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.

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.

 On a discussion over in the comments section on this article on Gilded Serpent, there is some debate about whether Steampunk Bellydance is a legitimate genre of dance or not--the article asserts it is not, and some commenters argue the contrary.

One very articulate poster, going only by the name "T.", is clearly a Steampunk practitioner/enthusiast/community member, and had some very articulate thoughts to share on her frustrations with the overuse of Steampunk in everyday parlance.  A portion of her post read:



"It’s never a good feeling, having your meticulous, time-honored craft dismissed or eclipsed by a trend you have no immediate connection to. It’s difficult not to feel uneasy, watching your art form be oversimplified, lumped in, or lazily dismissed by an all-too-easy and reductive definition. It’s not fun, being shoved in a box that you have no desire to be in, even if that box is comfortable, or even inspiring, for plenty of others who’ve willingly placed themselves inside of it."

My reply, which I share as a founding member of the Seattle Steamrats in addition to my over a decade of teaching and performing bellydance, are as follows follows:


A. Not to be flip, but I imagine this sums up the feelings of a large cross-section of the bellydance "culture" who feel that lots of different things have been tossed into a giant pile and called bellydance, for no other reason than someone likes bellydance AND something else, and they think that gives them the inalienable right to jam them together and call it bellydance.  These sentiments ring true to artists of any and all ilk--there are always those who are trying to maintain a set of recognizable criteria and standards, and there are those who feel to do so is a constraint of their creativity. The former feels they are being undermined in their efforts to uphold their ideals, and the latter feels they are "taking it to the next level."


I always argue that a dancer should be able to remove their costume and even the music (gasp), and those knowledgable of the style being presented should be able to recognize the dance they are doing.  I have yet to see a performance called "Steampunk bellydance" able to communicate that fusion through purely movement. Tempest and I disagree on gothic bellydance as well--I have not yet experienced something under that moniker that didn't look simply as either simply bellydance or generally modern/interpretive dance.


Think of it. Can you recognize tap without any of the trappings? How about ballet? Flamenco? Hip Hop? Irish Step Dance?  Contact improv? Salsa? Jitterbug? Stomp?
And within these styles, experts can even discern sub-styles fairly easily.  Yet with bellydance, often we throw on a different piece of music and a different costume, and we think we can call it something else. We need to look deeper, as a community of artists, to understand what really differentiates one style from another and whether it truly is a new style, or an existing style in a new frock.

In a previous post, we looked at The True Cost of a Performance. In this installment, we look at the incomparable Delilah Flynn's question of:


Delilah's Answer:
"8PM show. 

I have to eat my last meal by 3:00 PM or I feel sluggish and bloated. So I have to plan my day accordingly. Open suitcase and gather costume pieces. Iron veil if necessary. Make sure I have costume, make up, zills, evening dress, shoes and stockings in the early day so incase I have to run an errand I have time. This takes about 30 minutes somewhere in my day. 

I shower at 5:30 and begin putting on makeup and doing hair at 6:00-6:45 and get dressed and load the car with costumes, sound system, props. 

Arrive at the gig to get acclimated at least 30-40 minutes in advance so I leave the house at 7:00 if local. The show is at 8:00 give or take a few . Usually shows go on a little late if the audience is still arriving . 

By 9 :00 I should be finished and need 30 minutes to cool down before stepping out in the Seattle rain. How ever the audience usually wants to meet the dancers so going out and saying hello is a professional curtesy.  So I probably am in my car at 10:00 realistically.

I estimate it takes me 30 minutes pre-plan during the day then 5pm-10:15 pm is my time investment for 1 nightly gig. So around 5 1/2 hours including driving and parking. If I have to set up sound lights or rehearse and do a sound and light check, then it could be all day long! If the show has 2 sets or is a theater show it could be all night too! 

The time it took to procure costumes, music, equipment, design and print business cards is another time investment and is why we don't work by the hour but by the gig. When dancers get $60-$100 for a gig it's not star wages or anything near! 

So even the lowest dancer on the totem pole should get paid I think. If the club or gig is resistant then perhaps you are deluding yourself as to your worth as a performer. This is where the stuff gets so sticky. "But I want to dance!" Yup...I know. Find a hafla, festival or recital show. So if the club is at least paying 1 dancer is it different? Maybe. How much are they paying her I suppose would be the next consideration. How many tables are in the room. Has business increased because of the show? Is the club owner advertising the show or is he just figuring your friends will come in. Ugh! Are the other dancers announced as students with a professional representation of belly dance getting paid. Maybe thats fine. have you spent all this time getting ready for your gig and there is still no audience. If the club owner has no investment in the show he won't advertise or get the word out (believe me restraunt owners are exhausted). He will rely on YOU. So then it's even more of your time! "

A re-blog from my Livejournal, circa 2007

Valentine's Day...

I have never understood the amount of negativity people have toward a holiday that is devoted to love. This is not directed at anyone particular, but instead feelings that have long germinated in me over this topic.

"But it's so COMMERCIALIZED..."
You don't have to buy a THING from Hallmark or anyone else to give a gift to someone you love. Draw or paint something for your Mom. Sew up something fun for your best girlfriend. Make a "coupon book" for your boyfriend. Wash your car and go for a day road-trip with your honey, pack a picnic dinner...so many little things you can do for fun.

"I hate feeling like I am OBLIGATED to do something..."
Obligated? How about OPPORTUNITY?! A chance to celebrate the idea of love, in all its forms, with the rest of the country (or world, depending on other countries that celebrate it :). A chance to smile, look someone in the eye, and say "Happy Valentine's Day!" and better yet, follow it up with "I love you!" And from there, it can be as simple or as complex as you want it to be. No obligation. Just a chance to do something a little special and different from last Tuesday...

"Why just ONE day? I mean, we should be loving to each other EVERY day."
Right, and every day should be your birthday, because you are valuable and special every day? And it should be Christmas every day because we should celebrate good will toward men every day. And it should be Independence Day every day because we should be grateful for all the freedoms our country allows us, and the honor the men and women who fight for those rights and priviledges. And am I only required to not be racist during black history month?

Setting aside one day to especially recognize something important doesn't mean it isn't something that should be valued and practiced the rest of the year. But having one day to really focus on it and share that moment with many other people who are also celebrating and honoring it...it's magical. Give yourself permission to share in it, too!

If you don't want to celebrate it, fine. But the excuses make no sense to me. This holiday, in whatever different form, was around long before commercialism took hold of it. We don't have to be bound by what they say it is. It is what WE make it--a chance to give friends an extra-special gift or write them a note to acknowledgment their value in our lives; a chance to pat ourselves on the back and focus on the love we have for ourselves and maybe treat ourselves to a little indulgence we might not ordinarily; a chance to go out of your way to tell your family how much they mean to you and add a smile to their day; and for some it is just plain permission to say "I love you" to people who on any other day might feel it was overly emotional or out of context--not everyone has open, loving relationships in their lives where they get to say it and hear it every other day of the year. If you are one who does, then you are blessed. If you are not, then don't disparage a holiday and businesses which support the practice so at least one day a year, a woman (or man) gets flowers, candy, and a back rub. :)

On Tribe, a fellow dancer shared a wonderful link to spark a discussion about how you learn and/or teach musicality in bellydance.   It ties into yet another Tribe discussion on the Tribal Bellydance tribe where a fellow member asked about whether you "count" or "feel" the music, which this article also addresses.  The article is about salsa, but the concepts apply, and offers good food for thought, so I thought I would share!

Here is a snippet:



"To the many who try to downplay the use of counting music, consider for a moment our beloved salsa music that we yearn to dance to. Those musicians count their music. In the words of “The Unlikely Salsero” Don Baarns, “Music ain’t random.” It has structure. No matter how dynamic or unconventional a song is, it has structure. The count is the structure of this music. A band has to count its music the same so that each member can be on the same page, or else musical chaos ensues. When each band member is playing his or her role and instrument, doing something different from one another that still somehow gels together into the beautiful sounds we hear, the count is the common ground that they all return to. I dare anyone to try to convince a legitimate musician or band not to count because it’s not important. The members of the band cannot simply “feel” the music. Each band member thinks differently and has a different personality, and therefore will not feel or interpret the music the same as the next. If each member only relied on his or her “feeling”, the song would be an un-danceable mess. This is no different for us in this partner dance we call salsa. If you are dancing with another person, you are dealing with another mind, another personality that will not feel the music the same way that you do, not to mention the fact that person is of the opposite gender (but that’s another story). The count is there so that you both will be able to be on the same page, the same way that the members of a band would. If the musicians that produce the music we dance to feel that counting is important, why shouldn't we?"


DanceNerdsUnite also has a post about musicality that I really enjoyed reading.


"Musical dancers, on the other hand, never disregard the music to fit in more tricks. “You can see the effort in a nonmusical dancer—they are often step-driven,” says NYC ballet teacher Deborah Wingert. “Musical dancers don’t just turn until they stop. They turn until they have to move on to the next point in the music. Musical dancers never get so caught up in steps that they ignore the music.”"