Elaboration: Fusion, performance and skill

I have been a part of a discussion on my personal journal regarding fusion performances. It was regarding an online video performance where the dancer, a beginner/intermediate level student, was dancing with a very dramatic prop and very non-BD/ME music in a fusion piece. I did not like the performance, because I found the prop to be distracting, and I thought that the prop and music choice were so dramatic that they took away from the performance because they emphasized not what the dancer can do but instead her limitations. That is, her prop and music did not contribute to the performance, but detracted from it.

I know that some of my future students and newer (to the) dance friends read my journal, so I wanted to clarify how where some of my opinions come from, and to emphasize that I am not bashing on newer dancers because they have less experience. Gods know my dance time is a mere blip of time compared to some dancers' long and rewarding careers, and I hope I get to keep dancing and keep growing. I admit I tend towards a more conservative view of belly dance. I love it for what it is, and I'd prefer if some of the crazier fusions going on would politely excuse themselves from the belly dance party and start hanging out in a different dance scene. With those points in mind, I'm going to expound of some of my thoughts.

* Dance honestly: Overall I am not fond of fusion that feels it is done just to do something different. It does not feel honest, it feels forced. There seems to be some kind of fusion one-upmanship going on where people are using weirder and weirder costumes, props and music that move further and further away from belly dance and into I don't know what. This movement doesn't feel genuine, it feels gratuitous.

* Match your ideas to your skills: I see dancers doing dramatic fusion pieces that are less effective because of their skill level. Does this mean dancers should never try new things, reach beyond their abilities in order to grow as artists? No. It means that when a dancer has a modest skill level but chooses to do a piece with dramatic costuming, props or music that over reach that skill level it can make the dancer look bad. Instead of the dancer's showing her strengths, the dramatic elements emphasize weaknesses. There can be stepping stones to a big dance idea, performances that build up until your skill level matches your dance plans and it all finally comes together. I have music and ideas I've had for a few years that I revisit to see, "Am I ready yet?" Some yes, some no. I don't want to waste my really cool idea on my current skill level, so I'm still holding it until I can pull that piece off. And I'm sure by that time I'll have something new I'm working towards.

* Teachers, you need to be honest too: On that note, I sometimes wonder if some of the dancers I see have teachers or mentors who are evaluating their students performances. I see some videos online that make me cringe at what people put on stage, and I ask myself, "Did her teacher not tell her that was a bad costume choice? Did her teacher not tell her that music was not good for that venue? Did her teacher not tell her she may want to work with that prop more before using it in a performance?." I feel sorry for these dancers because I hope teachers are putting their students on a stage looking and performing their best. My heart hurts for them. It's their moment to shine, whether it's a baby beginner hafla performance or a student about to go pro. Teachers can be tough and honest, but they also need to support their students. I don't see letting a student get on stage ill prepared, out of her league or way out of line as supportive. If my students come to me for help I hope I can evaluate them with fairness, tact and honesty. I want to encourage them and their creativity, but I also want to make sure they are growing into strong dancers. And I don't want anyone to cringe when they dance.

One of the best things ever said to me by a teacher of mine happened when I asked her what level she thought my class was at, and she said, "Advanced beginner". I'd been dancing for a few years and thought pretty highly of my skills. Her comment made me feel a bit deflated, but her evaluation wasn't mean. It was honest, and it made me committed to take an close look at my skills and then keep working on them. I knew that she always had my best interest at heart and that she wouldn't let us go out unprepared or unsupported.

* Sometimes you have to be encouraged to fly: Just a note to point out that I also think teacher's should push students who don't see that they are ready and prepared to take the next step in their dancing. That does not mean going pro. It means getting a student who is ready to finally do a solo, or to finally take the lead in group improv, or finally work on a dramatic piece to take that next step. Sometimes you have to push them out of the nest.

* Teachers are there for a reason, use them: On the flip side, students should be checking in with their teachers. This is what evaluations and private lessons are for, to work closely with your teacher. This can be anything from specialized classes to info on how to go pro or just brushing up your basics. I especially encourage students who want to start performing to run things by their teacher, as no teacher likes to find out a student is performing and the teacher had no clue what was going on (the dance scene is small, everyone eventually knows what everyone else is up to). Teachers have a lot of info to pass along about performance conduct, pricing, ethics, etc. Keep your teacher informed and I sure you will find yourself well supported for that next step.

So hopefully I have not bored or alienated anyone with my long opinionated list. I was lucky to have, and still have, supportive teachers around me. I also know what it is like to look back and think wow, I was not ready as a dancer to do what I just did. Thankfully I think there are no videos of those performances, because YouTube can be your friend or your enemy, one with a long long memory.

A very happy post

I am very happy to post this video of my teacher Lisa Zahiya. This is the same performance she did at Baltimore's Bellypalooza, and I'm happy I get to watch it again (and again and again). At around 4 minutes the camera changes so you get to see her up close.

Preparation

Let me tell you what an exciting evening we're having around these parts! First there was dairy dinner (grilled cheese and ice cream), washed down with a (ginger) beer. Now I'm making song lists for the class I'm going to be teaching. Yes, teaching. One of my troupe mates teaches a beginning level Tribal Group Improv class but needs to take some time off this fall. I'm going to pick up the class while she's out. The hand off is happening a little faster than I expected, so I have been working on my notes for what I want to cover, drawing up a syllabus, and planning warm up/cool down sequences. Now I'm making up some starter playlists: Warm Up Music, Easy Steady Songs, Zill Tracks and Fun Music.

Of course, all of this is dependent on me having a place to teach. Unfortunately the studio may have a class planned for our usual slot. I would rather not go an hour later, as I have MY class I want to go to that evening. I'm worried about changing nights, Monday's have been a really good time. The location is perfect, near my house, not too downtown for the suburban students but also in the city for those who need it. I've been doing some intense online web searching and I started calling some possible space alternates. I also have to get liability insurance, but I don't want to shell out a couple of hundred dollars until I know I have the class set (and as some places require insurance in order to rent a space this could become a big Catch-22).

So we'll see how it goes. The class may have to get pushed a few weeks, but I'm hoping something works out. I'd hold class in my living room but it's hard to dance around the cats.

It gets better, but you have to make it happen

My SO and I know a photographer/author/blogger/all around excellent and interesting person in Philadelphia by the name of Kyle Cassidy. He is currently working with Amanda Palmer from The Dresden Dolls on a new book project, which is being written my Neil Gaiman. Those two names involve a bit of "Squeeee!' in my brain, and I think about how cool it is that Kyle gets to meet, work with and befriend such interesting people. Kyle wrote about the experience today, and I want to highlight something from his post:

" ... then we hied back to Castle Amanda and climbed up through the cloud club, through a skylight, and onto the roof where the cool air washed over us and the city was wide open before us. i felt like i was a part of something grand. and not because of who i was with or what we were doing, but because i was alive and a great metropolis streatched before me like an awaiting tableau saying "write your life here" ... we climbed to the peak of the house and all sat in silence looking out for a while. the tempertaure was perfect.

"Since I left high school," I said, after a long, contemplative silence, "my life has been going up, and up, and up. I feel like every day is better than the one before."

"I'm happy," said Amanda, looking at me, and then out across the cool vastness, with a lone skyscraper in the distance as witness.

"Life is really wonderful," said Neil.

And sitting there, looking out over the rooftops of Boston, I thought about all the hard work -- all the crap I put up with in jr. high school -- from all those jerks who peaked in 11th grade and spent their time trying to come up with new ways to make me feel miserable, all the bad times, and how everything just seemed right now to be exactly where it should be. neil was right.

Life is really wonderful.

Work hard, believe in yourself, enable your dreams, seek out creative people. Hang on. Tenaciously. Always be a force for good. "

It's true. I've felt my life has been one climb upward since the miserable days of my adolescence. Personally I'm a lot happier than those days of aimless yearning to do something, ANYTHING! with myself. I've enjoyed the modest amount of notoriety I've achieved due to my life (from the knitting, fire and belly dancing). I haven't chased my happiness, but I've worked at it. Or really, I've worked at things I love and the happiness has unfolded from that work.

I want to print this out and hang it up and pass it along to everyone I know particularly the teenagers in my life who may need the reassurance that yes, life is amazing and it can surprise you, but you will have to put some blood, sweat and tears into it.

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

Rings on her fingers, bells on her toes

Well, maybe not bells. Toe rings, for sure.

OK, I know it's a cliche, a belly dancer wearing toe rings. But seriously, when your poor feet take the abuse of practicing and performing* (not to mention normal wear and tear) it's nice to thank them with something pretty.

I bought my first (well, I may have had one as a kid) toe ring at Smile Herb Shop in College Park, MD soon after I started classes. It's just a plain silver band and I've been wearing it on my middle left toe ever since. Today I was at a local jewelry store and I picked up two more rings. One is a thick silver wire that has two curlicues on the topside with a small silver ball set in one curl. The other has two stylized almost paisley shaped curls decorated with chips of hematite. I'm wearing the silver wire one on my right middle toe, I'm saving the fancier one for . . . later? A special occasion? Something like that. Either way, this is one belly dancer cliche I'm happy to live up to.



* Just ask, I can tell you about what happened the first time I was leading our student troupe. It was a total "I should have known better" situation.

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.

Stupid injury

I think I sprained the middle finger on my left hand hoola hooping last week. I was doing a lot of off the body hooping and corkscrews up and down; after class Monday the knuckle was sore. Then Wednesday I spent an hour hooping in the park and now my finger hurts down into my hand. I'm going to ice it when I get home; since hoop class is over for a little while I'll take it easy practicing for a while.

Speaking of, I found these tutorial videos at hooping.org, and I'm going to give her knee hooping tutorial a try this week.

New dance crush

I've developed a new dance crush. No, I'm not going to give up on my old crushes, I have space for many of them. My new one is on n.o.madic tribal. I've been aware of them for awhile, and I love Ali's intelligent and thoughtful posts on various Tribe.net groups, but I'd never sat down and watched a bunch of their videos. I love what they are doing both with their ATS-derived improv (and how they've made it their own) and the choreographies they create (which keep the feeling of the improv while allowing for more ambitious staging). Here's a clip:



I also love how they bow to each other at the end, we should honor our dance partners!

Holy S!$t!!!! She won!

My friend, fabulous dancer and beloved teacher won Bellydancer of the Universe: Tribal Dancer!!!!! I am so proud of her!

Hey Lisa? Can I touch you next time I see you? Can I get your autograph? OK, I kid!

You go get 'em!

I just want to send out some love and support to Lisa Z who is headed out to California this weekend. You rock!

Not a safe sport

This week I:

* Have bruises on the back of both hands from hand hooping in my Monday hooping class
* Have a bruise on the top of my head from troupe practice, where we've finally started working with swords. I have the huge Cas Iberia scimitar, and even with a scarf on my head it dug into my scalp.

Note to self: fingerless gloves for hoop class, thicker scarf for sword practice

Meal time!

Doesn't every dancer need a delicious and healthy pre-performance meal of bologna and butter on wheat bread with a side of chips? The post dancing reward will be falafel from the awesome place down the street from where we're dancing.

OK, time to go fight with my hair!

Squealing fangirl!

Have I mentioned how much I love my teacher, Lisa Zahiya? If I had seen this in person I think by the end of this I would have been screaming, "Yes, yes, YES!!!". I recommend letting the entire thing load before watching, so it's (for YouTube) in synch.

Reductio ad Envelopium*?

or, Godwin's Law of Belly Dance Discussions:

As an online belly dance forum discussion about dance styles grows longer, the probability of the invocation of the term "pushing the envelope" approaches one

"For example, there is a tradition in many newsgroups and other Internet discussion forums that once such a comparison is made, the thread is finished and whoever mentioned the Nazis (ed: or has used the term "pushing the envelope" to justify their belly dance performance choices, even bad ones) has automatically "lost" whatever debate was in progress. This principle is itself frequently referred to as Godwin's law. It is considered poor form to raise such a comparison arbitrarily with the motive of ending the thread. "

This may also be seen with the phrase "But I'm an artist I can do (fill in the blank with whatever action is being justified)", and may be followed by the phrase, "You just don't understand" or "You're just jealous".


*Please excuse my dog Latin.

Class time!

Well I was planning on signing up for some dance classes this week, but instead I'm taking a six week hula hooping class. Poor me! I've already hooped a little and I have a one my SO and I made and a custom one I comissioned from a local hooper. The class was great, and I've already picked up a few new things. I don't know if this will help my dancing, but it's great exercise and it's FUN.

I'm also going to drop in on some classes. One is a Level I in a local teacher's method and one is an Intermediate level solo tribal fusion class. Of course, things being the way they are, all three classes are on Monday nights, hooping at 5:15 p.m., Level I at 7 p.m. and Tribal at 8:30 p.m.. I am obviously not cooking dinner Monday nights.

Classes with Kallisti Tribal Bellydance

My troupemate Lyra is offering tribal group improv classes in Baltimore January - March 2008. Here are the details (below). You can register for the classes at our website.

IMPROV TRIBAL BELLY DANCE I and II
Aura Movement in Fell's Point (Baltimore, MD)
Saturdays: January 5, 2008- March 8, 2008


Improv Tribal Belly Dance is a series of moves that are woven together through hand and verbal cues. In this sense, it becomes a universal dance form wherein anyone who learns the moves and their cues can dance together in an improvisational lead and follow fashion. It's a very liberating, proud and joyful dance form that celebrates women in all of their shapes, sizes, colors and emphasizes spontaneity, interaction and a fusion of both individual and group dynamics. Class will focus on American Tribal Style moves as well as other fusion and tribal choreographies that draw from various forms of dance, including Cabaret, African, Indian, Middle Eastern and Greek. Note: This is not an ATS only class. Improv Tribal Bellydance mixes ATS movements with various Improv Tribal Combos not created by Carolena Nericcio and Fatchance Bellydance.

11am-12pm: Improv Tribal I
This class is focused towards students who are new to Improv Tribal Bellydance or need to work on solidifying the basic movements before moving on to Improv Tribal II. Class will focus on posture, basic slow and fast movements and formation. Emphasis will be placed on learning the stylistic differences that are characteristic of tribal bellydance- carriage of the body, arm movements, floreos, hip work, etc. By the end of this class, students should be comfortable following a leader in formation through these basic movements and can even try out leading themselves.

12pm-1pm: Improv Tribal II
This class is tailored for students with at least one year of Improv Tribal Bellydance instruction who are comfortable with basic posture, formation and lead/follow format. Improv Tribal II will be a more intense class in which we will be focusing on the finer technique of basic improv tribal movements, as well as the lead/follow/chorus format. Students are required to attempt to lead movements in each class, as this is an intermediate-begginer class. In order to join this class you must be proficient in the following:


-tribal posture
-floreos
-tribal arm placement
-basic egyptian w/half turn
-turkish/turkish shimmy
-undulations
-3/4 shimmy
-arabic
-snake arms
-taxim

By the end of this session, students should be able to fully understand the lead/follow/chorus dynamic, as well as have a much more solid grasp of the basic tribal movements and transitioning between them in a dance setting. This class will also focus on incorporating these movements to music and each class will end with a short free dance period.

IMPORTANT NOTE: Please come in form fitting clothes that ensure easy movement and comfort. NO COIN SCARVES OR DISTRACTING ACCESSORIES ALLOWED. Please be kind and respect the right of your fellow students to learn in non-distracting environment. Shawls and hip wraps are fine, as long as I can still easily see your muscles/hip movements.

Class Rate: $15/drop-in rate or $120/10 week session in advance.

If for any reason you are wondering which class you should take, please contact me via tribe or email me at lyra at kallistitribal DOT com and give me a resume of past classes you've taken and previous dance experience. You may also contact me at the above email to set up a private or group evaluation for class placement. Please take care to consider which class would best benefit your skill level. I reserve the right to take students who are not ready for Improv Tribal II and place them into Improv Tribal I at my own discretion.

NOTE: In order to keep classes economic for everybody, each class has a 5 student minimum that must be pre-registered two weeks before the class or classes will be cancelled. Each class will be limited to ten students maximum in order to ensure that every students gets personal attention. Please contact me at lyra AT kallistitribal DOT com for pre-registration information. If classes are cancelled, any students pre-registered for classes will receive or a full refund OR can apply their payment towards private lessons.

Thanks and I hope to see you all in class!

It's not so simple

Lately I've been watching lots of ATS and tribal group improv videos online looking for tips on technique and moves, and I've come to a conclusion: the Basic Egyptian move is really damn hard. This was one of the first moves I learned when I joined a belly dance class almost 4 years ago, and I still don't have it down correctly.

You can see this move at around 17 seconds in this clip of Fat Chance Belly Dance. It consists of the lead right foot stepping slightly forward of the body and the foot and hips twisting, then coming back and repeating on the left side, allowing the hips to reverberate as you transfer the weight. The arms are overhead and as a foot reaches out the arms give a slight pull, opening up the line of the body on the side of the foot that is out.

When I started dancing this move felt like "step the foot and bump the hip a little and pull with the arms". My timing was horrible. Then I realized I was pulling my arms too hard, and I had to soften it a bit. Next I figured out that the hips were a twist, not a bump. Then I saw that there was the reverberation with the weight transfer. I had to make my hands smoother, less flippy. When turning in a half circle the turn should be smooth and try turning under the left arm. And my current focus is on keeping my pelvis neutral (no duck butt!) while making sure my arms are up, not drooping down, and pulled back using my shoulder blades so I don't obscure my face.

4 years! 4 years and many teachers and workshops and I'm STILL tweaking this move. I'm not perfect at everything I do but I can say my Turkish Shimmy and Arabic basic and many variations and hip bumps/choo choos are doing a lot better than my Egyptian Basic. It's a tricky move, a lot is going on, and it all needs to pull together seamlessly. Unfortunately it's also a move where each bit that's "off" is noticeable, which is why I've been working on mine so much. Actually, I've also been working on my posture around my shoulders, that back and down through the shoulder blade that keeps the arms and chest strong and lifted, that gives the openess of tribal posture. It's hard work, but I've been lucky enough to have lots of "Ah-hah!" moments lately that make the work rewarding.

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.

Random thought

Lorenna McKennitt's "Marco Polo" is the "Stairway to Heaven" of belly dance.