BD in Japan

 Random pic from Japan: Naima + Chu-Hi

(I have no BD  Japan pics.)

KC sent me a cool article on the BD scene in Japan. Belly dancing in Japan | CNNGo.com. I keep up on my Japanese BD by follwoing Ozma's blog and Mishaal's site. There are other sites and blogs but these 2 are English and I don't have to decipher with a translator.

In other news, The Husband Person's sister had a baby boy on Mar 30th. We are heading over to the Tulsa, OK. area this weekend to visit.

~N

Now watching: Ah, My Goddess
mood: Chu-Hi

The Sensible Bellydancer part 3

Go To Part 1
Go To Part 2

Don’t forget about costuming and beauty maintenance.
Not all of us have long flowing hair, shapely slender bodies, or creamy skin. But there are things to keep in mind that will keep an audience’s mind on your dance and not on your body issues.

First of all, I would like to point out this is a dance of celebration of the mind, body, and spirit. There is no social status or race that is excluded. This includes body type. Everyone has personal issues with his or her own body type, (yes, even the “skinny” ones). And I want to encourage you to feel safe in your own skin when dancing whether or not you ever perform in public or not. I also would like to say to any dancer that has ever said that someone is too "fill-in-the-blank" to Bellydance is a disgrace to the dance community and should be ashamed…you know who you are.

Now, moving along. Many dancers are concerned with the amount of skin they want to show or not show. There are many innovations in tummy covers, full dresses, and body suits available. I would like to point out to women who want to cover any particular area to steer clear of sack-like or baggy dresses or any costume that hides your contours. No, you do not have to wear a skin tight costume, but keep in mind all of the hard work you have put into your dance. Don’t cover up your movements by being afraid of your body shape. Remember, YOU choose who you dance for and why. Make it count!

Paint and trim your nails before every performance. You don’t have to paint them any color. A clear coat will make you nails look clear and healthy. This INCLUDES your toe nails! Most dancers perform bare foot or in open toed sandals. Your toe nails will get noticed! This is one of the easiest ways to polish off your look regardless of dance style or costuming.

Hair…hum, you will have to decide about your own style but a pretty barrette or headband always help to complete your costume. More importantly, if you have long hair, do something to keep it out of your face. I have been told personally that my dance was great but my hair kept falling in front of my face during my performance. The audience can’t see your face and it will distract you and your hands while you dance.

Try something new.
Try a new or different dance style at least once. You may never pursue that specific style or technique, but you will most likely come away with new ideas to help you improve and refine your own style. For instance, I am currently taking my very first Tribal style class with a local teacher. (Author's note: This was about 4 years ago now, lol.) Even though Tribal has never been my main focus of education I have already learned a new way to approach my dance posture and group dynamics after only one class. I can now practice and incorporate this into my own style of dance making me a more well-rounded and educated dancer. Yea Me! (Don’t forget non-bellydance styles).

Be careful with your criticisms.
This is another problem we all struggle with. We have all sat through a performance and seen or heard something we don’t like, be it a costume choice, bad technique, or music that hurts our ears. Take care not to bash another dancer’s performance in public based on your own tastes. Not only is it distasteful but the situation could always be reversed. How would you feel if you were being talked about? Try to keep an open mind. This is an interpretive dance after all.

Naima’s #1 tip to instantly improve your dance…
ARMS! ARMS! ARMS! I have done it myself…uncontrolled wrist circles, chicken arms, weak arms, etc. No matter you ability to execute a movement the audience will only see the uneven lines of your lazy arms and wrists. You don’t have to have cheerleader straight arms while you dance, but being conscious of your arm and hand placement will instantly polish off your profile. When most dancers learning the basics arms are left to the wayside while muscle control and technique is being refined. In the end your arms and hands suffer unless you have an excellent teacher to help you work on this area. Keep your chest proud, shoulders relaxed with arms and wrists supported. So even if you flub the movement or forget the choreography at least you look good doing it!

The End

The Sensible Bellydancer part 2

Go To Part 1
Go To Part 3

Videos or Workshops?
Workshops are fun, but to be honest, you get more for your money with a teaching video. You can easily spend over $100 at a moderately priced workshop after the workshop fee, hotel room, gas, and food…that is if you don’t do any shopping at the vendors. If you don’t make notes at the workshop and practice within a day or two afterward you can be guaranteed you won’t retain much, if any of what you paid for.

Videos, on the other hand, are much more economical. You can find videos online for just about every style of dance. They can cost between $35-$50 depending on content and quality of teacher. The best thing about them is that you can watch them over and over and learn at your own speed. Online reviews can help you pick a video that is right for you. Can’t find a review? Post questions on one of the many Bellydance message boards or ask the vendor for his or her recommendation. You can also test drive one by borrowing from a friend.

Bellydance workout videos are not good teaching tools. They only work you out. Do not relying on these to improve your technique.

Naima Recommended Teaching Videos: Videos by the following dancers- Jillina, Zahra Zuhair, and Jasmin Jahal.
Online Video Reviews: www.shira.net
Online Bellydance Message Board: www.bhuz.com

Ok, So you are going to a Workshop – How to get the most out of you trip.
Car pool…enough said. Most all day workshops come with a lunch included in the price. But what about all the rest of the time…the car ride, breakfast, dinner, snacks, etc. Depending on your budget, packing a small cooler with fruit, lunchmeat, water, humus, etc. can be a life and wallet saver. It especially saves money if you are driving to keep you from paying for overpriced doughnuts and junk food at gas stations on the way.

You know, it really doesn’t matter what you take with you but pack a notebook, pen, dance sandals or socks, medications, and a jacket or cover-up. From my own experience, these are very important items to have along. Notebook and pen are for taking notes during the class (es). Sometimes, there are no handouts to take home and other times jotting down a movement in your own terms will help you interpret the lesson later. Dance sandals or socks…you will thank me if you ever find your self at a workshop with rough multipurpose carpeting. After 4 plus hours of pivots, spins, and travelling your bare feet will thank you, (also keeps the “foot funk” at bay). Medications are VERY important. If you have any prescriptions that are necessary for you daily functions PLEASE don’t forget them. Or, if you tend to have muscle or joint problems some ibuprofen or aspirin is handy. And don’t forget about sudden headaches. Nothing rains on your well-spent money than having to go lay down during a workshop because of head pain. Lastly, a jacket or cover-up. This not only keeps you warm in cold hotel lobbies but cover-ups are nice over your bellydance workout gear. Not only do you appear a little more lady-like during your lunch time but also makes you less susceptible to harassment from strangers if walking the hotel lobby or parking lot.

Wait until intermission or immediately after the show to purchase a show video. If you have not enjoyed the show up to this point do not waste another $20-25 on a show video. These are almost always home video quality and very overpriced.

Continued in part 3

The Sensible Bellydancer part 1

I found an ancient link on www.shira.net to the old Beledi site with an article I wrote a billion years ago. I sent Shira an email to update the link and saved a copy of the article before deleting the page. It touches on pretty basic ideas but I will post it here in sections for old time's sake. Enjoy!

The Sensible Bellydancer
Here are some common sense tips for improving your art as a Bellydancer by Naima.

Observe.
Try to observe as many performances as possible. Take note of what you see that you like and dislike during another dancers performance. Use this NOT to critique the other dancer, but as a guideline for shaping your own performance skills. Look for new movements such as combinations or travel steps you have not tried before. Keep track of body alignment and interaction with the audience. Did this dancer make you feel good when she danced? Why? What turned you off? Take these observations and incorporate them into or out of your own style.

The internet is your best friend.
One of the most important lessons I have learned as a Bellydancer is to research things for myself. Whether this is about music styles, costuming, terminology, authenticity, etc. Since Bellydance is handed down very much like the old oral traditions of a culture. Everyone hears a story that is a little bit different from the last. So the best thing to do is to research from many different sources and then make up your own mind about what your dance philosophy is. For example, here in the Mid-west, dancers can sometimes be far and few between. So, it can be really hard to get some educational answers to bellydance questions without someone else’s opinion thrown in. Combat this by reading articles available online by as many dancers and scholars as possible. This includes those from the Middle East as well as your own country. Not only should you know about the origins of the dance but also how it is being interpreted and represented in your own culture.

Secondly, Shop! You don’t have to purchase anything to learn how to judge the market on quality and price. Buying Bellydance goods anywhere in the world beside the Middle East = huge mark up for the vendors who import these goods. You really should have an idea about what the going rate is for a 3 tiered hip scarf or brand new Hakim CD. You can also browse online reviews of the product or vendors to make sure you are getting a good deal. Also, keep in mind shipping costs. A CD may be cheaper online than from your local Vendor, but after shipping and handling, it may end up pretty close to the same price. On the other hand, online vendors may have free or low shipping rates if you buy a minimum dollar’s worth. In that case, try to make all of your purchases from one place.

Continued in part 2

The King Herself

"What motivated Hatshepsut to rule ancient Egypt as a man while her stepson stood in the shadows? Her mummy, and her true story, have come to light."

Read the article and see pics Here

now playing: Imogen Heap - Speak for Yourself
mood: chicken nuggets and a potty break

Memorial to Bert Balladine

Dec. 22, 1927 - Mar. 14, 2009

Gilded Serpent's Memorial page to Bert
Collected videos of Bert

(Thanks Alia and Greg for the update.)

I was also informed by Greg:

Hi Naima,
My name is Greg Winn, and I am the son of Shalimar Serene, Middle Eastern Dancer since 1974, and Editor and Publisher of The Caravan Magazine. My mother passed away Feb 21, 2009, and I found out this morning that Bert Balladine passed away March 14, 2009. Both will be dearly missed...

My thoughts are with you and your family as well, Greg.

~N

How to Barter in Egypt

Many dancers at some point decide to make a trip to the mecca of bellydance - Egypt. One of the main reasons for going, aside from classes with Egyptian teachers, is shopping direct from the source. I found this article on eHow.com about how to barter in Egypt.

I for one, would probably suck at this considering I don't like to talk to strangers, (especially on the phone), but seeing as how I don't have plans to go to Egypt any time soon I should be able to keep my money in my pockets.

How to Barter in Egypt
Shopping in Egypt can be a culturally gratifying experience and a lot of fun. Expect to barter on goods and prices at the markets or khans catering to Egypt's tourists. This is an excellent opportunity to chat with the locals, enjoy a good cup of tea, and grab a great bargain. Below are the basic steps to the bartering system in Egypt.

Step1
Greet the shopkeeper or store assistant in a friendly manner and immediately begin browsing. A look of slight disinterest should give you the breathing space to browse before the assistant begins to inquire after your needs.

Step2

Find an item that you like and consider what would be a fair price for its purchase. Whether you manage to get a 5 percent, 10 percent or 20 percent discount, remember, you are still getting a bargain after considering the exchange rate. Ensure your price bid will be fair and not insulting.

Step3

Converse with the assistant, throwing in a few flattering remarks about the establishment before inquiring as to the price of the item. Reject the price with a polite laugh and move on to another item.

Step4

Reply absentmindedly to the assistant's inquiry as to how much you would be willing to pay for the item under discussion. Choose a price lower than your fair price and offer it in an inquiring, almost apologetic tone to the assistant.

Step5

Ask the assistant what would be a fair price after he/she has dramatically claimed the original offer was impossibly low. Whatever the offer, respond with your fair price. More back and forth, along with a cup of tea and a chat may be required for larger items of buying in bulk; over bartering for cheaper items is impolite.

Step6

Agree on the price with a firm handshake, nod and smile. This is another opportunity for flattery, usually ending with a return invite to the store, introductions and more tea, all of which indicate a successful exchange.

Step7

Close the deal by exchanging item for money, saying thank you several times and leaving the shop. Lingering will result in more tea and more bargaining. Return visits usually result in further discounts and further socializing which can only enrich your Egyptian experience.

Tips & Warnings

• Don't rush through your transaction, take your time and adopt a very polite yet conversational tone. Egyptians do not like to rush through anything and have a great respect for the process.
• When vendors suggest outrageously high prices, practicing the Egyptian method of dramatic disgust is often very helpful.
• Bartering should be kept to markets and street vendors. Attempts to barter in local shops or large stores is considered extremely presumptuous and impolite.
• Make friends with some locals to help steer you towards fair trading prices.

~N

Now playing: Dead Like Me season 1
mood: chicken and broccoli

What is the Bellydance?

Brittney Laleh and Naima @ Icon 2004. (pic by Autumn H. ?)

This page defines 21 BD terms with examples of dancers, regions, etc. It is actually a pretty inclusive list and fairly well defined in my opinion. Warning, It involves reading! Like words and sentences. No pretty color drawings or videos. Yet still quite informative.

~N

now playing: Cowboy Bebop the Movie
mood: OMG the TURKEY

Oh yeah, I just found a gift card that still has money on it. SCORE!

Know Your Roots: The Art, Magic, & Joy of George Abdo

I would say that almost every American Bdancer has heard and or danced to a George Abdo song. Hadouni, Hadouni anyone? But what do you know about George Abdo? I searched through 15 pages of Google looking to learn more about the man behind the Art, Magic, and Joy of Bellydance and found ONE personal article about him. All the rest where links to buy his music. I found no info on where he was from, how he got into music, or how he became a staple in the American BD consciousness.

Why don't we know more about this man? I mean, he gave us the art, the magic, AND the joy right there. He laid it all right out in stereo no less.

Here is the article I found cut and pasted here with a link to the author's site at the bottom.

George Abdo:Remembering a Legend
by Eric Peterson

When George Abdo passed away in May of 2002, I felt compelled to mention him in as many related e-mail groups and web-sites as I could. Fittingly, I should have something here on my site honoring him as well.
For me, it all started with “George Abdo and The Flames Of Araby.” As I’ve mentioned in my Bio and my Favorites links, my memories of his music go back to my childhood.

Seeing George Abdo’s live performances at the Averof, as well as my listening to his recorded work, it made an indelible impression on me, and continues to inspire me. I know for a fact that I would not be the musician I am today if it wasn’t for George and his phenomenal group of musicians. Many special thanks to drummers Steve Kouyoumjian and Leon Manoogian.

I believe that he was a true pioneer in the medium of Middle Eastern music and dance here in America. So much of what’s happening today wouldn’t be if it wasn’t for Abdo and others of his generation in the 1960’s and 1970’s laying the ground-work and setting the template. Whether you were performing or teaching a dance class over the last 30 years, chances were that his music was present; it was perfect for learning.

I’m fond of saying that aside from his wonderful singing voice, his great gift was as a band leader and musical arranger. His arrangements were totally new within the context of Middle Eastern music, with the needs of the dancer totally in mind, thus he pioneered something new and accessible to the American audiences that were coming to the shows. He brought this music out from the weddings and haflas and into the clubs. Another very important detail was the role of the dancer as an essential contribution to the musical ensemble, and not simply as a decorative ornament. I feel in this context the dancer was part of a band, which was very different in America previously, where belly dancing was to be seen mostly as Burlesque, with completely unrelated music, or a worse environment - Hollywood movies. I believe he helped bring belly dancing to an appreciative art-form and changed its image by being faithful to it, without removing the sensuality from it, or disguising it with colorful genre terminology such as “Goddess Dance” or “American Tribal” sub-divisions that thankfully, didn’t exist in those days drawing boundaries. If this was all he ever did for the art-form, his contribution is huge.

He helped create the genre of belly dance music here in America as we know it today.

In a new context, Abdo and others helped forged an effective arts medium with a newly defined identity where the belly dance music and belly dance itself were one. The music communicated and moved with the dancer as a partner, they were complete. One was simply not an additive for the other. George Abdo was certainly an innovator who forged the template for this now defined medium, or genre.

It’s important for me to mention here that even though Abdo and his band were doing “Fusion music” they did not stray far from the indigenous, cultural context and details of the songs, rhythms and structures. So important is this, as to make this music have its proper form, yet be something new as well. This is something so evidently missing from many groups here today doing American-Middle East music, many who are being born out of SCA events and Renaissance fairs all around the U.S. This is why many of them (in my opinion) sound like Celtic, New Age, or Renaissance music, without any connection to the roots that I can hear.

All of the musicians I’m referring to in Abdo’s band had strong connections to Arabic, Greek, Armenian, and Turkish music, as they were Armenian, Greek and Arabic musicians born here in the U.S. This was the music they heard in their homes, the music their parents listened to.

They also loved all other kinds of music as well, some also played rock and jazz, so when they give it a new twist and bring in these influences, it doesn’t lose its definition. With this noted, his music is so much more needed today to educate and learn from, for both musicians and dancers if you’re going to do Fusion. But above all, just to listen to some really great and exciting music, his albums certainly deliver whole-heartedly and more.

I’ll never forget those nights at the Averof when I experienced the live music and belly dancing, as it truly blew my mind. The combination of the energy rush from this powerful group of musicians, and the strong, sensuous, beautiful women who exquisitely interpreted the music, I say it was unforgettable. This power of men and women creating Art together, this was Abdo’s music personified. This is music that both men and women can relate to and identify with.

I’m listening to his recordings a lot these days. Forever preserved is the excitement, presence, and phenomenal musicianship, great songs, and singing, all that has left its impression on my psyche from over 25 years ago. This is the mark of great musicians who’ve left a charge of Baraka in the world.

Thanks for the Baptism George! Above all, thanks for all the great music.

You will be missed.

Salaam
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Original article (and photo of George) found at http://www.geocities.com/ericnpeters/george_abdo.html
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Hear samples and buy George Abdo music on MP3 here.

Read a short tribute here.

Know anything about George Abdo or where to find out more about him? Add it in the comments.

How the hell do you say Abdo anyway?


Finally, a live cover and dance to Hadouni, Hadouni by Karnoushm with Autumn Ward

~N

Now playing: An Inconvenient Truth
mood: TURKEY!

Brittney Laleh Banaei Guest Editorial

(Here is an article from Springfield's own Brittney Laleh Banaei, who recently completed Suhaila Salimpour's level 3 certification and has an editorial featured in Suhaila's newletter. Holy crap, Congrats on level 3! Thanks Sa'dia for forwarding the article).

From: Suhaila Salimpour...the Newsletter
Guest Editorial
by Brittney Laleh Banaei

When you get ready to perform….what do you feel? Nervous? Excited? Ashamed? Yes, that last one was ashamed. When you are in dance class how do you feel? Empowered? Amazing? Dirty? Yes, that last one was dirty, and not the good kind either. The world of belly dance in the west holds a beautiful and unique place for women to empower themselves and escape into a new and exotic culture of beads, fringe, language, haunting melodies and even a new name in some cases. It can literally be a re-birth for those of us who are looking for it. But what if you aren’t looking for it? What if you dance because you don’t have a choice? The music starts and your body moves, end of story. What if the lows and highs of the tabla and the lazy whine of the mizmar are not only the soundtrack to your new found passion, but are a part of you, like an arm, a leg or a heart? Although this may sound like a romantic idea, it is both a blessing and a curse. Consider this: many of us, when choosing to dance, have to stare down some kind of misunderstanding or preconceived notions about our art. In America, dropping the bomb on your parents that you want to pursue ANY kind of art form usually brings about a lecture of financial security and social acceptance. On the other hand, growing up in a Middle-Eastern culture, you are instilled with an almost nationalist appreciation for arts, including dance, but are faced with ashamed, stone cold faces when the threat of them entering the family is looming. What if every time you stepped onto a stage or into a dance class; you had to face an internal battle in order to allow yourself to participate? I am a Middle-Eastern/American woman and these seemingly unreal stipulations are my reality.

So, what does it mean to me to have both Middle-Eastern and American cultures in my life? It means I love Gormeh Sabsi as much as I love steaks on the grill, listen to Shahram Nazeri and Nancy Ajram as much as I listen to rock, and belly dance brings me just as much pain as it does joy. It means that while I talk with my fellow students about the next workshop coming up, or squeal and giggle about costumes, I also see my father’s scowling, disappointed face in the back of my mind. As I experience the rush of walking through the doors of Suhaila’s studio for my training, I hear his words as I have so many times in relation to dance class: “Off to the whore house again?” It means that every time I am asked to do a paid gig, teaching or performing, I feel my Aunt’s hands on my shoulders, shaking me and begging me, as she did when I first started dancing, that if “you insist on dancing, at least don’t EVER do it for money”. It also means that when I hear the first cadence of drumming in a dance song, I flash back to sitting with my grandmother, learning how to play the Persian tombeck, laughing and learning with her for the first and last time.

Believe it or not, it is because of these memories that I am able to continue dancing. The negative memories drive me to be better and work harder; the tender ones, I hold in my heart as a reminder of a culture that belongs to me no matter what. The older I get, the more I begin to own what I now recognize as a gift.

The catch is that I own it on my terms. Yes, I am a Middle Eastern woman, and I am proud to say so. With that comes the responsibility to a culture that on some levels I have to refuse. I refuse to be ashamed to call myself a dancer. I refuse to APPEAR to be subservient. (Trust me, for the most part the impression of subservience we have of Eastern women is just that: an appearance. They are fighters.) These things and more I refuse. However, I welcome the tears that come when I hear Om Kalthoum; I welcome the pride that comes after a performance when I have not only shared my soul, but have represented the soul of my culture. I welcome the rich smells of saffron and rice, and glorious, amber-colored hot tea with sugar cubes and mint. These things and more I choose, because as an American woman I have a choice.

My mentor, Suhaila (Middle-Eastern/American as well) and many of my close friends in the dance community have experienced some of the same trials of Middle-Eastern dichotomy. Their strength and empathy have helped me to accept my culture on my terms. My Arab/American friend Lisa Samaan insightfully wrote: “As the old adage goes, ‘blood is thicker than water,’ so while I do live in America, and have lived here my whole life, only visiting my family for short durations of time in the Middle East, there is so much that separates me from my other American counterparts, that truly defines me as Arab.”

This is so true. While we live and function as American citizens and American dancers, just below the surface lies a boiling passion and culture that will constantly set us apart, and never truly allow us to let go of our heritage and be “normal.” Yes, Middle Eastern dance is fun, expressive, and a serious endeavor for some of us. But when you are from the Middle East it is a whole different perspective. We are tied not only by our dance, but our families, friends and reputations when we take the stage or take a class. It is our blessing, and our curse. Now, every time I dance, it brings me one step closer to acceptance, and it is with joy and gratitude that I am able to teach, perform, and continue to spread the love that comes with Middle Eastern dance. My culture, my femininity, and with pride: my dance.

Brittney Laleh Banaei is a lifelong dancer, musician, and artist. She is currently working towards a degree in Somatic Therapy with a minor in Dance Ethnology. She is training to be an instructor at the Suhaila Salimpour School of Belly Dance and she is a member and featured choreographer in the Repertoire Ensemble presented by Suhaila Salimpour. At 22 years old, she is the youngest, highest certified dancer within the Suhaila Salimpour Format and currently holds level 3 certification. She can be contacted at Laleh.Banaei@yahoo.com.

Bellydance in Japan

*UPDATE* 12/12/07
I found this word AMERIKANTORAIBARU on a Japanese Dance studio site for an American Tribal class. Sound it out...American Tribal. How cool is that?

Here is also a link to another Japanese dance company. Looks to have a much more Classical Raks Sharki influence. www.dancearab.com

The more link hopping I do the more neat stuff I find.

---

Now playing: Rupert purring (not a band...real live animal)
mood: something greasy

Two of my favorite-ist things (yes, that's a word) Bellydance AND Japan!

• Belly Dancing in Japan article
• www.lisa-school.com the studio from the article
• www.raksmiho.com a Tokyo Tribal Troupe
• Japan Bellydance Tribe on tribe.net
• Mishaal Dancer and teacher in Tokyo
  

And for variety... a video of Sarashukra another Tribal Troupe



Got more Japanese Bellydance links? Post them in the comments.

~N

FYI: for pages not in English, you can paste the web page's address in a Google search. When it lists the link in the search there will also be a "translate this" link. Click it and it will give you a translated, albeit messy, page to view.

2 weeks later...

and I still haven't finished my Jim Boz workshop review. ARGH!
I have it all but the last 2 or so paragraphs done. It is only 1 of 3 articles I wanted to submit to Shimmycast. I'm feeling very unaccomplished right now. I spent time 2 days ago trying to catch my eyelid twitch on film. It seems to only happen when I roll my eyes and sigh at my husband. Go figure, LOL

now playing: http://www.tormentedradio.com/
mood: nutty bars

PS
I noticed once I made the post about "money laundering" the visits to my frappr map went up real quick. SHAME ON YOU!
hahahahahaha!