide to splurge during one Border's trip, and picked up the Beats Antique CD "Tribal Derivations". It's not quite what I expected from the name Beats Antique, which was more of an Old World, modern age meets the music of the common people kind of stuff. Instead it would fit fairly well into the trip hop genre of the mid 1990s, which (for me) means it's nice to listen to but I don't want to dance to much of it. One that that does annoy me is in my own head, that is, I can see EXACTLY how this music is going to be used by fusions dancers everywhere. I hope I do get to see some fabulous dancing to this music so I can relax and shut the hell up. My favorite track? The hidden one. Seriously!

Since I wasn't all that crazy about the Beats Antique I passed it on to my troupemate, and she bought me the "Le Serpent Rouge" disc, which is music from The Indigo's show of the same title. This is a little more my style, especially (my favorite) accordians! I like the mix of music, though again the more eletronic stuff just isn't what I want to hear. In case anyone is wondering, no the Pentaphone is not too weird for me. I've listened to some rather difficult music in my life, so if I wanted to hear it I'd just trot over to my CD collection and pull it out. I'd like to hear more of Pentaphobe's newer stuff, but I'll wait until someone I know has it and I can give it a listen.

Along these lines, I find the review of Tribal Beats for the Urban Streets over at The Gilded Serpent to be highly amusing and at times right on target. Something I find interesting about the CD is the inclusion of a Muslimgauze track. I've been listening to him since 1994/95, and though I own and enjoy a handful of Muslimgauze CDs, I've always had internal conflict about supporting him because of his politics. I do believe he was addressing subjects in his music that most people shy away from, which is important. What bothers me even more is that I hope dancers look into the work of this artist and make informed decisions as to whether or not they want to use it for performance, instead of just jumping on a "it's on a tribal belly dance music CD so let's go with it!" wagon. Check out Donna Mejia's video for great dancing to a Muslimgauze song. I particularly like the attitude and strength she projects.