Have a read, and let me know what you think:

http://www.gildedserpent.com/cms/2010/11/03/jasmine-june-intro-tribal-fusion-belly-dance/

"The “fusion” in Tribal Fusion Belly Dance makes this dance genre elusive and tricky to define. Two dancers could have nothing in common except a few core movements and a couple costuming pieces, and yet both could define themselves as Tribal Fusion dancers. While this can be confusing, both to outsiders and to Tribal Fusion belly dancers, the freedom that fusion grants is exactly what makes the genre so attractive.

The other side of the coin is that sometimes Tribal Fusion Belly Dance is interpreted to be completely open-ended. This can lead to dancers changing or ignoring technique, musicality, and proper training. 

I have been engaged in many discussions about the New/Old ATS announcement, on Tribe and on Facebook and in mails with friends, and even had a chat with Carolena today. I haven't said too much about my thoughts on this publicly, as I have wanted to let them percolate a little while. I didn't want anyone to feel shut down or otherwise distracted from feeling what they felt, or add to their mental burdens as they try and figure out quite *what* they feel.  And of course, I wanted to figure out what I felt, and try to speak from my heart and mind in tandem, rather than purely from one or the other alone. Sorry it's so long, but it's been a week of deep discussion with a lot of awesome women, and a lot of meditation on what this all means to me personally.  Let me start with a leetle story...

My last troupe, inFusion Tribal, performed in collaborations at several high-profile events with another ATS-based troupe from Bend, OR, Gypsy Fire directed by Quinn Fradet (hi Quinn!). Both of our groups were not strictly ATS troupes, though we were each well versed in ATS terminology (Quinn started many years ago in FC classes in SF, and she and I  have completed not only General Skills, but two levels of Teacher Training, and teach ATS-based repertoire in our classes and in our troupes), but we each had robust languages of our own, as well as some minor variations on the ATS vocabulary we had made to suit our tastes.  Since we lived so far apart, we directors would discuss music and staging through e-mail, but we only had one rehearsal all-together, 2-3 hours in length, the day before or the day of the performance itself, to prepare a half an hour set using both our troupes separately and together.


At these rehearsals, we would hammer out what vocab was universal, which was off-limits, and in many cases would share variations or new moves with each other and decide whether or not to add these "signature" concepts to the mix. For instance, I had a duet with Lexi, one of the members of the Gypsy Fire, and we had a planning discussion during our single rehearsal as a group. She showed me a couple of her favorite moves she often likes to pull out. This included some common vocab, but also some moves that were their own creation. At this time I had the opportunity to veto any I didn't think I could follow without more practice, but in all cases they were moves which were created thoughtfully in the ATS style and structure, and thus was easy to adapt to as a follower if you were aware it might come up. And I did the same for her in return. When we got up there, we improvised completely, not knowing who was going to take the lead when or how, and we even had a little "battle" in a few places where we were switching leads back and forth every few measures as we mischievously played leader tug-o-war, and it was awesome!  It looked seamless and playful, and we had a lot of fun. The audience could sense that tribal magic, that connection and communication, but had no idea we were from two different "dialects" of tribal.

This is essentially what I see this "Old School/New Style" ATS announcement fostering.  Allowing (and encouraging!) people like Quinn and I as directors and teachers, and our troupes as well, to follow our creative bliss, while still staying true to ATS aesthetics and philosophies.  This empowers everyone to create moves and ideas which are reflections of our troupe's individual creative visions, but still be part of a larger ATS "family" with whom we can collaborate and support. We don't want to be mini-Fat Chances, but that doesn't mean we don't love the format and use it as our foundation. When creating new moves and ideas, we use an ATS "filter", to ensure that the move follows basic guidelines in presentation and execution that allows it to "flow" within the format. And it sounds like Carolena is quite savvy to Quinn's and my demographic--as creative, thoughtful, respectful ATS-based-yet-not-ATS-strict who seek to stay true to the core in our work--by developing the "Anatomy of a Step" video, breaking down the elusive components of a successful ATS presentation when creating new concepts. It's brilliant, really, and I can't wait to add it to my library to strengthen my efforts to be inspired and guided by the art form she has honed over decades.

I see this announcement as really just an acknowledgment of, and frankly a welcome validation of, what has already been happening in the tribal world. We focus so much on those tribal branches of the tree who innovate so relentlessly that they barely even do bellydance anymore, that we forget about the dancers and troupes who have respectfully maintained standards of ATS while innovating thoughtfully and enthusiastically (the Middle Child of Tribal, if you will). And, to be honest, all the while feeling somewhat relegated to "outsider" status when it comes to that which they feel so passionate about and advocate for in their classrooms and beyond: an understanding of and preserving of ATS format, aesthetics, and philosophies. Whether you aspire to be a Sister Studio or plan to forge your own path, this goal is something we agree on. Just because these dancers didn't choose to stay strict-ATS in their artistic expression doesn't mean they weren't working just as hard to preserve and protect ATS as an ideal of bellydance 'standards and practices', if you will.

Those who choose to closely follow in FatChance's footsteps will still have that joy and freedom to do so. The body of work endorsed by FatChance, through their workshops and videos, will continue to be a yard stick for technique and presentation. Sister Studios will continue to be part of that standard by which ATS will be measured. Acknowledging and empowering this not-at-all-new branch of the ATS tree isn't taking anything away from anyone. I know that it feels like that to many, but I hope that they will see that you have been surrounded by these dancers all along--you have supported them, admired them, connected with them, shared with them, inspired them and been inspired in return. They're strong and respectful dancers who are valuable contributors to the ATS community already. Carolena is now putting her arm around those dancers and saying, "Welcome to the family, we're glad you're here." And I think that is a benefit to everyone, don't you? I hope so...

Thanks to everyone who has been actively participating in the process of evolution that Carolena has challenged us with. And thanks to Carolena for continuing to push her boundaries, and by proxy our boundaries, so that we never become stagnant or complacent in our art. I think it may feel uncertain on the face of it for some time as the community finds its balance with this shift in "definition"; and I completely understand that change is difficult no matter what form it takes.  But I feel it's a very exciting time to be part of the ATS community, and I look forward to seeing what we all create together.

And for evidence of one of our collaborations:

I recently had a discussion with Read My Hips' director Stephanie Barto about the effect of the internet and on-demand media on the natural organic progression of art. I think performance art struggles in particular in the new millenium, victim of the "glazed over eyes after 60 seconds" and "that was so 5 minutes ago" attitudes, in a way that visual art does not.


Here is a snippet of what she shared (which is in part a discussion she was having with another dancer), and my thoughts in return:

Dancer A: "The internet has so much influence over the spread of tribal belly dance. i wonder if the internet just kills everything because it doesn't let it grow naturally."

SB: "It's also interesting how tribal bellydance in the days before social
networking and YouTube was a much smaller world, and did tend to evolve in a more organic ways. (My troupe) is an example ... I started with Carolena's foundation, and the ways I changed it were all about making it more "me" and/or being inspired by the skills of the people I was working with. What I arrived at felt honest, even if it wasn't anything shockingly innovative or spectacular in the big scheme of things."

My response to these observations after the jump.

A sculpture or a painting--even a piece of music or a video--is not expected to change, and is appreciated for its unchanging beauty. It is it's solidity that is part of its appeal, in a way. We see the same piece over time, and instead of expecting it to change or adapt to us, our perspective adapts and changes. We see it (hear it, experience it) from different angles, in different lights, in a different environment, our attitudes change, our perceptions change; and we find that our appreciation deepens and becomes richer and more multi-faceted as we take the time to consider the piece from all these perspectives. The work to appreciate that art day-to-day is in our hands as the viewer.

Our art as performers exists in a finite amount of time, and is never the same twice--no matter how we might strive for consistency, we are not carved of stone or molded metal. As a moving, living, breathing conduit of our art, we are always changing so our art is always changing. Unlike visual art--where once the piece is complete and the artist has put their stamp on it, most would agree it is up to the viewer to interpret and decide what the piece provides them in the way of entertainment or food for thought--with performance art, and even more starkly in recent years in tribal bellydance, the expectation to impress/entertain seems to fall squarely on the performers, with the audience taking little to no responsibility for their part in the equation. Audiences expect us to deliver an emotional response to them like so much cheesy pizza, while they sit back and wait for it to fall in their laps. And if we don't hand it to them as "promised", they find fault with us as performers. Add to that, when we take our art from one venue to another, somehow the expectation is that it should have changed and evolved significantly in the time between, however short. If they see "the same thing", instead of feeling a responsibility within themselves to try to see it in a new light/from a new perspective/with a richer understanding/with fresh eyes, they chalk it up to the performer failing them for not bringing them something "new and cutting edge".

To be honest, this is part of why I love tribal group improv. Because not only does it demand a level of consistency--foundation, if you will--to be able to be strong and cohesive, it also embraces and is bolstered by organic change from show to show-- group improvisation is something different every time, which keeps it fresh for both the dancers and their audiences. And watching it, the nuances of the performance, including the different dancers from show-to-show, their chemistry and how they interact, how they use their space, how they interpret the music (even if it's the same music, it's interpreted differently each time). But now you hear comments from audiences like "They're using the same moves as last time...where are the new moves?" or "They always dance to this music. Boring..." Rather than looking to see what is new, what new levels there are to appreciate, they are expecting fast food delivery of all-new material, or else they withdraw their interest.

At home they change the channel, where there options are to watch a television show, which they recognize as unchanging once it is secured on video, like sculpture; or a reality show, which is constantly changing because of the human element, and is all of-the-moment shock-and-awe. But at a performance venue, they check out, and sometimes dismiss the performance/performers wholesale. I have seen this phenomenon increase exponentially each year I have been going to Tribal Fest--people won't even show up to watch if they don't think they are going to see something brand new. That is, with a few notable exceptions, with pioneers like FatChance and Hahbi Ru, who keep rocking their "classics", much like fans show up in droves for Kiss concerts even though they are wearing the same costumes and doing the same music as they did 30 years ago. These artists were the first, and they are authentic to who they are and what they have created, and that in itself is remarkable in its timelessness. And people respond to that in the long-term, not just the flash-in-the-pan fad following that schtick-users garners. But I digress...

Basically, no wonder performers these days are so hungrily seeking the next new fad to lead the pack with. The message being sent by tribal bellydance audiences is that if it isn't the newest, nuttiest, oddest, strangest, sexiest, most different thing on that stage, then it won't be worth trying to focus their narrow field of attention.

But what will last? Being true to ourselves. And frankly, I have found the best way to achieve that is to not create my art specifically for other bellydancers--this is where the whole inbred tribal copy-of-a-copy starts and ends. If all I am thinking about is how to impress the audiences at the next Big Festival, I am not looking inward for my inspiration, but outward. And if we're all looking to the same people and places for that inspiration and validation, what we create will all look and feel very much the same. I saw myself going down this road a few years ago, and made a conscious choice to remove myself from that endless loop for a while, and I have been much happier, and what we have been creating has never felt more right. Keeping my focus on audiences who have maybe never seen bellydance before; or on dancers who approach performance art the same way they approach visual art, taking responsibility for viewing the art from all angles and seeing the nuance and detail that goes into a strong performance--people who will be uplifted and empowered by our joyful energies--has kept my motivation strong and my creative focus clear. And keeping my mind and heart on my troupe sisters and what we want to say with our collective voice, is a surefire way to keep my own creative well overflowing for a long time. It ensures that what we create together will be authentic to us.

We slowed down a lot, re-focused our energies; and maybe we aren't creating new material as quickly as we were, or anything incredibly cutting-edge or monumental, but we are doing it all more thoughtfully and hopefully nurturing our own repertoire such that it will last us into the future. The pioneers I mentioned before, like Carolena and John, and many others who have followed since, gained their success through simply doing what they do. There weren't a lot of bellydance-specific festivals, online discussion groups, YouTube and the like, so they weren't creating their art in a fish bowl. They worked small, locally, intimately, slowly. They weren't afraid to experiment because the world wasn't watching and putting on the pressure to succeed at every turn. Dancers could take more risks, and if it didn't work out, live to dance another day. :) This is what I aspire to have the courage to do, even under the microscope of today's social media...

On doing some dance reading around the 'net, I came across this brief article randomly and really loved it. It is about ballroom dancing/partner dancing, but was so absolutely true for Tribal Group Improv/ATS I bookmarked it for later reference. Thought I would share it with you here!

"On The Importance Of Dancing With Beginners
While there is no question that dancing with a better partner will make you *look* good, and that with such a partner you can concentrate more on styling details and so on because the lead and follow doesn't need so much attention, it is not the best way to practice lead/follow skills. If learning leaders only dance with accomplished followers and vice-versa, they won't develop great leading/following skills, because they won't *need* to. Now let's suppose that YOU are a great leader or follower. What happens if you dance only with other great dancers? Your lead and follow skills will gradually *deteriorate* -- because you're not working them very hard. After some months without exposure to beginners, you may be surprised to find that you can't dance with them very well, even though they seem to do okay with other beginners.

More after the jump...


You learn how to dance better by dancing with more experienced partners. But you learn how to lead/follow better by dancing with less experienced partners. Your skills are put much more to the test dancing with a beginner than with an experienced dancer. It is easy to lead/follow a great dancer. All your weaknesses as a leader/follower show up with beginners. Dance with them and ask yourself why each incorrectly led/followed figure didn't work and when you figure it out, work on incorporating the fixes into all your dancing!

You cannot become a good dancer by dancing _only_ with the same person. Dancing only with each other, you will become good at dancing with each other with all the mistakes and bad habits that become "correct" for you.

There is a certain type of character (leader) that one encounters again and again if one has been dancing for any length of time: the guy who only wants to dance with the best followers because he believes they are the only partners who can match his high skill level. Often what is REALLY going on is that only the best followers can compensate for his mistakes or idiosyncrasies. They make him look good. But the guy continues to think he's the tops because he insulates himself from feedback. *Dancing with poor to average followers is a good reality check.* If none but the best can follow your leads, I respectfully suggest your leads could use some work.Also, that kind of thinking ultimately harms their dancing. I've seen guys overestimate their ability and abandon the study of technique FAR too soon. Consequently it will take them a lot longer to reach the next level of skill.

(This file is part of the lead/follow FAQ list. These are articles compiled from the newsgroup rec.arts.dance by Mark Balzer.)

(You may link to this page and make copies for private use in any form, but reproduction in any means, including book or CDROM, is not allowed without permission from the copyright holders.)"

YAYAYAYAYAY!I am all giddy, and I had to share. Renee is off in DC and I would call her if I wasn't so afeared I would interrupt her family time! So Renee, can you feel tingly right now and need to check in with me...?

Okay, here is the super exciting news--some you know, some you don't.

2008 highlights:

I get to teach (along with the amazing Renee, of course!) TWO workshops at Cues & Tattoos here in Seattle. I am thrilled about this because I know tons of people want to take the bhangra workshop, but I want to share some tribal bellydance stuff too, and Adriene is giving us the chance to. Hooray! Thanks, Adriene!

We will be heading to Bend, OR in March to teach some workshops and hang out with our Gypsy Fire sisters!

Our troupe is aaaaall going to Breitenbush together. And a bunch of my super-awesome Seattle students are coming as well. I already can't wait. Seattle really is taking over Da Bush. Add to this that both Michelle's of Raqs al-Hamra fame will be coming as well for a RAH-REUNION!! Unbelieveably awesome!

I will again be teaching a full weekend of workshops, in Chilliwack, BC in April, along with my faithful dance sister and Canada-trekker Genevieve.

Gypsy Caravan and inFusion Tribal will be teaming up for a performance at Tribal Fest! You heard it here first! It looks like we will likely be in the Friday night show, though confirmation is forthcoming. I could just pee I am so excited about this.

inFusion Tribal and Gypsy Fire of Bend, OR will be teaming up for Folklife this year! See two different interpretations of tribal group improv take the stage together. What will happen...? Who knows? Find out! Date/time TBA.

And the newest happy news:
Paulette asked me to teach at Tribal Quest Northwest 2008! We taught last in 2005, but haven't been back since, and I was waiting with baited breath for the chance to teach at my dance-Momma's event again. And YAY! We will have 2-3 workshop topics. And will likely be reprising our collaboration on the TQNW stage! *hopping from foot to foot*

When we last left our fearless adventurers, they were settling in for the night after their first full day of the FCBD GSI.

Day two was probably the most challenging day for me personally. The reason being that the moves were still fairly basic and universal...but with subtle tweaks from what we usually do with them. So the movements individually were not hard at all, but the details and the variations and turning combinations were *just* different enough from what we do to bend the brain a bit. As promised, the talking went down and the dancing went up. We and the gals we had hooked up with the first day had agreed to show up early to stake out a better vantage point in the class (center, not faaar left!--the worst position for ATS, dude!), and stay close so when it came time to group up and dance, we would have some partners with some experience. This plan worked flawlessly and Renee and I partnered with Margaret (who incidentally happens to be in a troupe with LuSynda! Like, from Oasis Dance Camp all that time back! WOAH! Tiny world!).

I think one of my few "I wish" from the weekend would be I wish we had had a little more partner dancing time--more drill time in general, without having to try and follow Meg or Carolena. Just getting to internalize the moves a little bit and put feet to floor to music. But as was evidenced, the goal of this intensive is not to really gain any muscle memory or skill in the moves, but to just be *exposed* to the individual moves, and a chance to ask some questions about the moves and format. This we definitely accomplished.


We had our first day of music theory, which was well laid out. I think I would have taught it a little different from a rhythm study standpoint, but it was neat to get to hear Carolena talk a bit about her relationship with live musicians, and the experience of creating an understandable communication system between the dancers and the musicians when it comes to rhythms and developing music for performance. Or more to the point, the way Carolena and Mark Bell talk about rhythms, and the pitfalls of working with musicians who are "always right". We only ever played triples and military, however, during the workshop.

I got to ask a lot more questions throughout this day, as well as at the Q&A directly after the workshop. I was hyper-conscious of not trying to overwhelm the day with my "agenda" of questions, or to appear too overeager. I was worried about speaking too much, and taking up too much time with my detailed explorations and Carolena's and Megha's gracious answers. However, many women throughout the weekend specifically commented on what great questions I had and how they were enjoying my inquiries and the insight they revealed, so by the end I felt confident I wasn't wasting anyone's time. *whew*

We joined our gals for dinner again that night, this time at a bistro tucked into a 102 year old farmhouse about 15 minutes away. It was lovely, with the courtyard and porch lit by oil torches, and stark white tables in a whitewashed "living room". The food was fabulous (Renee and I split a to-die-for baked goat cheese appetizer, then I moved on to She Crab Bisque and finally Atlantic Salmon), we shared a bottle of wine, lots of laughter, and dance philosophy and dreams. We were so lucky to get to meet up with such wonderful women. Mindy with her strong desire (and blossoming ability) to foster community through the dance, and using it as a tool for battered women. Laraine quietly soaking up the experiences of the other women to take back to her "just broke away from our teacher" troupe, interjecting with occasional questions and contributions. Connie with her desire to bring more codification to her troupe, and some pointed questions to Renee and I about our experiences. Margaret with her classes teaching little girls how to dance, drum, and play zills, and the neat exercises and traditions she has developed to help these girls grow up strong, confident, and nurtured by their little circle.

We head back to the hotel and retired to our own rooms. We were all very tired, had to be up early, check out, have a full day of workshop, and then fly/travel home. So no latenight EEMED watching. But Renee and I ended up drinking some wine, eating some junk, composing some mails to the troupe, and pillow-talking until wee hours. We were exhausted, but couldn't sleep! Finally we fell into an exhaustion and dropped off.

The last day had more new information, but was less mentally challenging for me personally. Largely because the moves were so different from what we do that they were kind of using a different part of my brain power than the day before, and because I had most recently been viewing and working with Volume 7 so the mechanics of the moves were very fresh in my mind and were easily called upon. But unfortunately, my back was killing me. It was already a bit fatigued from the previous days, but when we loaded the suitcases into the car, despite me being very very careful, something went wrong. And my back was in severe pain all day long. So it meant I had to spend more time sitting out that I would have liked. But realistically, this was the best day for me to have been down and out. I danced when it was time to break things down and put feet to floor on a concept, but sat out when it was just doodling around a bit or drilling. I simply economized my dance time to the most important moments in the workshop, and it was alright. I did have to go lie down off to the side a couple of times, and I used up all my Advil earlier than I would have liked. I honestly felt like an idiot sitting out, and feared appearing weak or disrespectful or both! But I knew going into this that I had to do what was best for my physical health, so I just sucked it up and sat out as needed.

We did the latter half of the music theory on this day (not much new info there, but from a teaching perspective, good to observe how another teacher approaches it), as well as belly rolls and flutters (too much time spent on this IMO, but what can ya do). We finished with some partner concepts (Arabic Shimmy w/ arms and fade, Arabic Orbit, etc), and then Carolena and Megha presented us our certificates for those of us who had to dash out before the end of the workshop day (we couldn't stay for the Q&A hour, basically). I have some photos of the weekend, but Chris has the cord for the camera cleverly hidden someplace, so I can't get them off the camera right now! WAH!

For me, it felt too short. I think even one more day would have allowed the workshop a little more fleshed-out exploration and drill time. But I do honestly feel I got a lot out of it--in fact, most of what I went into it for, and then some. I got to ask questions that specifically spoke to the philosophy behind the construction of a move, and gained much insight from observing the connective tissue, details, and aesthetic qualities of FC movement that appeal to me. Renee and I got some inspiration for derivative and new moves and concepts for the troupe, and had good talks with each other and the other women about dance philosophy.

Carolena did confirm that she is definitely developing a second-level training program, between this and the "you can only do ATS" teacher training, which will be a teacher training for those who want to learn more FC movement and teaching skills but not teach only ATS. I am definitely interested in that training, and hope it will work into my 2008 schedule, and that I will be accepted to participate (you have to audition).

Gotta go eat lunch!

*back*
To sum up: the workshop was everything I hoped for and more. Carolena was kind, engaging, super informative, and felt like an open book to me; which to be honest was not was I was expecting, but was grateful to find. She was respectful of people's limits and motivations, spoke clearly and concisely, and managed to put together in only 15 hours a truly informative practical overview of all the moves in the FC vocabulary. Megha was an unexpected treat--a great addition, and she and Carolena taught well together, kind of tag-teaming. Megha's warmth and smile added to the room, as did the presence of her sweet troupe members who were all in attendance, and demonstrated some of the more complex group concepts for us to see in detail and take notes.

It was more than worth the money (and back pain ;)!

I am writing from our *excellent* (**second**) hotel room in Atlanta, where Renee and I are attending the ATS General Skills Intensive certificaition program with Carolena. Oh yes, Sharon gets the best adventures and drags other people along, I think. Well, I take the blame because it seems like I am the constant in these things. Nevermind the horrid check-in at the airport. Nevermind the ridiculous security line (idiots running that place!), and barely making our flight in time. Nevermind that the people who volunteered to pick us up from the airport neglected to mention that they also agreed to pick up three other people...three hours after our flight arrives, so despite landing at 7:30, we have to sit in the airport waiting and get to our hotel at 11:30pm... (believe me, I am grateful for the generous gesture, but had we been informed of this, we would have rented a car, which would have also settled a few other transportation issues we are running against now)...


We get to the hotel which was recommended: an Extended Stay America, which is set up with a bunch of individual buildings around a courtyard. Each has yellow "danger" tape around every building and giant trash containers taking up half the parking lot spaces. The very nice lady at the desk (yes, really) informs us they are roofing all the buildings. She doesn't know how early they start in the morning. Hooray. We get our assignment, and we hike off across the parking lot to our building. We open the door to the first room, and aside from it being the most depressing hotel room I have ever seen, it stinks like a chain smoker just left...after a week's stay. So we haul our luggage back to the main office (ow my back!), and get our second room assignment a little further away. We hike out there...it's not much better. Turns out they have NO plan for smoking room blocks. They have rows of smoking rooms with one non-smoking room tucked in between! (You know what my father would say). These rooms are so sad--a single glaring fluorescent light in the center of the room, a bathroom about as big as the front seat of my car, nothing on the walls, a single low dark wood dresser with a 22" TV sitting starkly in the center... It's kind of like a prison as far as decor and charm go, and no I don't think I am exaggerating.

So we hike back to get a third room assignment. The nice desk lady says, "Well, we only have three more available rooms. Two of them are the old rooms, which you could try. The rooms you have seen already are our newly rennovated rooms. The older ones won't have the plush furniture. Would you like to try one of those?" (PLUSH FURNITURE?!?!?!) Renee starts to say yes, and I say "Uh...NO! No no no no..." So we try one last "plush" room, and I inform Renee we are moving to the Holiday Inn Express up the street. She halfheartedly agrees (it is a pain in the ass--we will have to walk there, since our ride has gone home) She sits on the edge of the bed and... "Oh damn. These are like slabs of cement with sheets thrown over them." She calls to check on reservations at the Holiday Inn Express.

We hike back to the desk one last time and ask for our money back. It's midnight now Atlanta time, and we have the workshop in the AM. So we grab our bags and head down the street. It is a 5 lane highway, btw, and there are no sidewalks! So we are walking in the road against oncoming cars, ducking into the occasional parking lot to save from walking in traffic. We finally make it...and it is nirvana! Matt The Desk Guy has just popped a bag of popcorn and offers me a handful while he checks us in. Turns out it's all suites, so we get a freaking wicked room (but not before grabbing a couple free cookies and some tea). We dance around the room, leap onto the soft beds, and run into each other's arms, hugging and laughing gleefully at our fortune. We sip our tea, watch the 30" TV (with 70 cable channels and HBO!), and sleep peacefully until morning.

So we have finished our first day of the intensive with Carolena, which was pretty basic stuff and pretty verbose (more talking, less dancing), though we are told that will be less true with each passing day. We were lead to believe the group would be pretty experienced, but really only about half or less have significant training evidenced in their dancing. *sigh* So group work could be dodgy in the coming days, but we're trying to keep an open mind, and soak up all we can! And Carolena is just fab. She has been incredibly engaging, laughing and making jokes, gives a great amount of detail, and has already revealed some of the insights I hoped to glean from taking this workshop with her. Her assistant, Megha of Devyani, is also sweet and well spoken, and I am enjoying their teaching partnership very much. I am enjoying getting to play zills more than usual. I look forward to more hard work--this from the gal with the back issues! Today was no big deal at all. I could have stood more pain to have more real drilling.

After the workshop, we met up with some gals from Tennessee and Florida, who invited us out to dinner along with two other gals we had met earlier (from Virginia and Baltimore). After getting their reservations canceled over at the Extended Stay and (effusively grateful) moved into the Holiday Inn as well, we head out for a meal. We drove a little out of the way for an Asian fusion restaurant they found online, which was delicious, and there was much laughter and dance talk. Great gals, good time. Stopped at the store on the way home for some snacks and wine for tomorrow night--a little EEMED video watching is in store, as is possibly a trip to one of the largest haunted houses in the US, which is just up the road apparently!

Sorry that got so long!

I am fairly certain that most people would agree that evolution is rarely a conscious process. Particularly in art. We definitely try to push our limits, learn new things, and "grow", but I think in art, as in life, "growth" and "evolution" are two different processes. The former is a shorter term experience, fairly easily quantified and observed both by yourself and others. The results are gross...less in the details. Evolution tends to be more subtle and over a much longer period of time. It is more about the essence of a thing.

I am finding that right now, I am becoming conscious of an evolution of my dance self (and without getting too deep, also some very personal parts of my being as well). Something in my core beliefs...my essence...is shifting. I have never "seen" this happen before. It was always something happening under the surface, beyond my notice, and over years. This evolution is occurring very swiftly--in the last 8-10 months--and in the front of my consciousness. I am finding myself taking notice of it, and making quite deliberate choices to facilitate it.

More ramblings about dance and change n' stuff after the cut...


The thing with being a teacher is that you end up taking a lot of other people along on this evolutionary journey. I can't just change on a whim, like some dancers might be able to, especially soloists--what freedom they have! Enviable! Instead, I have a heavy responsibility for consistency and clarity in my dance, which goes far beyond myself. So there is a fair amount of consideration and creative practice that I have to do on my own, and keep it separate and pure from my student experience, until I am certain it is something I want to really plow ahead with. That means I am spending about 7 hours a week using my mental and creative energy trying to keep things the "old way" (familiar way) while I what remains of my mental and creative energy trying to honor this evolution that is knock-knock-knocking on my being. I feel pulled two or more directions, and unable to fully commit myself to either because of uncertainty and this flowing feeling of "mustchangemustchangemustchange".

I am not even sure I can articulate all the ways I want things to change. Luckily I have found some tools within myself this year to being able to communicate some *energetic* changes I wanted to see in my and my students' dancing, and it was very effective. Now I want to keep it moving, and to change vocabulary to fit. Another "issue" is Renee (*waving*). My decisions are also not entirely my own in this regard. If I didn't have a co-director, I would make sweeping changes right now based solely on my personal choices and considerations. But I have to run these ideas past Renee, and we sometimes (event often?) have very different approaches to such things. That in itself is a blessing and a curse--to be able to have another pair of critical eyes, but at the same time not being able to just "go" when my heart says "it's time to change/alter/move"... I wouldn't trade it for the world--we have an awesome partnership. With all the ups and downs, it is a beautiful thing in my life, my collaborations with Renee. But that is one of the challenges for me creatively--it is another restriction I have to work with. A somewhat externally imposed structure for me has been good so far--keeps me grounded--so I roll with it.

I am really looking forward to the General Skills Intensive. Frankly, a lot of my current evolutionary impulses are popping like popcorn when I look at FatChance. I have always been an admirer, but I am finding my personal aesthetics and creative desires are more in line with theirs all the time. Do I want to go ATS? Not in a million years. The philosophy of the format is not in line with my spirit. But I would gladly adopt a direction more in line with their aesthetics, and have been slowly adding some bits and pieces in essence and in vocabulary throughout 2007 as a direct result of this personal evolution I have been experiencing. I am looking forward to Renee and I getting to explore the details of FC's style together, in a true "intensive" where we get to examine the vocabulary up close, from the source. I am hoping that she will feel some of what I have been feeling about this format this year, and there will be some freedom to continue to incorporate some of that "look and feel" into our collective style. If not, then that part of my evolution will have to slow down a bit...for now...

I'm tired of debating and defending and arguing and considering and tempering and...I'm tired. Today. Tomorrow I may catch a 35th wind. But for today, I am tired.
I feel like I have to defend tribal on two fronts sometimes. From the "outside" with people who would say that tribal isn't even bellydance, and from the "inside" for those would would make it anything and everything you feel on a whim and make sure it never codifies or defines itself on any level.

Bleh.

In other news, I can't stop knitting. Somebody bind my fingers! I got about 1/3 of a way through one project and realized I didn't like the yarn for that project, so I stopped and continued work on project 2, which I was working on simultaneously. I am about 1/2 way through that one, and love it. Then yesterday I started, and essentially finished, another project with a new technique I learned yesterday afternoon from one of Amy's knitting books, which just so happened to be mirrored on the packaging of the yarn I already had! It looks really cool but I am considering unraveling it and trying it again, as I added several rows of knitting by accident near the beginning, so I continued that, and ran out of yarn before it was as long as I wanted/the project claimed it would be. I also used a somewhat smaller needle than it called for, which surely had an effect. So pulling it out seems a good idea. And it only took me about 3.5 hours to make it!!

This week has been Amy-centric! She is on break from school, so we're hangin' out while she has actual free time. On Friday we had a crafty day. On Sunday we went to Canada. I wanted to do a pre-trip for our troupe trip in January, and was disappointed to find very little of interest. But I got a years' stash of bindis, a few saris, and Indian food. We also made a run by Lush, with much rigamarole trying to get just enough Candian currency to park for 20 minutes. In the pouring rain! Today we are trying a water-exercise class, and I will sport a swim cap for the first time in my life. Tomorrow is punk rock yoga before I teach class.

So I am ruminating on a new workshop title/subject. Essentially, the workshop would revolve around the idea that you don't have to be serious to have ATTITUDE in tribal! I want to teach a workshop on how to inject sass and moxie and power in your performances WITHOUT pasting on a serious mug. How to be upbeat and positive, accessible and even playful, and still exude control and strength. How to balance serious attitude with happy/joyful, the impact of movement and use of space paired with theatrical practice in facial expression to create a balanced show that runs a gamut of emotions you may wish to portray on stage.
Basically, a lot of people are coming to me asking about workshops, and somewhere in their request is a comment about how all the tribal they are exposed to is so serious and moody, and they aren't into that dark and aloof persona. They want to know how to do tribal (improv or otherwise) with joy and color and excitement. They see me and inFusion as an example of that style, able incorporate all those things without losing that queenly stature they admire in tribal, and they want to learn how to do it too. And that is the "gospel" I would love to spread!

What would you call it? How would you describe it/market it? Throw me your thoughts. And would YOU be drawn to such a workshop?

In related news, just pinned down two more workshop dates! April 31/May 1 in Chilliwack, BC, and June 2/3 in Mystic, CT. Have an inquiry for Madrid, Spain on the table right now, and would love for that to work out. My last Spain host-interest was years ago. *fingers crossed*

Camp was a blast.I am so awful at writing about fun and wonderful things. They feel so big and important to remember that I feel daunted at the prospect of trying to capture it in words. Oftentimes, I feel like I write very dry, play-by-play accounts, lacking any "storytelling" qualities. I am guessing that is how this post is gonna go...


The short start to this story is that Oasis West was in danger of being cancelled this year, possibly for good. Jean, the camp director/organizer, puts her own time and money into putting on these camps, and they can be a big risk for her if enough people don't sign up. This year, registrations were very slow. Add to that the fact that the guest instructor, Meera, would not be able to arrive at camp until two days into the event made it so Jean had to do some fast-changes to her usual plans. That included asking me to teach tribal--be on the official teaching staff at Camp West!

I had offered in past years to teach a little side-class for kicks, during free-time between the other workshops. Every year I got more and more people asking me about tribal belly dance, what it was, how it works, and could I tell them a bit about it? But trying to talk about dance, as they say, is like trying to smell the color 9. I wanted a chance to really let them experience it. And this year was my chance--and not just a little side-class, but a real workshop for the first two days of camp. :) I was thrilled and honored.

Arriving the first day, I set up my vending as usual. This was my 5th year as a vendor at camp, and I kept my inventory lower than usual, figuring my focus would be on the teaching more than selling. I let Hasani have more space in the cabin this time, since she always has sooooo much stuff!! I settled into my bunk in the cabin next door and head to dinner. Lots of familiar faces, but also lots of new campers this year. Most people seemed aware of the risk of Oasis being cancelled, and had convinced new friends and students to attend, making up a whole new batch of excited newbie campers. It was wonderful to have their energy! It really did remind me of what it was like my first year--so magical.

The next two days were the days I was teaching. It felt so strange, the way things set up at camp versus my usual workshops. When I teach, say, a three hour workshop, I start with introductions and a little chat about the dance, we warm-up and get grounded, go over posture, and then get to the meat of the instruction. Here, I had a little over a hour, the dancers were already warmed up, and the class was mixed between people who had never taken bellydance classes before to people who had taken 14 years of Egyptian cabaret. I had to walk in "cold", jump right into the teaching, and try to give them as much as I could in a very short time. Add to that the space we teach in is HUGE, so it feels so echo-y and...well, it lacks intimacy. But here I was...at my beloved camp, with my beloved camp sisters...and FINALLY getting to share my passion for tribal group improv with them.

And they ATE IT UP!

I mean, we're talking they would cheer, clap, and zaghareet after every new move was taught and drilled! I told them I wish they were in my weekly classes, with enthusiasm driving them to applaud every time I taught a new concept. LOL Afterward, they came to me in droves thanking me, telling me what a blast they had, asking where they could find the music, asking if I would be teaching again next year... They "got it"! Jean kissed me and hugged me and complimented me saying I was a great teacher, which made me want to cry.

I actually had more students in the second workshop than they first day. Apparently word spread that the class was fun, and some people who had dismissed tribal as "not their thing" came to try it...and loved it! That was my biggest victory of all! I am not out to "convert" anyone. I just want them to learn how joyful and uniquely exciting and connecting dancing tribal can be. I want them to know that it is not all grim faces and dark moody imagery and music that so many of them are exposed to. It is joyful and expressive and full of energy and... well, it's not what so many people think it is.

At the end of the workshop, they had a collection of a little over a half dozen fast moves and a short list of slow moves. To close the workshop, we did the Tribal Soul Train--for those who don't know, it's two lines jammin' and clapping while two-by-two everyone takes turns dancing down the center. I put on Superstylin' (always a pleaser), and we jammed together. Then we danced in a circle and ended with a bow to one another. The song was still going...and they kept dancing! Jamming all over the room, grabbing people who were walking in for the next workshop and getting them to dance along! It was amazing!!

I got inquiries about workshops in other towns, and people buying costumes and videos to take home with them. Some even decided they wanted to join the ranks of Tribal Bad Girls. *grin*

Meera arrived Friday night, in time for the hafla. She is so sweet and fun to talk to!! The hafla was amazing, as always. I was completely filled with awe at the way each dancer develops every year--seeing them tell their stories...more importantly, learning how to better express their stories through the dance. Looking us all in the eye and giving us all they have. I am so moved every year, and this year was no exception. In fact, I felt even more effected than usual this year--a mix of beautiful skill and the fact that I wasn't performing that night and could sit back and watch and enjoy fully!

After the hafla we snacked and danced. Meera came up to me and, with uncharacteristic shyness, said "Can I ask you kind of a silly question? Is all tribal so dark and...serious and...distant all the time? I admit I haven't seen much tribal, but everything I have seen seems to be like that." I laughed and told her it wasn't a silly question at all, but instead a very common one, and gave her my usual "no, that is not all tribal is" speech. She said in LA the community doesn't really talk much (she made imitations of of snobbery and snubbing) and she never felt free to ask before. That made me sad for her, but glad she had a chance to ask SOMEONE. I told her she would see what it was like the next night at the benefit.

Ah the benefit... we'll get to that.

First, the next two mornings, I ended up going back to bed after breakfast. I wasn't sleeping well enough, and wanted to be fresh for teaching, vending, and taking Meera's Bollywood choreography classes. So each day went eat breakfast , read a little then sleep, eat lunch, vend, teach/attend workshops, dinner, evening activities. Meera's choreography was TONS OF FUN! It was a cheeky Bollywood choreography to a song called "Joke Joke" (jo-kay), which means "warning" or "back off". (Here is a YouTube video of her performing the choreography at Ahlan Wa Sahlan--it doesn't do it justice, but you get some idea). I was surprised how much I took to it, for being such a foreign way to move, and so cutesy, which I don't always resonate with. It was a lot of fun, but moved very fast for this group of women. As I said, it is a real mixed bag, but most of them are hobbyists at best, so trying to learn 5 minutes of swift choreography in three short sessions was a challenge. She did get through it, but most of them weren't really retaining it unless they had her up front to follow behind. BUT despite the "griping" (not really) at how hard it was and how they didn't feel they were really learning it well, they all said they were having LOTS of fun doing it! I call that a success in any case!

This year, as part of all the rearranging, we had the hafla on Friday night, and Jean and Sherry (the camp cook) arranged for the staff to perform at a benefit at the Vashon Eagles Hall. We had originally planned one set, but the folks working out the benefit wanted the dancers to fill more time, so we offered to do a second set, and include our Bhangra Fusion in honor of Meera's visit. This was a little nerve-wracking, too, knowing that Meera, a "native" trained in Classical Indian Dance and who dances Bhangra, would be watching. Whew!

We were additionally concerned about the venue. We have definitely had experience with dancing in Eagle's Halls, and all the drunken redneckery it can entail. We were pleased to mark that the smoking ban does extend to private clubs such as this, so at least that wouldn't be an issue. But we were ready to jump in with both feet to help raise money for the Vashon Food Bank.

My gals arrived just before dinner, and came and ate with all of us, then we head back to the cabin to get ready together. We only had a short time to get ready before heading out to the venue, all the campers caravaning along Vashon highway. We arrived to our lavish dressing quarters--the auxiliary office--and prepped for the show. The office was stuffy so we hung out in the lobby area, which was an iffy proposition. We joked that we should have had a contest for the most times being hit on by dirty old men. I was hit up twice to join the Eagles in the first half hour, to boot.

The performance was so much fun. Me and my gals were joking and laughing together all night long. The crowd was WILD WILD WILD for our brand o' tribal. Both sets we did completley improv (with only opening/closing staging combos type thing) The performers all night were top notch--I was honored we were among them! There was a live band playing for nearly everyone but us and a few other performers, so that was an extra treat. To see my drum-chick heroes, Nicole and Jane, jamming together again was a treat in itself. Jean opened, then us. Then Vashti, Leyla, and Meera, who did two Bollywood songs, including Joke Joke which we all sang along with, and rocked our socks. We were treated to Lila Perry and Hasani before ending with the incomparable Cassandra. Her skill, her humor, her charisma on stage...And her finale was this INCREDIBLE ZAR! Yes, in full bedlah, she did a completely riveting zar that had us all completely caught up in the moment. Then she recovered and finished with her denoument and exit! Usually, that is the part where someone has to carry the person offstage, ya know? And here she was smiling and dancing off. It was jarring and strange and amazing!

Afterward I was open dancing! I got the chance to chat with Meera more, hear about her background and all. We ended up talking when I walked past her and she grabbed my arm and gushed that our Bhangra performance was the *best* Bhangra fusion she had ever seen, and she wasn't "just saying that". High praise indeed! It felt so incredible and validating to have someone who really knows Bhangra be impressed with what we do. :)

But by far, the coolest most magical part of the whole thing was on the dance floor. We were jammin' together, me and my gals, as we do. We talked about how we felt bad that it seems so cliquish when we dance together at events like this. You know, everyone is dancing their style that they love during open dance. Everyone else's just happens to be solo while ours happens to be a group style. But we still are very sensitive to appearing to be closed off to others, so we kept trying to catch the eye of other dancers outside the circle when we could to let them know we weren't shutting them out. As luck would have it, Lauren and my Port Angeles girls were the first to look interested, and I beckoned them in. Sarah threw the lead to me, since I knew what they had learned at the workshops...and before you knew it, the entire dance floor was in one giant tribal circle!! AH MAGIC! THIS IS WHAT TRIBAL IS ABOUT! Being connected like that, being able to dance together in the moment no matter where or when... I was thrilled. Unfortunately, the band changed to a difficult rhythm, and we couldn't keep it up any longer.

The dance floor was getting strange. Drunk Eagles men were coming out and hitting on everyone, grinding up behind us, trying to get in on our dance circles. Kym returned from a simple walk to the bathroom and breathlessly sidled up to us saying, "Don't leave me alone!" as she glanced warily toward a man following her through the door. We seemed to be rescuing each other all night long, trying to close ranks from harrasing men. So we went outside to get some air...where we got hit on, of course.

And before you knew it...the night was over! My gals were catching a ferry, and I was back at my cabin sipping wine and exchanging stories of the icky Eagle's men (like one walking up to a voluptuous camper saying "Do you want to go home with me and have sex?"). The absolute worst (yes, worse if you can believe it) was the fact that one man showed up late and there were no more seats for the show...so he offered to pay $100 so he could STAND IN THE BUSHES AND WATCH THROUGH THE WINDOW. If that isn't weird enough...the Eagles putting on the benfeit said YES! WHAT THE HELL?! So all night there was this balding 60 year old man farting away in the bushes watching us. EW!!! Par for the course at performances at the Eagles Hall...

The next morning, we recorded the video. Every year, the teachers lead the campers through their lesson or choreography for a video camera. It is put on the camp video, which you can purchase. The video includes footage of the hafla (and this year the benfit as well), and the choreography film so you are able to have a visual reminder of what you learned. So we put on the funky tunes, warmed up and reviewed what we learned, and danced a full song for the video. it was very simple, and I did my best to try and pair each of the moves together in some combination, so they can see how they transition smoothly. I know I didn't smile enough, but I just kept thinking, "I am a teacher on the camp video! I am a TEACHER ON THE CAMP VIDEO!" I know that sounds silly, but it was such a big milestone for me to be there, in that role, at the camp I love so much.

I packed up my vending stuff and had an hour before lunch. I wandered over to the lodge, and found Jean packaging gifts for the camper awards. We chatted a while about the fact that Camp West may not happen next year, that Camp South is not even happening this year due to low registrations. They may be switching to a weekend workshop format in 2007 for West and South, which would be a terrible shame. Jean had some valid concerns, including feeling like she is limiting Cassandra's exposure as a teacher, and wanting her to be more accessible when she travels. Having workshops or shows near Seattle, and/or moving any future camp to a location which doesn't require a ferry trip, is her hope. But of course it has to be affordable, to boot. tough bill to fill. She seemed to be hinting at wanted me to help her produce a show locally next year, but I told her I didn't feel I was qualified to promote such a show. I do haflas, and host workshops, but a full fledged stage show is not something I am interested in taking on right now.

Sadly, what I love most about Oasis is...it's CAMP! I can't say I would go out of my way to take workshops with Cassandra if she came to town. But it is worth it to me to take from her as a part of camp, because the experience of being at camp with all those amazing women, and sharing in all the fun and community, sharing our dance together...THAT is what makes it an annual pilgrimage for me. And I think the guest teacher is important too. Her list of requirements for the guest instructor is an interesting one, including some vague idea of scholarly background in their field. Which of course, anyone teaching you would want to be assured they knew their business. But it sounded more like...I don't know. It just seemed limited. THe dance world right now is riding a wave of fusion fanaticism that I think they could benefit from taking advantage of. And I feel like what she loves in a dance teacher (she specifically mentioned Denise Enan being one of her favorites guest teachers...who was specifically my LEAST favorite ever in 7 years of camp) may not necessarily reflect that of the audience she is trying to tap. Camp has to diversify more, and definitely advertise more. She asked me to help her with marketing and promotions online, and that is somethign I feel I can be really helpful at, so I said of course.

Now I am home, loving my pups and hubby. It looks like fall fell in the last 5 days since I was away. Literally, the trees exploded with color, and leaves are fluttering to the ground all over the place.

Back to reality, it's time to start planning Amy's wedding dance. Me and the gals worked on it this last week and have it pretty much staged. Capitol Club is this Thursday, and Nomaditude is getting ready for their Winter Fest performance. Good times!

From the Domba! Tribe:
Hello everyone!
This is a difficult letter to write and I’m not even sure where to start, but wanted to let you all know the changes happening with Domba.

It’s been a year of lots of changes for myself personally and a year of reflection on where to direct my energies and time. My entire year has been one of endings and beginnings in nearly every aspect of my life. Earlier this year, I decided to sell the Domba Studio in order to have more time for my family. My girls are growing up so fast and I unfortunately did not have the time needed to continue running the studio. The Studio needs love and attention to keep growing and I realized that someone else could better fill those shoes. So the Studio was purchased by one of our dancer students, Missy, who has kept it alive and well under the new name the Mystic Jewell. For class schedules and events, you can visit her web-site at www.mysticjewell.com

After the Studio was sold, other Universal events made it clear to me that my path is not with dance at the moment. My miscarriage during our summer tour of the UK was unfortunately the trigger to finally make me realize this! It has taken me a very long time to come to terms with this, as dance is my heart and soul. It has been very difficult to let go of, however, I have made the leap and have decided to formally stop dancing in regards to performance and Domba. I may still teach a local class here and there to keep myself in shape and stay connected with the dance community, whom I love so much, but the workshops, performances and traveling have all had to be put aside.

The Domba gals and I have gotten together and decided as a group, that the best course of action is to let Domba go out in the light of this year. We were nominated and won Troupe of the Year through Zaghareet Magazine and are so thrilled to have this beautiful award! So many big thanks to all our fellow dancers who voted for us! We’ve finally completed our first two instructional videos and they will be on the market later this month. We also finished up our second tour of the UK and Ireland this year and are so happy to have met and danced with so many of the UK/Irish girls! What better way to go out than with all this on our plate!

The Domba girls are still dancing and performing, and working on both individual and collective dance avenues. If you’re interested in workshops or performances with them, I know that all of them are all still very excited about dance and teaching, and they have tons of fun stuff going on! If you’d like to contact them, I’ll list their contact info at the end of this email.

I will also still be making the trademark Domba costumes! www.domba.com is still up and running and I will continue to sell costumes on-line and at Renaissance Faires, as well as at the Mystic Jewell Studio.

In October, I will be closing down the Domba Tribe on Tribe.net.

Many many thanks to everyone who has been a part of Domba throughout the years – either directly or as an audience member giving us your energy! There are so many over the past 19 years that I’ve been dancing! From my humble beginnings as a student trying to get some coordination, to all those who hosted us in workshops and helped form our direction, to those whose creativity and passion changed the course of Domba with their influence, and everyone who supported us in all our projects and endeavors. It’s been a lifetime of experiences and memories that I am happy to have!

Personally, I cannot express how much appreciation I have for everyone that has touched me over the years, taught me lessons, guided me and supported me. We’ve had so many good times and laughs and travels, and my life and heart has been filled with joy from it. The community that is created through art and dance has fulfilled me and made me so happy for so many years. My heart still cries for it, but I know that I am following my path by moving onto other things. I don’t’ know what that path is yet, and it’s scary to be out here in the dark with no direction, but it still feels like the right direction to be moving.

I will miss seeing you all and dancing with you, but I know that we are always connected through our love of dance.

Always,
Heidi

You can reach the Domba girls at:
Samantha: www.boomboombollywood.com
Gina: severina_demonia@yahoo.com
Joy: plantfaeries@yahoo.com
Sherry: sherryv@trueharmonywellness.com
Suzi: domba@cox.net
Haven (who has moved to San Francisco): whereisyourhaven@yahoo.com

They have been a huge influence in the tribal community, and will be missed...

Enjoyed the day. Setup was pretty simple. The sari shorties are flyin' out, as are the Bad Girls tees. All out of smalls and mediums. Taking backorders from anyone who really wants one shipped from the next batch.
Show was okay. Some good memorable, some bad memorable, but mostly eh. I am liking the variety in costumes I saw tonight--not all good executions, but I prefer a noble effort of someone trying something truly unique (or at least a strong variation) than someone just plain copying someone else head-to-toe. That goes for dance style as well. Some are unique, and I am enjoying it.

Still not enough improv, but I hold out hope that tomorrow might bring some more.

Was bummed Boom Boom only had two dancers. They did a great job, but I wanted that colorful parade of energetic dancers I saw last year! They did make me smile, tho. They looked like they were having fun. When they danced *to* each other I grinned widely. Love that connection.

I love seeing everyone. Seeing familiar faces of fans and friends, as well as making new acquaintances. I can't wait for tomorrow!

Sleeptytime.

So I leave tomorrow to teach a weekend of workshops in Wichita, KS. I have never been to KS, and I love putting pins on my map, so to speak. The ladies seem really neat, and I can't wait to meet them. Renee is comin' with me, which is another big treat!
Gotta get to work, but figger'd I better post a link to the info, in case anyone was interested in registering. There is still room, my dahlinks!

http://amiradanceproductions.com/sharon_moore.htm

Amira Dance Productions is proud to bring you a series of fun and challenging workshops with Sharon Moore and Renee Drellishak of inFusion Tribal Bellydance. Sharon is a sought-after performer and workshop instructor, as an innovator of tribal fusion group improvisation. Sharon was a featured workshop instructor, and inFusion Tribal were featured performers, at Tribal Fest and Tribal Quest Northwest in 2005.

This event will be two days chock full of exciting tribal improv and funky fusion bellydance. Sharon and her troupe are known for their innovative style of tribal fusion, combining elements of creative choreography with a unique and energetic group improvisational format. If you thought all group improv was FatChance ATS, or all tribal fusion was Rachel Brice, then you are in for a mind-expanding workshop experience! Be prepared to work hard, laugh a lot, and dance dance dance!

To learn more about Sharon Moore, please visit her website at www.mandalatribal.com