On the Sisterhood of Dance

I wrote the following post in February 2007.

I re-read it this morning and it still seems relevant. Mind you, this particular post was not inspired by anyone in particular, but was the build up of a "slow burn" so to speak, of things I had observed and thoughts I had in general. I've edited and dusted and brushed it off for public consumption. You're welcome.

This may annoy some of you, this may make you nod in agreement. What I *hope* it does, if anything, is make you (the generic you, obviously) think about your community and how you contribute to it.

I'm blessed that my community is filled with supportive and loving people.

Oh, I've always been opinionated. Shocking. I know.

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On the "Sisterhood"

I've been ruminating on this. Being a professional dancer is a business. As a business, you have competition. How does this fit in with the "sisterhood"? It doesn't. Emotions have no place in making solid business decisions. You cannot judge people by their intentions, intentions are useless. You must judge people by their behavior. If their behavior is shady, so might their business practices. If I have a gig, that I have researched, worked on, juggled, scheduled, come to terms with, in other words, developed, and someone comes in and offers to dance for less? That's shady, unethical and even worse,   poor business practice that will ultimately sabotage the market for EVERYONE.

Consider this, in the Boston area, the going rate for a restaurant gig has been the same since what, 2005? In every other industry, prices have increased.
If nothing else, consider that even your mascara is more expensive, are you working for the same wage? or are you in effect working for, what, 25% less than you did 5 years ago?



If you have approached someone else's gig, and offered to dance for less than the dancer who regularly perfoms there, you are unprofessional. And you know what? That sort of stuff comes back to you.

If you teach without having learned anything about HOW to teach, about anatomy and how to protect your students until they are able to move themselves safely and are in to make yourself feel good, you are unprofessional and unethical, because you can HURT people.

If you don't wear a proper costume*,  you are unprofessional.

If you can't be bothered to take classes, workshops (or practice) to improve your technique, you will not get better and are at risk of isolating yourself from the rest of the dance community.

Note how I did not mention the "sisterhood".

Let us explore the "sisterhood".

My complaint is not with the "sisterhood", my complaint is with disingenuous behavior that some dancers engage in, then cry foul when they are called to task for it. My complaint is with the "student" who debuts professionally under her teacher's wing, then goes in and offers to dance for less, especially when she is aware that the teacher had been struggling with the manager who wanted to cut rates.

Going to a dance class where the teacher does not correct you is akin to say, mmmmmm, going to a class on how to jump from an airplane and having your instructor tell you after you have landed that you had to pull the parachute out at 2500 feet -v- at 250, because that might make you "feel bad"**.

If you are unable to provide constructive criticism, (this may lay more in the realm of teaching, because learning how to give constructive criticism, as well as WHEN to give it is just as important) tell someone that their dancing is technically good (note, I'm keeping it out of the subjective) when it is dangerous or bad technique, you are perpetuating bad dancing and are not a 'sister'.  There is NOTHING wrong with saying IF ASKED "I enjoy your musicality, I'm concerned the your not keeping your pelvis in neutral and that you may hurt your lower back, which would shorten how long you can dance."

If you tell someone that a costume is becoming, when it is not*** you are not a sister.

If you allow someone to perform with obvious pinning issues, underwear over belt, poorly adjusted so vitals are exposed, you are not a sister, or a friend.

If you spend your time knocking other dancers, styles or performances, you ARE NOT A SISTER!!!!

*that doesn't mean expensive, it means not showing off your genitalia and or secondary sexual characteristics. You want blunt? No pubic hair, boobs or crack.

**Of course, to most people dance isn't a matter of life or death, but c'mon, I'm exagerating to make the point.

***Straps are too long and make it look as if her boobs are around her waist, belt is too low and shows crack, she looks like a stump, or it in other ways does NOTHING to flatter her, you are not helping her.

Proffessional venues:
Show up on time.
Wear a decent costume (as defined above)
Bring music, not 5 cd's asking for a cut off each, take the time and burn your own sets. you will garner the gratitude of the dj and will not piss anyone off. Bring back ups.
Pin your costumes
If you have an equipment malfunction, do NOT storm off, gracefully accept a change in music if necessary, switch out the cd's, do what you need to do to keep the audience entertained. That's your job.

Dancer venues:
DO NOT SIT IN THE AUDIENCE AND TALK ABOUT HOW MUCH BETTER YOU ARE THAN THE OTHER DANCERS! SAVE THE SNARK FOR WHEN YOU GET HOME!
If you cannot follow that, don't go.
Clap and cheer for EVERYONE. This is where you can be a "sister" and help people to work on self esteem issues.
Don't poach other teachers students.
Appreciate the curvy dancer, the thin dancer, the alternative dancer, everyone who shows a love of the artform. You may not like who they are, but in this, they are indeed, your "sister".
Don't knock other styles. All styles have flavor and substance. While you might not appreciate the aesthetic, appreciate that someone took time and effort to put something out there in the universe that isn't negative. If you don't "get it" consider that this is YOUR lack and not that of the dancers.

Cassandra Shore

Just a short note this time:

I was cleaning my room (I know, I know, glamorous. BUT, you can't practice if you can't find the floor!)

Back to the topic:

I was cleaning my room and as I like to do, I put on some videos or a dvd to keep me company.

I decided that since I was feeling nostalgic for the IAMED award series triggered by my last post, I would start them again, from the First Awards on.

I put on the video and proceeded to start cleaning.

While the First Awards does not have the production values of the subsequent series, there is much to recommend it, despite how dark and out of a focus that it is. (sorry IAMED, I love you, but this one is not well it AT ALL)

So, imagine a dark stage, there must have been only the couple or so spotlights, with a band set up in the back, I don't remember off the top of my head which one it was.

Out comes Cassandra Shore, in a very simple white caftan / galabayesque dress. She begins to dance (not to live music, a cd).

This is NOT your lovely elegant Egyptian stylings.

This is raw.

This is primal.

Strong.

Powerful.

It starts with hand motions, an out of place look on her face.

It builds through some serious head and neck swings, her uber shiny hair (dude, this thing is DARK, her hair gleamed, nonetheless) swinging back, forward, covering her strong face at time. The perfect backdrop.

I can't imagine what it must have been like to have been in the audience that day.

As it was, about 10 years in the future (I think, have to check the dates to be sure) in a poorly lit video, in my bedroom, folding clothes, when the climax of the performance hit, Cassandra, collapsed, on the floor, her hair covering her face and the last notes faded away, I found myself standing in front of the tv, with no memory of having moved away from my bed and taking those steps, so enthralled was I by her amazing and powerful performance.


What a dancer.

What's in a number?

So, today I read a blog that was commented about in a blog (rather meta, innit?).

The blog is about a dancer who is considered to be overweight and despite this is happy, healthy and seems to be living her dreams. The hard part about something like this is that people nowadays are wedded to the notion that the number on the scale is the end and all and be all of their health.

It's not.

Allow me to explain just WHY it's not.

1. Body Mass Index is not helpful in that the numbers are generalized and only go by weight and height, taking nothing else into account.

Because this is so, even if you are heavy from muscle (muscle weighs more than fat, REQUIRING you to eat more to maintain weight, isn't that useful information now? Pick up heavy things and put them down and you can eat more!) your BMI will be high.

This is why you should ignore it as a measure of health.

2. While we're at it, ignore that number on the scale since it's tied into the myth that the less you weigh, the healthier you are.

3. The more you exercise, consistently, incorporate strength training AND maintain a healthy diet the healthier you will be overall.

your mood improves

your clothes fit better

your not cranky from hunger

your sex life improves

What's not to like?


So forget about dieting, eat sensibly, a variety of foods that appeal to you, some that don't, cause you'll get more vitamins that way, and pick up some heavy things and put them down again, and then stretch those muscles out (because too tight is as bad as too loose).

Do it with a trainer, do it with a friend, LEARN how to do it well and safely and your life will probably improve.

This is an excellent web site to get started, she's smart and knows what she's talking about.

Do. It.

Workshop Review

OK, I know I haven't updated in a while, but felt the urge to write this up while it was fresh in my mind.

I'm hoping to make it a regular part of the blog, considering that I take workshops regularly, it will give me stuff to write about, at least!

Why workshops? Because it improves your dancing, duh!

Why with different teachers? Because no 2 dance alike. Because you never know what you're going to take away from the workshop, be it a new movement, a new way to listen to music, a new combination, improvement in technique and in the very worst instances... what not to do.

When should you take a workshop? Not as easy to answer, it's different for different people. If you have the income and the means, take as many as you can. Always take the ones that focus on how to interpret the music, because those are the most valuable in my opinion, especially if you're not a native speaker of the language.

Take the technique ones, because even if you think you know everything, you don't. I don't care how long you've been dancing, there is ALWAYS something to learn. Beware the dancer who is overcome by ennui and the sense that she knows everything.

Ok, on the workshop

Yousry Sharif Weekend, Sponsored by Katia of Boston, Lakeville, MA. March 25 and 26, 2011.

1. Location: The Burbs. It's about an hour drive roughly south of Boston, not difficult to actually get to and a pleasant ride. Plenty of places along the road to stop and do a little shopping, if you're into that (I'm not, despite my costume lust, an actual "shopper"). The traffic wasn't bad, since you're headed away from Boston, but in the summer could be difficult since that's when most people actually leave Boston and head out to the Cape and other summery locations. No commuter rail access on the weekends, which sucks if you don't have a car.

2. Studio: almost a proper dance studio, with the exception of the floor, which was linoleum. Hated the floor. luckily I had my little capezio dance slippers (these) *which I LOVE. I also brought my dance sneakers**  which turned out to be a good idea for the saidi portion.  My only comment , other than the floor, was that it would have been nice to have mirrors on at least 2 sides so that you can check your posture. There was ample parking. The workshop was filled to capacity, there would have been space for maybe one more person, but not 2. I really didn't like the floor, which felt cold and hurt my feet.  But coming prepared with shoes and socks and leg warmers made an enormous difference.

3. Timing: as in starting and ending, exquisite. The warm up was a yoga based one conducted by Maisa, which was excellent, even though I arrived both days a bit late and missed the start up.

4. Communication: Excellent as well. Katia made sure that she sent information about every step of the workshop, location, directions, where to eat, etc. There was nothing left to chance and no ambiguity.

5: The Teaching! Finally!: this was NOT a workshop for beginner's. If you did not know how to properly execute a hip drop, there was no stopping and explaining. You either got it, or you didn't. I can't repeat enough, there was no breakdown. You should keep this in mind in the event that you want to attend one of these workshops, you will work hard. There will be no stopping for breaking movements down. You should study the basics and have them firmly under your hip belt in order to get the choreography, because THAT is the focus. Yousry did stop and explain when he wanted a certain look to a movement. For example, there was one portion of the song that is very slow and dramatic and the choreography calls for head and chest movements together. Obviously, you can do this in multiple ways, but he explained when the group was doing more just head movements that the feel of the movement wasn't static and required more emotion and emphasis, not just percussive head flinging (fun as that often is).

The choreography itself was incredibly thoughtful. There are accents and combinations that until you have listened to the music eleventy billion times you will not understand. As a person who knows that choreography is not my friend, I had to stop listening with my head, and only listen with my body. I couldn't intellectualize the choreo because then it didn't make sense to me. I had to do it, and AFTER (waaaayyyyy after) did it make sense to my mind.

There was a trick that Yousry used on the second day that I thought was BRILLIANT! Sooooo goooooooooddd that I'm hesitant to share it, I will, and hope I haven't stepped on any toes.

Throughout the weekend, there had been breaks for one side of the room to do the combinations, then the other side, then all together. At one time, he asked us to tag team, in other words, one side the choreo up until the music changed and then the other side did the next section. It forced you to think about what they were doing while listening to the music and anticipate the change so that you were there to catch it as it changed. For me, it created a dynamic thinking process which bypassed all my issues with choreography and made me think about the music and accents in a way that worked for me so I could participate and get it right.

6. What has it done for my dancing?: Well, I've made some breakthroughs with choreography. Given the different ways that I was forced to listen to the music in the workshop and experience the dancing (that of myself and others) it's made me a more thoughtful dancer. Of course, it's been just about 2 weeks, and I have the attention span of a gnat, so we'll see if it holds.

Has it improved my technique? Not really. My technique is pretty solid, and it wasn't a technique workshop anyway. It *did* work on my emoting during dance. When I perform, I'm an entertainer and have stuck to happy sunshiny performances (for the most part) this made me incorporate the mood changes in one single dance which was reminiscent of a mood disorder. This is not necessarily a bad thing when you are entertaining. I can see using this piece in several ways.

Would I take another workshop from Yousry? Absolutely. And you should too.


* These I bought as an intermediary between dance sneakers and ballet slippers for class. I started out with the ballet slippers, but since they didn't have as much arch support, they didn't keep my feet from pronating, which aggravates my knees. These give me enough support, are flexible enough so that I can still get a good point and arch that are visible when practicing, have suede soles so good for turning and are very light, so easy to carry around. The are not any good for high impact, but anything with low impact, this is an excellent shoe. I like these so much I bought them in "caramel" which is a much better match for my yellowish skin tone than "nude", cause seriously, who is clamshell pink anyway?

** My dance sneakers are MUCH better at higher impact (like Saiidi) and if you're going to spend a substantial amount of time on releve. Mine also have a "turn spot" which makes, obviously, turns a bit easier, less torque on the knees, more turning from core power. You can easily just almost think turn and you've done a pirouette.

How to Shop for a Costume on the Web

Or: how NOT to go broke and/or crazy in the pursuit of the perfect costume

First, before ANYTHING else, WHY do you want a costume?

Is there a special event? What is the event? Who is your audience? What type of venue?

Are you performing at a hafli?

If you’re performing at a hafli, and don’t already have a costume, chances are you are a new performer of Middle Eastern Dance. On the other hand, chances are also that your audience will be other dancers, of mixed levels and abilities.

Arguably, the most difficult audience to dance for. There will be dancers who know Middle Eastern dance AND music. There may be members of the general public scattered here and there in the audience.

What is your intention? Mainly, of course, to provide a good show, to learn something but above all to DANCE and to have fun. Do you need a high end blinged out costume for this?

No.

Does that mean that you shouldn’t have one?

Also, no.

What it does  mean is that you really shouldn’t spend the money on one as the high end blinged out costumes are a business expense. Seriously. You buy them as a business expense, the depreciate over time and one should reasonably expect to gain a return on the expense. Which you will not do in a hafli.

Can you perform at a hafli, dance and have fun without one? Of course you can.

However, costuming is half the fun of this dance form. So what does it mean?

Well, let’s take a look at haflis, shall we?

Most of the time, haflis are put on by teachers who are looking to promote the dance, provide a place for their students to perform and a place to entertain themselves and others.

A teacher could arguable use a hafli as a vehicle to showcase a professional costume and make a return off of it, thus validating the purchase.

A student, or non pro could use this opportunity to showcase newly learned skills and to practice performing for others. Costumes for this should be above all, well fitting.

However, that means having a modicum of ability to alter anything that you buy.

What are good hafli costumes?

Well, again, it depends. Above all, the costumes should showcase YOU as the dancer.

Most often, your dance style will dictate what your costume is based on. Tribal dancer? Caberet? Oriental?

Doesn’t really matter, if your style says you wear a minimalist costume, well, that’s what you go for: if it’s an ornamented accented style, well that’s what you go for.

Since this is taking much longer than I expected, there is a part II. Probably III… and yes, probably IV…

What? Costuming is important!!!

Also, to be added to my newsletter, please email at jemileh@gmail.com

Gearing up for the MassRaqs Festival

MassRaqs is the very newest festival on the East Coast, organized and produced by Meiver, an amazing dance artist.

Getting ready:

One of the most important things for me to when I’m thinking about a stage show (and dancing for dancers, which is arguably the scariest kind of dancing, more on that later) is picking music.

There are songs that speak to you, and the language is Universal. Yes, most of the music that I listen to is Arabic. No I don’t actually speak  Arabic, BUT after 10 odd years of listening to it, you’d kind of have to be deaf to not at least learn the basics of musical Arabic.

Habibi? = sweetheart

Ouyun = eyes (of) as in Ouyun Bahaia = eyes of Bahaia

Wahashtini = I miss you

And let’s not forget the ever popular buliz (as in Mohammed Shahin’s description of the lyric of a song that says buliiiiiiiiz!!!!!! (please w/ a heavy Egyptian accent)

Ok, it’s not that popular, but it’s awesome so I had to throw it in there.

So, Daret Al Ayam by Oum Kalthoum. (The days have gone by).

This song haunts me, and has haunted me for the past 2 years. I love it, it brings me to my knees.

Through the generosity of my friends, I’ve been able to hear the full song which is about 45 minutes long. It does make a difference when you what instrument is substituting for the singer’s voice when you are dancing to the music. If you know that the ney is simulating the voice, and you know what the lyrics are it can make a huge difference in your dance, as well as adding texture and dimension.

And isn’t it about making the music come alive for your audience? Aren’t you trying to  “be” the music? Full apologies to Aziza, whose catchphrase that is. But it’s apt.

So I listened to the music since July, over and over again. Since I love the song, I have about 15 versions of different portions of it. I finally settled on section III the song on Nesma Al Andalus' album, Memories of Cairo 

(Album is also available on emusic)

And I submitted my choice to the organizer, at absolutely the very last minute (so sorry!). Who promptly responded “noooooooooooooooooooooooooooooooooooooooo!!!!!!!!” and said that there were already 2 others (her included) who had chosen this song.

I thought feverishly.

Aha! What if the other dancer was dancing to another VERSION of the song? Meiver (the organizer) was dancing 2 whole days away! With all due respect to the audience, it’s a 45 minute song, and we’re radically different dancers! It’s improv anyway! (for me at any rate) Meiver replies that it’s from the same album.

Are you kidding? Who else spends endless hours trolling the internet for new and interesting variations of music? Why a whole bunch of other dancers, you (me) idiot!

Meiver graciously decided to scrap her plans to dance to it.

I asked the question of the other dancer. I waited for TWO whole days for her to get back to her computer, since she apparently has a life outside of it (who new?).

She planned on dancing to section I, which saved my butt and graciously agreed that I could dance to section III.

I had purchased a costume during the summer, that had been on hold for me forever. A mango yellow eman, that was luscious and sparkly. Not sparkly enough so I bought a bunch of crystals in yellow orange and red and stuck them on to the bra cup and to the top of the skirt to give some dimension to the color.

I also bought my very first Shibori Borealis veil http://www.etsy.com/transaction/33367660 , which if you are a silk veil aficionado is like buying a Mercedes. The car that is, not the dancer (I crack myself up sometimes). In glowing fire colors.

Usually I do nothing with my hair, but I decided to buy these lovely, lovely silk flowers, also in fire colors from theesfield’s calico garden designs. http://www.etsy.com/transaction/33367719

Being me, with my complete inability to imagine dimensions, I thought 5 inches would be too small, so I bought 2. Cause you know, my head can support 10 whole inches of flower.

Yeah, I wound up wearing just one, which covered about half the side of my head.

Maybe my head is freakishly small?

No.

I can say that it’s not.

So can my mom.

And I have enough hair for 2 (very small headed) people. Ok, maybe just one. But that’s not the point, is it!

Stop arguing with me!

Anyway….

I had also reserved a room at a dance studio which is awesome and had been practicing.

There is something about undirected practice that totally sucks. For me, anyway. I can’t seem to focus.

I would pick one combination that I wanted for the music and drill it.

When dancing to the music, I’d forget to put it in.

Frustrating? A tad.

I am blessed, as I’ve said, in my friends. And she knows who she is who gave me an hour of her time to watch, critique and immeasurably improve my performance.

Eventually get everything together, have an attack of nerves decide I never want to dance again, lose my cool and temper all over the place and then the day comes.

I’m in the audience, witnessing an amazing recitation of Boston in it’s heyday of Middle Eastern dance, with this wonderful woman describing her life. It was amazing.

I was of course, too nervous to really forget that I was shortly going to perform, but it was close. Very close.

I look around the audience to the enraptured dancers and their friends who had come and think to myself, what a wonderful testament to the work and the dreams of the organizer that these people have come and given of themselves to this endeavor of hers.

I see Bozenka. My heart stops.

I’m going to dance in front of BOZENKA!!!

She’s been one of my dance crushes since way back when, waaaaayyyyyyy before she was a ever a part of the BDSS. When there were just a few clips of her on the web, which I linked to and treasured.

I cheered when I heard that she joined the BDSS.

I promptly paid for 2 hours of private instruction when she was last in town, despite some compelling reasons for not leaving home.

I was terrified.

During intermission, she left the room.

I breathed a sigh of relief.

I get changed, wait my turn while these amazing women were getting ready to perform, sadly missing most of the show.

It’s my turn.

The music starts.

Dude. There was a hellalotta space to try to cover to get close to where the audience could see me.

I steptogetherstepped in giant leaps to get there (it felt like)

I start.

I see my friends.

I smile.

I dance.

I think about the love in the room, and there was lots.

For me. For my friends. For the audience.

I turn.

There’s Bozenka.

I grin, because what the hell else am I gonna do?

I finish my performance.

I (gracefully, I hope) pick up my veil and leave the stage.

I cry.

Because if you’re me, you put 2 months of rehearsals, 2 months of work, 2 months of emotion into those few minutes of performance, allowing it to build to a crescendo that you have just released.

And sometimes you feel empty. You feel that space, that empty space that should be filled, but isn’t. You know that there will be no one to help you pick apart your show. No one to tell you how the audience reacted to that bit that you worked so hard on. No one who will know that you spent 2 months working on that transition, 2 months agonizing over whether you are doing the song justice, whether you adequately conveyed what you meant to.

But your friends are there; who love you and make sure you know it. So nothing else to do but wipe up the tears and get changed back to civvies, and go back out there.

 

Update: Back to Basics

Soooooo, despite the objections of one person in particular (and you know who you are, Najmat!) who shall remain nameless, I went to the beginner's class last night.

I was delighted to see that I was not the only dancer there who also was not a beginner.

I. Loved. It.

It's exactly what I need right now. A place to focus on working those areas where I learned bad habits and trying to rid myself of them. (are you listening, right hand? I'm coming for you!)

It's hard to describe. It's almost like a feeling of homecoming. You know you love the place, you're happy there and you have plan for the future... But that wall wants painting, that room would look better with a little molding, maybe re-do the bathroom...

So, REHAB!!!!

Excellent.

I'm rehabbing myself as a dancer. Hopefully, by the end of it, I'll come out a stronger dancer with at least a better sense of my own personal space and having bested that damn right hand!!!!

*while also wanting to focus on those shoulders, that tendency to tuck my chin into my neck, to close my eyes, to to to...