Showing posts with label performance. Show all posts
Showing posts with label performance. Show all posts

That X Factor - Debbie Reynolds and everyone like her...

by Wednesday, May 28, 2014
In the late 80's, I was in a youth summer stock touring company. As we were traveling around Arizona and southern California with our show, we would get to attend lots of theater along the way. Debbie Reynolds was playing in a touring revival of The Unsinkable Molly Brown down in LA (at the Shubert? The Kodak?). This was a reprisal of her role 25 years after she was an Oscar nominee for her movie role, but I had no idea. Thanks to this experience, I always think of Molly as an older woman, not the young woman she would have been in her 1964 movie role...and that is only one of the remarkable memories I carry away from it...

During one scene aboard the Titanic, Molly is talking about her gigantic wedding ring. She strode out on the stage, and mid-sentence she stayed in character yet broke the 4th wall when she said, "...and I left my ring backstage..." She strode back off stage to get the prop and returned to the scene, the audience applauding and howling at this "raw moment".

I remember we would debrief our theater experiences, and in discussing our night out at this show, our director told we young, impressionable child actors that while that scene was funny and memorable, "she could get away with it because she is DEBBIE REYNOLDS."

I never forgot that lesson. There are some people who by virtue of talent or fame or a combination of  both (because lord knows these days they are not tied together in any way) somehow manage to win us over no matter what they do. They have that "X-Factor" which makes them magnetic to us mere mortals, and we forgive them everything and enjoy those brief moments of familiarity when they make mistakes. "HEY! They're human!" and that realization doesn't knock them down, but instead raises them up somehow.

I aspire to that in my life. Yet I know talent can't buy that entirely. Experience breeds grace in some cases, but that isn't always the way. For most, it is something within you--your soul, your spirit, your je ne sais quoi-- which wins over all. Debbie had it. And I see many performers in my world, both big time and "small time" who have this quality. It's easy to be jealous of them. But even easier to just be in awe of them and enjoy what they have to offer.

FAQ Spotlight: When do I get to perform?

by Sunday, March 06, 2011
When I was a new student, I was absolutely rabid for any new information on bellydance. I was always digging around for new details about the styles I was studying, the classes I was taking, and the teachers I was studying with (or hoped to one day study with). I know a lot of you reading this blog are the same way--you just love reading about the dance, and learning all you can in your time both in and outside of class!

It was in this spirit that I started my FAQ section on my website. I knew other dancers are just like me, and are eager to read up on various topics having to do with the dance. There is a lot to cover, but I tried to focus my questions and answers on the same topics I wondered about when I was first learning. It makes for a long FAQ, though, and it can be hard to find time to dig through it all. So I am going to occasionally post a blog entry featuring one of the FAQ topics I think you may enjoy reading. I welcome any thoughts or feedback on these topics--I am still that same eager student who loves to study and discuss all the angles of this incredible dance form!


When do I get to perform?


Performing is an exciting way to bring the joy you feel in dancing to an audience--I have been a performer all my life and can definitely vouch for what a rewarding experience it can be to take to the stage. However, it is by no means a requirement, nor is it even a "natural progression" that every dancer should one day perform. Many students are quite happy to confine their dancing to class and/or their living room, and never perform for the public, and that is absolutely fine.


Patience, Persistence and Practice!
For those who do want to perform, it is important to know that the skills one must develop to become a strong performer is a process that takes years. No matter how eager or well-intentioned, one cannot simply "take a few classes" and be adequately prepared to present this art form to an audience. Would you take a few ballet classes and do Swan Lake? Would you take a few painting classes and have a gallery opening? Would you take a few months of piano lessons and put on a concert? No, it takes years of thoughtful study and dedication to reach that point. Any art deserves time and guided development before it is ready to be presented to the public. And you deserve the time to enjoy being a pure student, enjoying the exploration of movement and community, free from the responsibilities that performing demands. Students should consider carefully before accepting an opportunity to perform without the guidance of a trusted mentor/instructor. It's a responsibility that deserves preparation and respect. Please feel free to talk to me if you have any thoughts or questions about performance ethics and preparation.


Nomaditude
Hafla Durga 2006
Student level performances, under the guidance of your teacher, are a good way to see if performing is for you, and to learn some basic and vital performance skills. For a student performance, careful choice of the appropriate venue, music, and costuming is something your instructor can guide you in, and are details that should not be taken lightly. A trusted mentor or teacher can help you sidestep common pitfalls, and make sure that you represent yourself beautifully and confidently on stage. Remember, when you perform, you represent not only yourself, but your fellow dancers, your teacher, and the art form in general. Don't you think it's important that you put your best foot forward by being adequately prepared and guided by someone who is experienced in performance of this art? Check out the next section about our student troupe, Nomaditude, to see if it's something you'd like to try!

Bottom line, concentrating on your personal development, dedicating your energies to improving your dance skills and expanding your knowledge of tribal bellydance, may guide you down the road to performing one day. Don't rush the process. Enjoy the work of being a student, and make regular study/classes your highest priority in pursuing a future in performance. Trust me--your dedication and commitment will be well worth it, wherever it leads you.



Note:  This FAQ definitely reflects my philosophy on performing. Different teachers may guide you differently. Some encourage students to perform right away, after only a few weeks. Some will never provide performance opportunities for their students.  I like to think that I encourage my students to perform at a time when they are best mentally and physically prepared (in the style we learn together in class), and I try to create various opportunities which introduce different level dancers at venues which showcase their talents, so no one ever goes out on stage without the basic tools needed to be a success. For many, that takes more time than they may realize, but I promise to always try and do my best to be an honest and thoughtful teacher in this regard.

I encourage every student to find a teacher and a style which resonate with you, whom you trust to help you be your best, and be guided by their advice.

The True Cost of a Performance

by Tuesday, February 08, 2011
Over on Bhuz, they have some regularly featured blog posts that are fun to poke around at from time to time. This particular post I saw today made me want to cheer for all the articulate and thoughtful consideration that went into the topic: a breakdown of what it really costs to be a dancer, and why our rates are set as they are.  Many thanks to Jennifer for her post! A snippet appears below, and a link to the full article is HERE.

"Here is the whole breakdown of why I and other belly dancers in my area, charge what we do. After examining this list it should become very apparent why this is a specialty type of service and the key differentiators between a professional such as myself and non-professionals. The dancing you see in a performance is the fun part, but the behind the scenes work that is put into producing a show is quite a different story:
  • Gas- It just keeps going higher doesn’t it?
  • Car Maintenance- My car is one of my most important assets, if it is not up to shape I cannot drive anywhere! As a belly dancer I put in about 24,000 miles a year driving to all my venues and events.
  • Tolls- Those get higher every year as well.
  •  “Renting” Costumes- All my costumes are high end Turkish designer duds or from my self-made line. All in all, that leads to big $$$$ being spent to make a big impression. Every wear of a costume depreciates its resale value (like a car). In fact we are  "renting” a costume every time we use it.
  • “Renting” Props- the same basic idea goes for props as it does costumes.
  • Custom Music Edits- Hello software! Music editing software costs money and so does every single song we must buy that is not easily available on popular music sites such as I-tunes. Many of the most amazing songs I use have taken months of research to find, and are in languages not familiar to me, so that is a part-time job in and of itself....(continued)"
Read the rest of the list at http://bellydancebyjennifer.com/blog.html

How to Get Gigs by Cera Byer

by Saturday, February 05, 2011
Cera Byer (director of Damage Control Dance Theater) wrote a note recently over on Facebook about what it takes to get gigs. With her permission, I re-post her pragmatic advice here for your enjoyment. (punctuation and grammar were copied as written)

"a lot of people have been asking me recently how i get dance jobs/how i get hired at festivals, so i thought i'd just make a public post about it.

here's the answer: I ASK.

yep, that's it, no magic. i just ask.

i have a browser window that's always open that has the following tabs open at all times:
craigslist, danceplug audition board, theater bay area audition listings, and one empty one that cycles through google searches and dance magazines.

every single day, after i check my email, i look through each of these, and i apply to everything that looks interesting. EVERYTHING. even things i may not be able to do because of the date or how much it pays, just so people have my resume on file.

if there are no listings that look good, i will google dance festivals, theater companies, anything that i know pays dancers in my area, and i send in an unsolicited application - this means, even tho i dont see a listing saying they're hiring, i write to them and tell them who i am and say i'd love it if they had my resume on file for future projects. some companies dont like this, but i've had people write back and say 'OMG a choreographer just quit, can you come in today!?'

i applied to teach at tribal fest every year for 6 years before they hired me.
i applied to teach at kosmos camp every year for 3 years before they hired me.
i applied to teach at bellyfusions, and paid out of pocket to bring my company with me when they didn't cover all our travel.
every year, even tho they didn't hire me, i showed up as a participant, i said hi to all the organizers, i shook their hands, and i attended happily, knowing that one day, i'd teach there too.



i ask to be introduced to people if i find out that people i know are friends with people i'd like to know/should know. i walk up and introduce myself to the owners of theaters and the organizers of events, and then i exchange business cards, and then i write to them and follow up. i friend them on facebook, i tell them happy birthday. i stay connected.
i seek out choreographers that i admire and i ask them for critique on my work. i seek out directors and actors i admire and i ask them for critique on my work. 
after a while, people start to ask for you by name, because they know who you are.
i try to connect people if i hear that someone i know is looking for something that someone else i know could help them with, so that if they hear about a project i could be good for, they do the same for me.

the arts business (like all business) is about RELATIONSHIP BUILDING. the first time you meet a new contact may not be when you start working together, sometimes it takes years of saying 'hi' at events before the right project comes along - but trust me, if you keep connected, eventually the right project always comes along.

once you have a gig, be cool with EVERYONE. exchange cards with the tech guys, the venue owners, the bartenders, the dancers, the directors - treat everyone like your peer, because you really dont know who's around. everyone you meet may be the person who hires you for your next job.
be friends with everybody. you dont have to be fake, but work to find a common thread (even as simple as 'we're all on the same gig') with everyone you meet. be punctual, manage time well, deliver a strong product, take criticism well, follow through on commitments as best you can and own mistakes where you cant - like every other relationship you'll ever have - and one job will easily turn into 20.

one of the most important things i ever learned is that you dont have to be the most talented candidate if you're the best to work with. there are lots of talented people out there who aren't cool to work with. if you're both, it puts you way ahead of the game. if you're talented and not cool to work with, you wont get repeat business and referrals, and in a small arts community, that's what it's all about.

if you'd like dance to be your job, treat it like a job. be professional, submit resumes, keep your pro-kit (resume, photos, cv, website, videos, etc) up to date and attractive, and put it into the hands of anyone and everyone who could help you get somewhere. 
most folks would never sit at home and wait for a job to fall into their laps without applying for anything, but people have told me they just figured eventually they'd be 'invited' to teach somewhere. DONT PUT YOUR FATE IN ANYONE ELSES HANDS! if you want it (fuck, if you want ANYTHING), just go ask. you may be surprised at the answer you get.


hope this is helpful =) 
xoxoxo,
c"

Q&A: How to smile in performance.

by Monday, November 22, 2010
Q. So, I was watching Kami Liddle's Tribal Fest 8 performance again today...one of the (many) things I have always liked about this performance, and her performances in general, is her lovely smile! It looks so wonderful!

How do I get that (or any) smile? Yes, I do smile when I perform and practice, but it looks nothing like that. When I ask a friend after I am through with a performance, "did I smile?" Their response is typically a variation of "Yes, you had this cute little smirk smile." What? I was smiling! I felt my face moving and forming smile-type pose. And when I look at a performance on video, I see that, indeed, it is more of a "smirk". So, I then go "drill" a smile in front of the mirror. But I don't like the way I look....


Any of you have this issue? Any tips for working on a better smile?


A. Smiling in performance is just one facet of "emoting"--a difficult but valuable skill. And yes, you can learn it!

For one, don't expect your smile to look like anyone else's. That will bum you out in the long run. But more importantly...

Practice!

Actors know this--to convey an emotion with the body/face for a performance takes work!  It seems like it should be so "natural", but more often than not it ain't. It feels really goofy to smile in a mirror, but it helps you learn how it looks. Then try the same thing away from a mirror and feel how that FEELS. Keep working back and forth between mirrors and feeling it. Then try performing for video with that same smile and see how it looks and feels.

Another consideration: don't just smile. Think of things that make you feel like smiling.
A fake smile looks fake. A genuine smile radiates beyond where you think you could possibly reach.
Genuine smiles come from genuine emotion, and not from "poses". So when you practice your faces, and practice dancing, bring joyful thoughts to your mind which induce genuine smiles, and the audience will not only see it, but *feel* it.

"Can you teach me to dance like _______...?"

by Friday, November 05, 2010
Most every teacher I know has run into this question in one form or another from new students--some of us hear it many times a year. "I saw 'The World Famous Debbie Dancer' on YouTube. Can you teach me to dance like her?"

The short answer? No.
The only slightly longer answer?
Neither can she!

No teacher can truly teach you to dance just like them. What they can provide you is tools for your own dance--tools perhaps they themselves used to arrive at their own personal style, which you can then take to create your own personal style.

I am here in Lincoln, Nebraska getting ready to teach my first of two workshops at the Tribal Dreams Festival, and over breakfast this morning was chatting with Jawahara of Chicago about teaching and workshops and the culture of the bellydance world today as we know it. And one phenomenon we were talking about was the propensity for some dancers to come to classes or workshops wanting to be or dance just like another dancer. Jawahara was talking about dancers who would look at old footage of Taheya Carioca and Samia Gamal, and wanting to emulate every little nuance of those dancer's performances. For others, it might be like the many people who watch Rachel Brice or Aziza of Montreal, and try to make every single detail look and feel exactly the same.

It's a good jumping-off point, but the question is, are you trying to be them, or do you want to be you inspired by them?


Jawahara and I agreed on many points, but one that I want to share with you here is that every single teacher, every single class, every single workshop has something to teach you. Much like when we talked about the steady diet of fusion (Fusion As Dessert), if all you ever feed yourself is one teacher's interpretation, or one stylization, where is there room for you in the equation? And dammit, that's the juiciest, awesomest part! YOU!

Even if your ultimate goal is to devote yourself to one particular style, it behooves you to be open to many dance experiences, and always always be looking at how your personal flavor is being injected into the final product. When you walk into a workshop, don't just try to pick out finished ideas, sprung wholly formed from the instructor's forehead. Instead, learn to look more critically at what is being offered--at the individual pieces of information that make up the body of work the teacher is sharing with you--and learn to parse out bits that really speak to you personally. Look at the information as a tool bag, not a shopping list.

Tomorrow at Tribal Dreams, I will be teaching "Cook Your Own Combos"--a workshop designed for just this kind of thought process. Learning to break down movement into individual components which we can then remix to reflect our own style.  If you learn to see the dance as a collection of delicious spices and ingredients, rather than complete unalterable recipes, then you can cook up a new combo every day of the week and always inject your own flavor!  I can't teach you to dance like me, but I am happy to give you some tools to help you be your most fabulous self.

Bringing emotion to your dance

by Tuesday, September 28, 2010
From my background in theater and dance, to a life seeped in bellydance and dance in general full-time, I have learned that one of the most powerful methods of showing emotion in performance is having a story firmly in mind as you perform.  Just saying "I am going out there to have fun and smile," doesn't quite have the same impact as coming up with a more detailed motivation or imagined goal in mind when you take the stage. So You Think You Can Dance liberally uses themes, props, and elaborate stories to create their unique dances, which is inspiring. We, too, can be guided by a story through the entire creative process, which can inform not only our movement and emoting on stage, but also costume and musical choices as well to support the story further. Though I would caution that one must be careful at becoming too literal or trite.

The dance itself--the body, the face, the movement--not costume or music or props, should always communicate the story first and foremost.  

After all, a large cross-section of the recent vaudeville-inspired theatrical-circus-theme craze has been disappointingly unbalanced: Over-storied, over-costumed, over-propped, and under-danced. The dance is the central and most important part, and the story and any trappings built around it should support and supplement the emotional content and skilled execution of the dance itself. A really great dance can be performed with the dancer wearing a plain white tee shirt, or something similarly mundane, and can still clearly communicate emotion.

So how does one create a story? Soloists have an easier time at this because the stories need not have a universal and shared emotional meaning among a group, but instead can be something very personal to them alone. (For example, Sa'Elyssa's "For My Grandmother"--a dance to honor her grandmother who had passed away--reduced me to tears.) But with some thought and discussion groups can create a story and stage their piece with a collective image in mind to help channel their emotional energies. My last troupe did this on many occasions with great effect. Our "Home" piece was one that is lovingly remembered not only by the audiences that saw it, but we who danced it. The story we built into it was very very personal to our dance family and surrounded universal feelings of loss and fear, friendship, and of course as the song name and lyrics reveal, the feeling of being home. We didn't have any sort of intro at most performances of it, and we did not costume or set a backdrop or props of any kind, so there was not always an opportunity to lead the audience into our story with any kind of explanation. The only cues were our physical selves--the way we staged our movement among and with one another, the way we felt as we imagined our story when dancing it, and the way our faces and bodies communicated our thoughts and feelings as we performed came through for our audiences, who sometimes were brought to tears without knowing quite why it impacted them so profoundly.  Of course tears aren't the only way we would hope to have our audiences manifest their appreciation of what we do, but it sure is a powerful one!

Another method to add further depth to your audience interaction is to put characters of your story in the audience. Planting archetypes in your mind and then acting as if you are seeing them and playing to them when you dance can have great effect. Say you plan to find your new best friend to the left of the stage, your ex-boyfriend you are showing off for to the right of the stage, and your proud mother in the center. Find people in the audience and fix them with your eyes and intention and dance for those imagined characters and see if it doesn't change the way you move and emote!

What other ways do you build story and character into your performances?

Have you lost that "spark" lately?

by Wednesday, September 15, 2010
Local dance legend, Delilah, posted this thought-provoking question to a local discussion group not too long ago, which I thought I would share with you, along with my lengthy answer. I am curious if you are experiencing similar "issues" in your dance world, and if so, what your thoughts on it is.

"Thoughts:

I have been getting a lot of calls e mails, comments in conversation about the spark being lost in belly dance these days. Here is a quote from one dancer I got 2 days ago.

"I have been a bit out of touch with belly dance. Belly dance had served its initial purpose, and yet I was beginning to lose interest in it entirely. I guess I feel that what I see today in its representation is a lack of substance - it's not spiritually fulfilling for me. I have nearly lost the desire to even watch others perform. "

I get constant calls from all over the country about dancers being let down by the Belly Dance Super Stars. These comments come from new dancers, long time hobbyists, professional performers and instructors, and our moms. With a name like that I guess come expectations. Not that they aren't beautiful and graceful But these women describe a flat presentation of something that means so much to women's lives. It's being reduced to a Las Vegas female objectification and what color will she wear next.

The women I've been talking to are saying , they want more! I am frankly very inspired that women are aware enough to articulate this (when commercial machinery is so powerful against the consumer). Personally the belly dance Super Stars do not embarrass me in any way. The show is PC and well rehearsed. However if I was the director with that budget I would do it much differently.

I ask you all. What would YOU do differently?
How can we bring back the qualities that deeply inspire us?

Delilah"

My response after the jump...
Excellent question and topic for discussion, Delilah. Thanks for bringing it up.

I think it's not just the presentation of bellydance that has changed (a la BDSS), but also the teaching of it has changed so much. Does anyone else feel like so much of bellydance marketing today, in workshops and videos, boils down to "I am gonna KICK YOUR ASS in this workshop!"? It feels like a lot of the focus of bellydancing, at least in the circles I travel in, is on a boot camp workout and uber-complex-layering-technique-as-highest-priority. It has become "the more layers and tricks I can add the better", while somewhat ignoring personal expression, connection with our audiences, and if dancing with fellow dancers, connection and communication with each other.


JUST STICK TO THE RECIPE
With the increase in the claim of unique "formats" and "certifications", it gives one the impression that bellydance is a formulaic, scientific study where if one just follows the recipe, they can dance.
Don't get me wrong, I think the increase in attention to technique, and the proliferation of mentorships where teachers are taking very public responsibility for the students they are producing is a good step for the overall growth and improvement of bellydance as a respected performance art (though in my opinion not all certifications carry equal substance to back up the paper--a discussion for another time). But it's not all there is...

I feel this boom of "technique-centric" was in response to a really important need in the community to increase our awareness of what comprises strong and safe technique, and to help us understand what we are seeing in ourselves and in other performances--why did we think she was a good dancer, or conversely why do we think that performance was weak? Being able to identify strong technique, and employ it in our dance and performance is important. But it's not all there is! Technique is a tool to reach something a little more difficult to describe, and yet natural to attain if we really focus on it: grace, beauty, connection, energy, emotion, personal expression...THE ART of it!


BELLY VS. BALLET
We always parrot on about comparing where bellydance is in the world compared to Western forms of dance, such as ballet or jazz. We talk about all the technique they learn, how difficult it is, what a commitment it is. And that's true. But two key points seem to be ignored:

1) They also learn expression--what story their faces and bodies tell is trained into them as well. They often also take acting classes alongside their dance to be better at that aspect of performing. Yes, it is so much dance technique, but it is not purely technical execution. And

2) Do we really want bellydance to become just like those dance forms? Isn't part of what we love about bellydance, and what it brings to our lives, is what was lacking in other dance forms at our disposal? I know it was for me! I studied jazz, ballet, and modern, and nothing weaved its fingers into my heart quite so much as bellydance. There is a reason for that--there are aspects to bellydance which nurture us in ways other dance forms don't. And that is what is somewhat being lost today, in my opinion.

I feel like we have lost sight of the yin to our yang. The pendulum has swung so hard in the direction of methodical, mathematical, technical, manufactured, competitive, individual approach; and away from the artistic, nurturing, connecting, heart-felt, sincere, spirit-centered approach. Of course this is a vast generalization, and is also my personal opinion from my experiences in recent years. Your mileage may vary.


LOCAL FLAVOR
Locally, I feel like we have lost a lot of the "community" in our community. We keep holding events, but they seem primarily designed around a) for-pay workshops or b) performances; and everyone seems to largely draw their own students and friends. Neither of these kinds of gatherings fully creates a chance to connect and interact with one another. As a result, there isn't so much cross-pollination as there used to be. Something changes when we interact with one another face-to-face. We respect one another more when we more often look one another in the eye, and interact in person. We feel more connected and responsible for one another.

Within my own hands, I feel guilty at how little I have been able to facilitate community in the past couple of years. Ever since my back injury several years back which had me not able to dance for months, and pain with which I am still affected, my energy has shifted so internally to self-preserve, and I have neglected the needs of my students, my dance family, and the community at large for opportunities to connect around the dance in unique ways. This was a very high priority for me, and anyone who knows me can attest, bringing people together is something I love dearly to do. My video nights and The Gathering open dance circles fell to the wayside. Drum circles on the beach used to be a favorite opportunity to hang out, dance, laugh, chat that we looked forward to every summer--Delilah remember you and Erik coming to play with us back then? I loved seeing you guys there and getting to jam and connect. And our troupe putting on haflas also faded away. Man, those are some great memories for me!

And now with a combination of national apathy and financial difficulty, what attempts to connect us which remain are often not well attended. Which further discourages those of our community left who are rallying to keep us coming together. Delilah, you are one of those who is so great at creating opportunities for dancers of all styles and focuses to come together around unique and interesting topics and events. I feel like you are one who is continuing to do the work so many of us have not been doing, or failing in our attempts to do. I know you, too, have been suffering with lower attendance; and financially being a studio owner must also be a struggle. But you keep plugging away, and for that I personally am grateful to you for all your energy you pour into it.


IN CONCLUSION
Ultimately it boils down to that I would like to see the pendulum swing a little more back toward center--a balance between the technical, "feel the burn", "do it faster, harder, more complicated", trick-after-trick approach to the dance, and the heart-centered, personal, connecting, sincere expression through our bodies we know this dance can be.

Thanks Delilah, for asking this very thought-provoking question."

I am looking forward to getting back to a heart-centered dance this week. 

I am reminding myself that I don't need to leap  back in to every detail from day one. I remember when I first began teaching, and when I told Paulette that what was most important to me was building a community around the dance. That was what I admired so much in her, and what I wanted in Seattle. So that will be my mantra, my focus as we return to class this week. I want to teach strong technique and nurture confident and skilled dancers, but most of all, I want them to enjoy one another in the process, and share in each other's growth over the days, months, and years they are with me ..and beyond.

7 Secrets of Super Performers

by Saturday, September 11, 2010

The timing of critique.

by Wednesday, June 30, 2010
Recently on an instructor discussion group, a fellow teacher asked a question about giving feedback to a student after a show


Question:
"I was recently at a student show put on by another instructor where one of my students performed in a group choreography. At the break she asked me what I thought. I told her that she was doing well with the choreography, obviously knew it, but she needed to get her eyes off the floor and look at the audience some.
She then told two of my other students that were there as spectators (when they all went out for a smoke) that I was criticizing her.
Seriously, I didn't think I said anything that would be taken wrong but obviously I did.
I repeatedly tell my students when we start learning about performing in front of an audience not to stare at the ceiling for divine guidance or constantly look at the floor, so this is something that she has heard before, over and over and over.......

What should I have said or not said? If I wasn't asked I would have kept my mouth shut."


"Shay says:
I want to start by saying that I felt your feedback was perfectly appropriate and not at all overly critical. But I think the timing of it was what caused the issue.

I make it my policy to not allow critique AT a show--only general encouragement and positive commentary at the venue, and save the critical discussion for later. We are very vulnerable when we perform, and when we're done it is common for our brains to immediately jump to the negative. I encourage dancers to believe the performance space is a very positive and safe space, free from self-talk and negativity. The rehearsal space is where we get down to the real work. To be clear, I don't think you were being "negative"--teachers understand that critique is neither positive nor negative, but all of it is tools to become better and stronger. But not all students understand this, and even we as professionals have a hard time taking in critique when what we would most like to hear is glowing praise, yes?

You may not have the opportunity to see her in a "rehearsal space", but perhaps saving any critical feedback for another time would have been of help in this case. Give her a few "'atta girl" comments, and then tell her that if she would like to hear a more detailed assessment, you would be happy to talk to her later in the week (or e-mail her or whatever she likes). Then the ball is in her court as to whether she wants to receive more guidance from you, she can prepare herself to best receive the feedback you are offering, and you have set the tone that the performance space is a safe and happy coccoon.

Just some food for thought!"

And don't forget the "feedback sandwich" technique when delivering any feedback! It may not seem important that it was two nice things and then a critical thing. Just changing the order of the feedback to nice-critique-nice can change the perception of the interaction for the student from "she criticized me" to "she complimented me and gave me a good tip". Always end on a positive!

For a really great article on instructor critique, check out this page:
http://www.dynamicflight.com/avcfibook/evals/

And this short blog entry has some good tips for artists on how to accept critique, and learn to continue to be open to it. Maybe this could inspire a handout for some teachers to give their students when they advance to performance level?
http://www.bearskinrug.co.uk/_articles/2007/01/24/taking_critique/

Cues & Tattoos: truly a labor of love

by Thursday, April 01, 2010

This past weekend on the Seattle Center campus was the Cues & Tattoos festival, hosted by Troupe Hipnotica, and is the braindchild of Adriene Rice and Julia Demarest. It focuses on stylistic variations which are rooted in the original American Tribal Style concept of group improvisational dance. With the mass proliferation of all things being called "tribal" these days, the beautiful and dynamic art of group improv was being buried and misunderstood. Adriene and Julia saw a need and they have met it beautifully for three years in a row--much to my delight, right here in my own back yard in Seattle--with Cues & Tattoos.

The time and organization it takes to host a festival is enormous--take a local hafla and explode it about a thousandfold! These ladies, with the help of their fellow troupe-mates and other volunteer staff, have turned this labor of love into a festival to rival many more established festivals in the community. And it promises to just keep getting better.

As if seeking out some of the best instructors and performers the art form has to offer, flying them here, taking care of them, and providing space for them to share their knowledge and wisdom isn't enough, the festival also offers two unique evenings of performance, and a roomful of drool-worthy vendors. The event runs smoothly and professionally, with very little left to be desired (Afterparty! Better signage at workshops?).

I have been blessed with the opportunity to teach and perform all three festival years and have seen the thoughtful way these ladies have continued to recognize areas which need attention, and by the next year have adapted and improved upon what they had done before. Though surely overwhelmed with all the daily demands of the event (plus teaching their own workshops, plus performing themselves!), they always appear calm and collected, and make time to really see and hear their guests and meet their needs. Case-and-point: when I jammed up to her table breathlessly but urgently blurting out, "This isn't their music!!" as my student troupe was taking the stage to the wrong soundtrack, Adriene displayed calm and good humor while we fixed the situation. Her willingness to just smile and make adjustments is an example of the level of professionalism and composure that permeated the event.

For years I have spent thousands of dollars to travel thousands of collected miles to try and study with these incredible instructors in other cities and at other festivals. This weekend, I had the pleasure of meeting people who had flown here to the Northwest from a half-dozen other states--from as far as Florida!--to do the same. And I and my troupe-mates and students for once had only to drive twenty minutes to be in a room studying with the likes of Carolena Nericcio of FatChance in California, and Sahira and Zymirrah of Urabn Gypsy in Texas, among many other admirable masters of tribal bellydance. The Seattle bellydance community should be thankful and proud of what these women have brought to our doorstep, and we should endeavor to support them in their efforts so it can continue well into the future. I look forward to seeing how the event grows and adapts over the years to meet the needs of the community it reaches out to. Many thanks, Adriene, Julia, and Troupe Hipnotica, for all your hard work and organization, bringing us yet another stellar year.

Did you attend C&T 2010 and have feedback for Adriene and Julia for future years? Want to share something you really loved about it? Something you feel could be improved or added? Suggestions for teachers or workshop topics? Questions about next year? Contact them at hipnotica@comcast.net. They want to hear from you!

More live music + improv!

by Tuesday, March 09, 2010

Saltana Band at Navya Lounge
Sunday, March 21, 2010

7:00-9:00pm
All Ages
$7 cover, Children Free
Navya Lounge
1333 5th Avenue, Seattle, WA 98101
Located inside the Rainier Center behind the Rock Bottom Brewery at 5th and Union

We had such fun last time, we're doing it again! Improvisational dance and music collide as inFusion Tribal and Saltana Band join forces for another night of entertainment at Navya Lounge. Saltana Band has even been working on some tribal infused music, inspired by inFusion's last appearance at the event. As before, the dancers will have no idea what music will be played, and the musicians won't know what the dancers might concoct--it's all a grand adventure in pure improv. Join us and see how it unfolds!

TWO inFusion Tribal Performances TODAY!

by Sunday, February 21, 2010

Personally, these events will be my first performances in 6 months! My foot is on the mend, and I'm itching to perform for you all. Hope you will come and lend your enthusiastic zaghareets to the audience and make these shows to remember!


Two Birds Tattoo Grand Opening
7408 Greenwood Ave N
FREE
11am-7pm
performance by inFusion Tribal at 5pm

inFusion Tribal's favorite tattoo artist is opening her own studio, and we are celebrating with her! Come out for wine, snacks, schmoozing, and get some discount coupons for gorgeous tat-work. Oh, and did we mention BELLYDANCING?!

THEN

Saltana Band at Navya Lounge
7:00-9:00pm
$7 cover, Children Free
All Ages
Navya Lounge
1333 5th Avenue, Seattle, WA 98101
Located inside the Rainier Center behind the Rock Bottom Brewery at 5th and Union

inFusion Tribal is taking an adventurous leap and going to dance to live music at this show. It's an experiment for us, and for the fabulous band working with group improvisation. Will we fly or fall? We don't even know! Come see the fun for yourself!

The importance of chorus

by Tuesday, November 10, 2009
I was perusing some very old tribe topics of discussion (and enjoying it immensely I might add--tribe is like an archive of the evolution of tribal bellydance in so many ways), and came across a thread about chorus. Specifically about students who don't "get" the idea of chorus, and feel "left out" if they are "stuck" in chorus a lot and aren't in the "spotlight".

Molly had this astute observation to share:
I think it's pretty hard for a lot of dancers to let go of the idea that if you aren't the soloist or feature, you aren't important. Our culture really seems to value the individual genius over the group a lot of the time, but the truth is that chorus members can make or break any performance - just look at opera. If the chorus isn't on and supporting the lead vocalists, the whole thing falls flat. Same with ATS. When the chorus is energetic and their movements and attitudes support the featured dancers without distracting from them, it's so much fun for the audience to watch. And it's great when you are in a duet/trio/solo to see the smiling faces of your fellow dancers every time you go into a turning move. It keeps up the energy of the group as a whole when everyone is tuned in and supporting one another in turn. Even with the most unresponsive audiences, you know you have someone behind you who's into your dancing and appreciates it. Encourage them to look at the chorus as a unique time to appreciate what their fellow dancers are presenting - I mean, in how many other styles do you get to stay involved onstage and watch what's going on? It's a nice little mental and physical break to re-center without breaking your connection to the group. At least that's how I see it.


And I really love the following perspective from Amy:
As a perspecive (sic) on the chorus vs. featured dancer thing, the way I figure it is, everyone will put in at least 80% of their performance time in the chorus...that's part of what being a tribal dancer is about. So it's better to be supportive and really work to feature the dancers in the spotlight- because that will be you in a song or two, and if you've been great support as a chorus member, you fellow dancers will be psyched about making you look good when you're out there doing your thing. It's more of a give-and-take situation than a superior/inferior situation. If there are dancers who feel dancing is only worth their time when they are in the spotlight, they might eventually migrate to a solo-oriented style of dance, which is fine...to me, tribal is about being comfortable supporting other people when they're rocking it, and letting them support you in turn, doing your best to rock it for them when you're up there. That's why super diva attitude doesn't really work! I love it when I see my fellow dancers kickin ass as I'm following the chorus leader, getting ready for my turn to carry the torch- that's why I'm all about ATS.

Music for ATS practice/performing?

by Sunday, October 25, 2009
Q. Slow Songs? Fast Songs? Folkloric Songs? Techno? Can we dance to anything with tribal bellydance?

A. While yes, you can step to the beat of any song and dance tribal style movement, some music is better suited to a more powerful overall look and feel of tribal bellydance. Having some funky modern music in your practice, jamming with friends, and even in some appropriate performances, is a lot of fun to play with. But some of the more traditional tunes out there really drive the dance to another level, lending it that air of "exoticism" and accentuating that multi-cultural pulse that draws us to tribal in the first place.

Carolena Nericcio, who created and codified American Tribal Style Bellydance, has some wonderful information for us on the topic of music, which you can find here. It's a great read! And then you can shop their music store to read more about the music and make some great purchases, or go to iTunes and find individual downloads if you prefer!

From Sharon's FAQ at http://www.mandalatribal.com

Let's talk...

by Wednesday, October 14, 2009

On the first night of every Level 1 session, I do some orientation and introductions. I tell them about sign-in procedures, tell them where the bathrooms are, what I suggest they bring in their dance bag, and the like. I also tell them about the class culture, and what to expect--nuggets of advice such as reminding them to not compare themselves to other dancers in the room, but instead focus on their own growth from week to week, month to month, and so on. In closing, I talk about my open door policy, and drive home an important pillar of my teaching: that I consider class to be a conversation, not a lecture. That the more they ask questions, contribute ideas, give me feedback, the better teacher I can be for them. That interaction is the key to making our classroom a safe and powerful space to work together.

So today, I am watching 'Art in the 21st Century', a documentary on PBS focusing on artists in various modern mediums. One artist says that all her life, she has wanted to be the center of attention. She tried ballet, and diving, and other forms of performance, and then got into ceramics and eventually painting. She goes on to say:

"In the beginning, the art enterprise was doing something important, beautiful, sort of all by yourself. As I got into it and matured, I saw that the most important thing about doing artwork was communicating, and having something like a conversation through the work. I thought about making pieces partly for their formal values, but also very much for the kind of a response I would get."


And I said HELL YES!

I realize the same philosophy of "conversation" I hold to in my teaching, is how I approach my performance as well. I venture that this is largely why many other dance and performance forms I pursued in the past didn't stick with me like tribal bellydance has. There is an interactive quality to tribal bellydance, both between we dancers on the stage, as well as we performers with our audiences. It is not a stock set of moves, set up the same way with the same energies each time. Instead it is a conversation right there: between us as we negotiate the ins and outs of our choreography, and then in turn is interpreted and adapted based on the stage we are on, the energy of the event, and the *response we are getting from our audience*.

I find this kind of interactive "art in the moment" to be infinitely challenging and fulfilling in a way that a choreography doesn't quite reach. Not to be misunderstood, I still love choreography, and find there is a sort of energetic freedom of expression that choreography feeds in a way that improvisation doesn't which is still key to my approach to dance, but that sense of conversation...that chance to express a feeling and share a presentation that is unique to that moment...a presentation which invites a response and morphs as a result of interactive feedback from the audience (whether they are aware of that or not) is like nothing else I have experienced. Yes, one could say that when I did any improv back in my theater days it was in a similar vein, but that is in an overt way, and one which required me to take on a different persona, be someone else. The beauty of tribal bellydance is that it is all an unspoken understanding--we don't ask the audience for the name of a place and an object to get started for one--and throughout I need be nothing other than a conduit of self and my family of sisters! Our greatest goal is to give of ourselves, and hopefully get a positive, supportive response in return, feed on that, and give it back yet again. Building and building with each moment, in a feedback loop of positive energy!

Which of course got me thinking about some of my favorite performances which demonstrated this: my first magical moments watching Gypsy Caravan with their familiar welcoming energy, my vicarious experiences watching Wendy and Sandi and Carolena who dance with a playful comfort and connection that is unsurpassed, watching my students take their first steps into performance and seeing them light up with recognition of the power they hold between them. I find that some of my favorite soloists also harness this interactive energy--Cassandra is always so connective in her dancing, bringing you into the moment with her; Aziza has the amazing ability to make you feel she is looking right at you when she dances, even in an audience of hundreds; and so on. These dancers make me feel like I am part of the conversation, I am not being "lectured" to. They are engaging me, and inviting a response from me, not just up there to tell their story whether I want to hear it or not.

And that is the mark of a great *entertainer* to me. The desire and ability to not only be giving so much of themselves, but asking we in the audience, "What can I do for you? What do you think?" Dancers who take time in their rehearsals to really consider what their audience will enjoy, what they want to give to their particular audience, and what they hope to receive from them in return to feed off of and interpret back to them...dancers who have an interest in that relationship, those are the performers who thrill me to the core. I am left cold by the dancers who are only up there for themselves and care only about their experience on the stage (public masturbation), or at the other end of the spectrum dancers who only care about getting some kind of contentious reaction out of the audience--trying to get a rise out of them, through shock or schtick or some other contrivance. The most innocent of these are the newer dancers who don't know there is any other way. Dancers who were raised on a steady diet of antagonistic performances know only how to deliver the same. They don't know what it means to cultivate a conversation with their audience, and for some once they discover this option, it sounds like too much work.

Because it is a lot of work, and it can be scary! What if you go in with one hope or expectation, and the audience doesn't grok what's going down? Anyone who has been performing even a short period of time has likely run into the "why the hell are these dancers interrupting my conversation?" crowds, and being able to still deliver an energetic performance can be a difficult proposition. You may walk away feeling a bit empty--you brought your part of the performer contract, but the audience didn't deliver on their end of the "deal". But haven't we all had these experiences in everyday life? You smile and joke with a checker who barely registers your presence. You join a conversation at a party which quickly deflates when you arrive and you are left wondering if it was something you did or said (or didn't do or say). You and your partner who are usually stellar at hearing one another fall into a week long rut where you can't seem to understand or make yourself understood, and vice versa? It happens (and the old "Mercury in Retrograde" has become such a go-to for the blame!). But it doesn't mean you suddenly shift your mode of communicating so you just talk talk talk and never listen or respond. You get through those rough moments, and go on communicating, and build on your relationships into the future. It truly is a two-way street, and we learn new ways of expressing ourselves more effectively, and ways to adapt to different personalities and situations. So, too, with our improvisational performances. It takes practice, patience, and trust.

Is your performance a conversation? Is your classroom a conversation? In what ways do you find this to be true for you in your dance, or not? Would love to hear more from you, as always!

Last night at Crave Summer Dreams at Teatro Zinzanni

by Thursday, August 20, 2009

Got to perform on stage at Teatro Zinzanni last night as part of CraveSeattle We haven't performed at a Crave party in years, and this was just too delicious to pass up, under the Speigeltent! What a fun time!

Hopefully there will be more photos soon from the pro photographers who were flash flash flashing away all night!







Get AMBUSHED Tomorrow Night!

by Thursday, August 20, 2009
I know what you are doing this Friday night...

Bellydance Ambush Pubcrawl in Greenwood!

7pm @ Pig n' Whistle
8pm @ Naked City Taphouse
9pm @ Gainsbourg
10pm @ Snoose Junction, part dieu.

Let's blow some minds together!!

http://www.infusiontribal.com

Upcoming Performances with inFusion Tribal Bellydance

by Friday, August 07, 2009

Here are a few of inFusion Tribal's upcoming performances in August. We hope to see you out and about celebrating this gorgeous Seattle summer!!




Totally Tribal Hafla
Saturday, August 15, 2009
4-7pm

Ottoman Trading Company
at Country Village Shops
826 237th St SE
Bothell, WA 98021
FREE!


"Hosted by SABINE....Starring GYPSY CARAVAN Workshops in the morning, Dance Show 4-7PM, Belly Dance Bazaar all day, Henna all day....

Workshops and souk in the studio, dance show on the stage in the garden, Henna artists, Tarot card readers, and and of course...FOOD. Country Village, where we are located is a family-friendly artsy shopping mall with shops, restaurants, train-rides, play grounds, gardens and our famous ducks, chickens and rabbits wandering about to entertain you and be fed."

More info HERE.




CRAVE Summer Dreams Party
Wednesday August 19, 2009
7pm-10pm

Teatro ZinZanni's Spiegeltent
222 Mercer St, Seattle
Cost: $35 (includes fab food)
inFusion Tribal will be performing in the 9pm hour

inFusion Tribal Bellydance will be part of the evening of indulgence and entertainment at Seattle's next CRAVE Party. And this one is going to be incredible--it's being held under the Teatro ZinZanni big top!!

Salsa dancers, live musicians, tarot readings, henna tattoos, contortionists, gourmet food, raffles and door prizes, and of course TRIBAL BELLYDANCING! This promises to be one of the best CRAVE Parties yet! (see the lineup at http://craveparty.com/seattle/summer2009/highlights.html ).

"What is a CRAVE Party?
A CRAVE Party is an exclusive, festive, glam-gal gathering of fun, entertainment, personal pampering, specialty shopping, sippin' and noshin', and just hanging with the girls. CRAVE Parties are about girlfriends getting together. It's about connecting, having fun, indulging, learning more and empowering yourself! Enjoyment, enlightenment, indulgence, health, fashion and above all sophisticated, feminine fun!

We could all use a getaway, and at CRAVEparty we believe that you don’t need to be a jetsetter to have a little adventure. There’s so much to explore right in your hometown. At CRAVEparty we believe in acknowledging, celebrating and passionately supporting locally owned businesses.

We know that when encouraged to thrive, neighborhood establishments enhance communities. These spots are original and quirky and provide rich experiences not usually encountered in mass-market chains.

Indulge and splurge (you deserve it!) on spa treatments, massages, manis & pedis, fashion shows, entertainment, irresistible boutique shopping– all in a spirited and carefree atmosphere.

Bring your Moms, your sisters, your best gal pals, your daughters, your bridesmaids!"
http://craveparty.com/



Bellydance AMBUSH!
Friday, August 21, 2009
7-10pm

Various locations
FREE!


inFusion Tribal is taking a neighborhood near you by storm this summer with their unique campaign to bring public performance art to...well, the public! Next stop: Greenwood! We will be Ambushing several pubs along Greenwood Avenue all night long, so get ready to be Ambushed, then join the parade from pub to pub and BellyCrawl with us! We will perform a brief set at the top of each hour at each of the locations listed, we'll stick around for a drink, then zills blaring we will parade to the next location*. We will finish the night at the last location with one final performance and the option to order a delicious meal or snack!

7pm Pig n' Whistle
8pm Naked City Taphouse
9pm The Gainsbourg
10pm Snoose Junction Part Dieu*
All locations are open to all ages.
* we will drive to Snoose Junction for the finale, as it is further up the road

Take this opportunity to support local businesses by visiting some truly great pubs, and support public performance artists in their mission to spread creativity and joy in Seattle neighborhoods and beyond.

Want us to Ambush! your neighborhood or business? Contact us at info@infusiontribal.com

Hope to see you there!
Sharon
inFusion Tribal Bellydance
http://www.infusiontribal.com

Seattle Tribal Bellydance at Greenwood Seafair Parade!

by Saturday, August 01, 2009

A group comprised of inFusion Tribal, Nomaditude, and students of mine collaborated to perform in the 59th annual Greenwood Seafair Parade, and boy did we have fun! We have lots of photos from many different sources, so poke around these links to see how beautiful everyone looked! Thanks to the dancers, our Parade Pals, and the parade organizers for all they did to make this fun day possible!

Here is a collection of photographs from various sources around the web, from friends and fans!
http://www.facebook.com/album.php?aid=95578&id=780707662&saved

In case you can't view the Facebook album, here are some other sources of images, some of which overlap the album above.

My Mother-in-Law took these pics while walking in the parade with us:
http://picasaweb.google.com/clarabear43/GreenwoodParade2009#

This was a photographer at the parade, posted on his Flikr account:
http://www.flickr.com/photos/kfo/3756457658/in/set-72157621704414713/

The parade was fun and a new challenge for us, and it was a beautiful day for it! Everyone looked so amazing, and rolled with the changes throughout this fun evening, which we capped off with food and drinks at Snoose Junction. We are already looking forward to next year!

PLEASE VISIT MY DANCE BLOG!


On this blog I share my personal posts about cooking and knitting, travel and other musings; while I will blog about dance-specific topics over on the Deep Roots Dance blog:
http://www.deeprootsdance.com

I hope you will enjoy both my sites. Thanks for visiting!
Powered by Blogger.