tag:blogger.com,1999:blog-77977226571449343042024-02-07T13:29:29.037-08:00Tempest's TeapotMusings and Tidbits from a Professional Bellydancer, Artist, Designer, & Creative Nuisance.Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.comBlogger165125tag:blogger.com,1999:blog-7797722657144934304.post-71464674657000851292016-12-21T12:05:00.001-08:002016-12-23T12:03:50.423-08:00I Was Mistaken. <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPKFW6o38QTpW8mzAB_bGWTNSbNAEUT7Y_HQMMvbxzGZZKZWKuujXNjXKScnk7LruO9glWl46LBqszSg9JKYRgOPZiHxec78XSXUB4tj7DBwJokx2L3NAKi0ZUDXdDprPthFtKg0vNMnMo/s1600/IMG_6824.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPKFW6o38QTpW8mzAB_bGWTNSbNAEUT7Y_HQMMvbxzGZZKZWKuujXNjXKScnk7LruO9glWl46LBqszSg9JKYRgOPZiHxec78XSXUB4tj7DBwJokx2L3NAKi0ZUDXdDprPthFtKg0vNMnMo/s320/IMG_6824.JPG" width="320" /></a></div>
I have to write down a few more thoughts. It's the accumulation of thoughts and things I have been saying privately for the last couple of years, so I might as well say these things here.<br />
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Back in 2014 I rescued some vintage bellydance magazines from a shop in New Orleans. Not only a glance back in history, what initially caught my eye were articles on Ruth St. Denis (one of my idols) and North African dances. The following summer, I was gifted a bunch more vintage bellydance publications, several of them coming from the city I now live in. Between the two hauls, the majority of issues spanned the 70's through the 80's.<br />
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As I sat down to enjoy them, my eye was drawn away from the prize articles and delicious photos to editorials and articles discussing the state of the dance. Issue after issue, dancers voiced their opinions about quality of dancers, whose style was more authentic, what was appropriate costuming, who could dance to what music, where was the line between fusion and authenticity, undercutting, 6 week wonders, double-scheduling, lack of professionalism, etc. With no punches pulled and lacking the art of critique, dancers ripped apart each other, rival events, and so forth.<br />
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Rather than being inspired by history, my heart sank. I flipped close the magazine in my hands and looked at the date on the cover. 1978. I said to myself, "these people have been arguing about the same old shit for as long as I have been alive." I remember many stories from my dance mentors, so it's not like this was a new revelation for me. But seeing it in print, page after page...it sucked at my soul.<br />
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All that time, and seemingly so little progress on these issues.<br />
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I could go into extensive detail about how these arguments have continued to play out for the entire time I have been involved in dance. How many times the community has essentially set fire to itself in that timeframe - in ALL of its factions, regardless of what label you want to use. But I'm tired of/from hashing it out again and again. Of lip service and no action.<br />
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In early 2015, I talked about the <a href="http://darklydramatic.blogspot.com/2015/02/welcome-to-toilet.html" target="_blank">decline of the dance community population</a>. Throughout the last two years, I wrote about i<a href="http://darklydramatic.blogspot.com/2016/06/your-next-dance-move.html" target="_blank">ssues and solving problems</a>, from <a href="http://darklydramatic.blogspot.com/2015/06/the-cure-for-common-clone.html" target="_blank">fostering innovation</a> and expanding <a href="http://darklydramatic.blogspot.com/2015/03/lets-cut-crap-kill-cult-and-fix-boat.html" target="_blank">community</a> to <a href="http://darklydramatic.blogspot.com/2015/12/the-heart-of-darkness.html" target="_blank">tackling cultural appropriation</a> and <a href="http://darklydramatic.blogspot.com/2016/07/the-navel-gazing-bellydancer.html" target="_blank">considering why we dance</a>. And so much more, even if it cooled down to about a post a month.<br />
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And here's the thing, I didn't just write about these things. <b><i>I did them. </i></b>Everything I write about, I practice. In my classes and workshops, at events, in what I produce and bring to the stage. And I'm going to continue doing that, even if I'm not writing about it. I know it works, and see the growth.<br />
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Y'all can argue about labels and styles all you want, but it's basically arguing about what the gravestone should read and who gets to carve it, all the while kicking the body into the casket. There are bad representations of the dance in EVERY style, and no amount of labeling is going to fix that internally or externally. <i>Yes, there's plenty of stuff labeled as bellydance that makes me want to tear my hair out, but that doesn't change what *I* can do. </i><br />
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It all doesn't matter if there's<b> not</b> a new generation of younger dancers coming in. If we're <b>not </b>fostering an inclusive, positive environment for people to come to. The hilarity of the young vs. old bitch-off is the "young" dancers are mainly now in their late 30's-40's, so perceptions need to drop on all sides and reality needs to set in. Another divide the drama sinks into, when there are real things to consider.<br />
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<b>So if you're interested in growing the dance and building community, here's the bullet list I recommend for doing it:</b><br />
<br />
-To get more interest and classes growing, there needs to be outreach and interest for a younger generation, as well as reaching out more to the general public - a larger, more diverse demographic. Dancers for dancers is lovely, but it doesn't grow the dance. Promote outside the dance box, and be welcoming to all ages, sizes, genders, cultures. <br />
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- ALL areas of the dance need to address the sticky topic of cultural appropriation vs. appreciation. It's not going away, and it can be handled with grace on all sides. Tradition has always held hands with innovation, both can be encouraged and positive for each other.<br />
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- ALL teachers of the dance need to address history and culture, connect movement with music, promote professional ethics, behavior, and give constructive feedback. Even in a "for fun" class, students can be exposed to the cultures the dance comes from, see both tradition and innovation, be introduced to building community, and professional standards.<br />
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- Practice collaboration vs. competition. Foster positive and open communication in your town/city/state/country. Separation doesn't help, working together with mutual respect does. Nobody wins playing shark in a empty fish tank.<br />
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My (hopefully) last words on all of this: I don't think we're going to be able to build a bigger community in the next few years to come, <b>but</b> I do believe we can each build a better one where we dance.<br />
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And final words by Billy Joel: <i>"We were keeping the faith. Yeah, yeah, yeah, yeah. Keeping the faith. You know the good ole days weren't always good. And tomorrow ain't as bad as it seems."</i><br />
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Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com1tag:blogger.com,1999:blog-7797722657144934304.post-86426454893021781342016-12-15T23:02:00.000-08:002016-12-15T23:02:08.423-08:00Closing Windows & Opening Doors: One Look Back<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJUdqW1I_kmEgVfsx6eX6yeieuW7-bTDS7Hbikz-mtXwRXBYRg9MFq_PYNmF_dLEvnB9IVFJ014ury97v_4upVAeKyUsODnV6gAfn6LsTib-8MlxvjyarOr7MQdqKk6q5Sr9MAKpgfkJKp/s1600/391A8319-de.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJUdqW1I_kmEgVfsx6eX6yeieuW7-bTDS7Hbikz-mtXwRXBYRg9MFq_PYNmF_dLEvnB9IVFJ014ury97v_4upVAeKyUsODnV6gAfn6LsTib-8MlxvjyarOr7MQdqKk6q5Sr9MAKpgfkJKp/s320/391A8319-de.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Photo of Tempest by Carrie Meyer</i></td></tr>
</tbody></table>
I feel I have come to the point where I've said pretty much everything I can say in regards to the bellydance community. <br /><br />For the last several years I've written extensively and passionately about bellydance as a living art, a tradition, and a community. I did it from the combined perspective of a teacher, performer, producer, vendor, audience member, and student; situated on a bridge somewhere in the middle of various generations, styles, and views.<br /><br /> As I announced <a href="http://darklydramatic.blogspot.com/2016/11/love-in-time-of-tacos-pomegranate-seeds.html" target="_blank">last month</a>, I'm taking a hiatus from event producing to focus more on my artwork, writing, witchcraft, and other projects. I will continue to teach and perform dance, where and as my heart and spirit calls me. I found this piece I wrote back in 2009 for <i>Belly Dance New England</i>, and was published on this blog in 2010. I find it still very relevant today, so I am sharing it here one more time.<br /><br />I'm leaving the article intact, copied below - even though I'd probably tweak a few things. The only thing I'd add, I'm putting right here and it's a <b>list of beatitudes for fostering community of any size: <i>be inclusive, be respectful, be collaborative, be communicative, be engaging, be ever-learning, and be kind. </i></b><br /><br /><b><i><span style="font-size: large;">"What Is Community?"</span></i></b><br /><br />
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I talk a lot about the “bellydance community” to my students, in workshops, online, etc, and depending on the situation, the community may refer to the global one, a regional one, or a stylistically based one. But what does it mean to be a part of a bellydance community? What is its purpose?</div>
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I have also said on several occasions that I don’t believe in a “sisterhood of the dance.” Actually, I still don’t, but that doesn’t mean at one time I did. And I firmly believe that the “bellydance community” and (the fabled) “sisterhood of the dance” are two very different entities, and I think it is very important that we all understand this difference.</div>
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What do I mean? Read on…</div>
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<b>Part I: The Myth of the Sisterhood</b></div>
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I came to this dance (and through most of my life) as a tomboy. I grew up with two older brothers and no sisters. For most of my life, I was hanging out with the guys more than the girls, partly out of familiarity, also most of my female friends threw me for a loop (and under the bus, in the closet, and down the stairs) – I couldn’t understand why they were so mean, cruel, and backstabbing. I idolized my brothers’ girlfriends – they were so pretty, so smart and sophisticated, so above all the nonsense I experienced with girls my own age. Truly, I thought, there must be some magical change that happens, some possible sisterhood in my future. (naïve much?)<br />
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So in coming to bellydance, hearing these undertones about the sisterhood of the dance, female fellowship, the beauty of “tribal”, etc – YES! Here it is! Here we are, we can celebrate the beauty of our diverse female bodies – all size, all ages, and enjoy the dance together! Finally! I can have sisters! We all love the dance, we love and support each other, we share the joy! Um…wait, why are they so mean, cruel, and backstabbing? “Clearly, you have never had sisters…” was the reply. The truth is, people are human no matter what, and sometimes age doesn’t improve on the lesser traits. And the only way a “sisterhood” is going to exist is in a family-like structure, and with that comes all of the good, and all of the bad. Luckily, you can choose your troupe-mates more than you choose your family, but that doesn’t stop it from being dysfunctional and chaotic at times, as well as fabulous and supportive. So, the “sisterhood” exists more in a microcosm, a contained group working together, and takes a great deal amount of personal work and energy. But putting together 2 or more of these units does not mean that a grander sisterhood will instantly happen. Just like in real tribal communities (meaning non-dance, anthropologically), one tribe does not automatically trust another tribe. Regardless of style or background.</div>
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<b>Part II: Community: Making It Work</b></div>
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Now just because the “sisterhood” is an illusive entity does not mean that community has to be as well. Community is about looking past the individual for the greater good and needs of the many who are a part of it. Community does NOT mean we all have to be the “bestest” of friends, but rather, it’s about working together even if we’re not. So let’s look at what purposes a bellydance community serves, how it works, and how we can all build it.</div>
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<i><b>What is the purpose of the bellydance community, what is it all about? I believe there are 5 key elements:</b></i></div>
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1. Networking & Fellowship (to share the dance!)</div>
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2. Education of students, other dancers, and the general public (classes, workshops, events)</div>
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3. Support structure for professionalism (upholding wages & standards/fighting undercutting, creating excellent guidelines for students to follow)</div>
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4. Providing performance opportunities (haflas, shows, events)</div>
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5. Marketplace (to sell/swap goods and services)</div>
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<i><b>Things that a bellydance community should NOT be about:</b></i></div>
<ol>
<li><div style="margin-bottom: 0in;">
Bolstering egos</div>
</li>
<li><div style="margin-bottom: 0in;">
Exclusion & cloistering</div>
</li>
<li><div style="margin-bottom: 0in;">
Supporting unsavory practices/unprofessional behavior</div>
</li>
<li><div style="margin-bottom: 0in;">
Cutthroat competition & playing mind games</div>
</li>
<li><div style="margin-bottom: 0in;">
Spreading misinformation for any purpose</div>
</li>
</ol>
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So what does this mean?</div>
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<b>As a Teacher:</b></div>
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As teachers, we need to realize that we must be positive examples for our students and are responsible for their exposure to the bellydance community outside of our classrooms, and how they behave once they’re out there. It is our job to not only guide their class experience, but help them interact positively with other dancers and teachers, and bring them to the larger community as informed students. We all have our opinions of what we like and dislike in the dance, but it’s important to be tactful and respectful in expressing those opinions. You can’t make yourself look better by being rude about other area dancers and calling them names – rather, this drags you down as well, is a negative experience for the students, and can definitely come back to bite you in the bedlah. As the saying goes, you get more flies with honey than vinegar, and it’s far better to teach by positive example then a tear-down. It also our responsibility to be as educated as we can about what we teach and discuss so that we can share this knowledge with our students which brings us to the next category…</div>
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<b>As a Student:</b><br />
Aren’t we all students? (we should be!) As students, we must be respectful of not only our teachers, but others as well. It is up to the individual student to listen, to practice, and to learn as much about the dance as possible – and never stop doing this, no matter how many years you’ve been dancing – there is ALWAYS something new to learn, and there are always basics to review. Even if we can’t do regular classes, taking workshops whenever possible will always present you with new ways to explore the dance. Don’t be afraid to attend cultural events, haflas and shows, even if you’re not scheduled to perform. Don’t be afraid to introduce yourself. Is there a style you don’t understand? Ask your teacher about it, read up on it, take a class on it. It is far better to be educated than ignorant. You can always learn something from each experience, even if it’s not your “thing.”</div>
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<b>As a Performer:</b><br />
If you’re a professional performer, then maintain industry standards. Stick to the going rates, and work to improve them whenever possible. Don’t undercut for “exposure”, “experience” or any reason! Yes, we all love the dance, but dancing for free/less in venues where a rate has been established doesn’t benefit the dance. There are plenty of opportunities to share your love of the dance – benefits, haflas, etc – without damaging what others have worked hard for and making their living from. Take care of your costuming, dress appropriately for your gigs, have a cover-up, and keep your behavior professional when you are in costume! You never know who is watching, and yes, your naughty behavior can reflect badly on other dancers! Also, respect your fellow performers and event coordinators at events by arriving promptly and prepared, have your music labeled and ready, don’t hog the dressing room, be aware of what’s happening on stage, and be a good audience member – which means if you’re in the audience, smile, interact, and be supportive for ALL dancers. Again, you never know who’s watching and hearing YOU.</div>
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<b>As a Vendor:</b><br />
Vendors are the source of shiny goodness in our community, and are often the backbone of events. The fees vendors pay to be at an event help pay for the venue, the instructor costs, sound gear, etc. By supporting vendors, we support our whole dance community. But it is also important for vendors to speak positively, plan accordingly, be responsible for their wares, and be respectful of the space and other vendors. Remember that you are the gateway for students, and it’s important to educate them about what they’re buying and its value.<br />
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<b>As an Event Coordinator:</b><br />
Event coordinators provide many things for the dance community: ways to showcase the dance, offer workshops and classes, vending opportunities, networking occasions. There are so many things to consider when putting on an event – venue ability, dates, draw, economy, etc. Sometimes, a date can’t be helped – an out of town instructor just happens to be visiting friends/family or a tour has a specific schedule, and when he/she is here, well, that’s when they’re there. But when we have options in when and where, we need to really look hard at the calendar. New England is a relatively small area (seriously folks!), and it’s a good idea to consider what’s happening anywhere from 1-3 hours away from you, and who the target audience is. It is also important to network with other event coordinators and discuss plans with them for the coming year. Having 3 events within 2 hours of each other, on the same weekend that all have to do with Cabaret or Tribal Fusion is a bad idea for everyone, especially in this economy. When you can plan otherwise, space accordingly, that way all of the events can be successful and be supported, rather than making customers chose between one or the other. One idea is to have local/area studios/teachers who host events regular to get together and choose a weekend of the month (1<sup>st</sup>, 2<sup>nd</sup>, 3<sup>rd</sup>, 4<sup>th</sup>, etc) to hold their events, so that everyone has the best chance to support each event. If a weekend has a possible conflict because an unexpected visiting instructor, then talk to who has that weekend and see about switching. Again, it makes it a win-win situation, and spreads good will in the community!</div>
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<b>Some things to remember:</b></div>
<ol>
<li><div style="margin-bottom: 0in;">
You don’t have to love everyone to work with them. Part of being the bellydance community is being a good business person, and being community-minded. That means working together, despite differences for the greater good of the community</div>
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There is a lot of room in bellydance for both tradition and innovation. Be respectful of both!</div>
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It’s not all about you. You weren’t asked to be in a show? Then instead of bitching, don’t be afraid to ask about it and put yourself out there!</div>
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Not in a show cause it filled up? Go and support your fellow dancers anyway! (see #3 again)</div>
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You won’t lose students just by exposing them to other teachers and dancers. If they were meant to follow another path, they’ll find it, and sometimes they follow two or four.</div>
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If you want people to support you, you have to support them, it’s part of the cycle.</div>
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A good bellydance community is something EVERYONE benefits from, and it’s true that what you put into it, you will get out of it. Be positive, be supportive, be respectful, and remember that we’re all in this because we ALL LOVE THE DANCE!</div>
</li>
</ol>
Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com0tag:blogger.com,1999:blog-7797722657144934304.post-26625218994877057622016-11-01T13:45:00.000-07:002016-11-02T09:03:00.694-07:00Love in the Time of Tacos & Pomegranate Seeds<div style="margin-bottom: 0in;">
In my spiritual path, this is a time of
closing the door on the previous year and preparing the way for the
new year – a balance of endings and beginnings. I am very excited
for the new year, with many new developments and creative
opportunities on the horizon to focus my attention on.<a href="http://www.owlkeyme.com/" target="_blank"> My artwork is becoming very popular and greatly appreciated</a>. <a href="https://www.amazon.com/Witchs-Cauldron-Magick-Ritual-Vessels/dp/0738750395/ref=sr_1_1?ie=UTF8&qid=1478032191&sr=8-1&keywords=tempest+zakroff" target="_blank">I've written one book for a major publishing company</a> and I just contracted for a
second one. <a href="http://www.patheos.com/blogs/tempest" target="_blank">My ideas about witchcraft and spirituality</a> have been
receiving such fantastic feedback. <a href="http://www.nathanieljohnstone.com/" target="_blank">I have an incredible creative life in music and dance with a real partner whom I love more than anything in the world.</a> We've started new collaborations and ideas with other
creative folk. There's big travel/touring plans on the agenda. We've even considered expanding our family beyond
cats. I am so blessed beyond words and a bit breathless over it.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0w5F682a3uvKob30zlwE3ztV_kSPzWp4U3mJfPi9NBGmML0ahrSI3i5P_NQ7SaaUow2YweW4CJC72sDPqK9xqROKdTR09ashbqadyJTCQPYbeTPXHU0WQ5btKkVqeNwGxNRci2unqHJEI/s1600/pomme.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0w5F682a3uvKob30zlwE3ztV_kSPzWp4U3mJfPi9NBGmML0ahrSI3i5P_NQ7SaaUow2YweW4CJC72sDPqK9xqROKdTR09ashbqadyJTCQPYbeTPXHU0WQ5btKkVqeNwGxNRci2unqHJEI/s320/pomme.jpg" width="320" /></a></div>
In order to have the time and energy to devote to these new
projects (while also maintaining sanity), I need to make some changes
in my workload and the various hats I wear. The biggest one of those
changes concerns <a href="http://www.wakingpersephone.com/" target="_blank">Waking Persephone</a>. Producing such a festival is a
year-long task that requires an enormous investment of my time and
energy, even with the help of a fantastic staff. I know the
following news is going to be very difficult news for many of you,
but I need to listen to my gut. I am taking a hiatus from producing a
major event for at least a year, possibly longer. <br />
<br />
I have been
creating and producing dance events for nearly as long as I've been a
dancer, with my first BD events starting in 2001.<i> (The timeline goes back a bit farther if you start with Art
or Pagan events.)</i> Despite being an introvert, I come from a long
line of doers, so when I see and feel a need, I manifest the
thing.<br />
<br />
I have been extremely successful at it, and despite the
repeated results (the proof in the pudding), I'm always a bit awed
and amazed – yet I always stress about it all coming together, how
will people feel/react/what will be their experience. I've also
stepped up to help a lot of other folks make their events happen.
I've done every aspect of what makes an event happen – from
headliner to vendor, student to web designer, and everything in
between.<br />
<br />
I co-produced Gothla US from 2008-2010, and stepped
away from it, handing over the reins, because I didn't feel the
amount of work I was investing in it directly benefited my own
students, as I was living on the east coast and it happened on the
west coast. <br />
<br />
After that, I thought that I was done doing big
events for a while, but then the universe hit me with the idea for
Tapestry Dance Retreat, followed by the idea of Waking Persephone.
I'm a weird mix of gut-feeling, instinct, business sense, and
organization. If I feel a thing strongly in my gut and heart and I
sense a path in my brain, I make it happen.<br />
<br />
Different from a
festival, Tapestry called to my sacred and folkloric roots, and
focused on a much more intimate atmosphere. WP allowed me to take
the parts of Gothla I found the most useful, and forge them into a
safe and creative space for the dance - in my own backyard, steeped
in my own values and visions. I saw it as a way to build fusion
dance to be stronger, to expose it to its own roots, craft its
artistry, while bringing to light new teachers and performers among
the established ones. To step away from cliques, cults of
personality, and cloning copycats. The focus would be more on
learning and building, rather than performing. <br />
<br />
Tapestry took
place in September 2011 in Providence, RI, a week after I came to the
decision that I wanted a divorce from my marriage of 15 years. It
felt like literally walking directly into a hurricane on so many
levels, yet I came out of it renewed and reborn on the other side.
Waking Persephone took place in April of 2012 (also in Providence) –
with divorce proceedings happening the week before the event (and my
ex not relocating out of the house until the end of May). Despite the
turbulent undercurrents of my life, both events were successful and
meaningful for so many people.<br />
<br />
I decided Tapestry would return
when “the stars aligned again”, and we're still waiting for that
to happen. But WP got scheduled to happen again in Providence in
2013, with my local students and other community folks stepping up to
help since I had relocated to Seattle. The event grew, but I was
reminded how difficult it was producing an event from 3000 miles
away, no matter how enthusiastic my PVD students and friends were.
As we contemplated the 2014 event, our venue got bought out by
developers, and if you don't know, finding the right venue is the
biggest factor in producing an event.<br />
<br />
I had spent months
trying to find the right venue the first time back in PVD, and there
was slim chance I'd be able to do it again from across the country.
So that meant considering moving it to Seattle – but the West Coast
had multiple events happening very close to the same time-frame.
Being a conscientious producer, I chose not to dump my event on top of
those. I found a venue that would work with our design and budget,
and then worked with other local producers to select a weekend that
didn't directly compete with existing events, even though our format
and scope was completely different than anything else out here. <br />
<br />
So
if you're keeping track, I not only moved my event across the
country, away from the community that helped build it, and changed it
to a completely different time of year, but I was also presenting
this weird model to a new community that didn't fully understand what
I was presenting. Year 3 ended up being like Year 1 in size and
reception, which was very hard. But to my surprise, for many of the
people who did come, they loved it. Not only that, but they
seriously stepped up to help build it when I wondered if I should
keep it going or not. <br />
<br />
Year 4 was off the hook. We had the
venue figured out, we had a team in place, and word about the event
was spreading far and wide. The event more than doubled in size in
terms of registration from the previous year, putting it back on
track despite the year 3 upheaval/setback, Gala shows were back to
selling out like in the first years, and the Underworld Ball was
huge. For the first time, as we first approached and then wrapped up
the event, I wasn't asking myself if we should go another year or
not. It had been a running joke since the first year that I would be
all “hey guys, I'm not so sure about doing this next year” and by
the end of the event, they had me convinced we'd do it again. This
time around, I was already booking the venues before we were
done.<br />
<br />
Coming off of Year 4, word was spreading like wildfire
for Year 5. We had over 100 teaching applications, and had to turn
down many performers as well for the shows. Registration was steady
and consistent all the way throughout the year. Vending was sold out
in a hot minute. We could have made it bigger, offered more classes
and space, but I decided we still had room to grow in other ways, and
it was important to keep everything to scale. I'd rather have an
overflowing PB&J sandwich of goodness than too much bread and not
enough filling. Year 5 was a huge success. I couldn't have asked for
better.<br />
<br />
But personally, as I moved from 2015 into 2016, I
sensed something different in my gut, and I hunkered down to analyze
it. <br />
<br />
I knew the event would be successful, both in concept and
financial success. Truth be told, Waking Persephone has been an
event that has been designed to and has paid for itself since Year
One. I don't create events with the specific goal of making money on
them, but I do build them in such a way to pay for themselves. The
feedback/response from participants also proved that it was on track
and appreciated.<br />
<br />
The gut-feeling was from a different source.
I had managed to produce events while my life was falling apart and
rebuilding itself. But in the past couple of years, my artistic,
spiritual, and personal life has been expanding in new and amazing
ways. Coming into this year's event, I've spent a lot of time
thinking, talking with my partner, my mentors, and the coordinating
staff of WP. So yes, I had reached this decision before this year's
event came to be. But I refused to change the feel of the event by
announcing the hiatus for 2017. I had friends recommend that I
announce it to “fill the classes more” because other events that
had announced it was the last year saw a boost in attendance. WP
doesn't work that way. You come because you feel the need to come
regardless. You came because you were called to come, by your own
guts and spirits. We also unanimously agreed that it wouldn't be the
same for anyone else to take the helm. I've been told again and again
that WP is the event it is because of me. I believe it's because of
you as well. <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNCTYlWpGsT3jqP-S6-k6gmigvZKKJNmRZVslgZs_1tFC59qEQHIFhBEG7Uv-_tyMXk2MdpONxtNQlFz5_moZe2Yx6rjbG5WpLnQ-hvCER8LpNwB9sGNchta6AvAg23F-cfhOzyakAKzRM/s1600/wpfirstyear.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNCTYlWpGsT3jqP-S6-k6gmigvZKKJNmRZVslgZs_1tFC59qEQHIFhBEG7Uv-_tyMXk2MdpONxtNQlFz5_moZe2Yx6rjbG5WpLnQ-hvCER8LpNwB9sGNchta6AvAg23F-cfhOzyakAKzRM/s400/wpfirstyear.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>A collection of faces who were at both the 1st & 5th WP</i></td></tr>
</tbody></table>
I know that some folks thought that surely after
I saw how hugely successful this year was, that I would change my
mind. That for every person who told me how awesome it was, and what
it meant to them, it would change my mind – like the pattern of the
earlier years. But no. The resounding answer when I asked myself
the same question was a loud “NO” from the root of my being. But
that didn't stop the beautiful words from both filling and wrenching
my heart, leaving me desperately trying to hold it together with a
smile. <br />
<br />
The last thing I want to do is let anyone down, but I
understand that some will feel that way. I also need you to
understand that I want you all to be inspired and happy. I want you
all to have a community to call home. I believe in what I have built
and I want to see it continue to build. I want to see the beauty
that will grow from what's been rooted. But I am being called to
rest from producing, at least for this year or so, and I am asking you all to
respect that need. <br />
<br />
Right now, I can't promise anything except
to say that I don't believe I'm killing the event and I won't say
that 2016 is the last year. Trust me, when you've been producing
events for nearly 20 years, it's a hard habit to kick. But since the
beginning I have said that the name “Waking Persephone” holds two
meanings – sometimes we are awakening her, and sometimes we
celebrate her as we put her down to rest. <br />
<br />
A single event
cannot be home. Not in this economy, not in the shifting state our
dance community is in. We desperately need more people to build
little homes everywhere that are inclusive, accepting, open to
communication, preserving tradition while innovating and allowing
room for creativity and celebration -of both the individual and the
community we build. Amongst the staff, we've discussed releasing a
vision statement (or manifesto if you will), as well as guidelines to
consider in helping to build the community in different ways. <a href="https://www.facebook.com/groups/736600199692505/?qsefr=1" target="_blank">As that comes together, we will make it available on the website and facebook groups</a>. <br />
<br />
It has not been an easy thing for me to come to this
decision. I want you to know how much I appreciate every single
person who has put their own energy into WP in their own way. Words
cannot fully express the love and gratitude I feel. <br />
<br />
I think
this is an opportunity for all of you who believe in the vision of
Waking Persephone to step forward. I am definitely open to helping
and guiding these ideas to continue however I can. We all have eaten
from the pomegranate, the seeds are within us.<br />
<br /></div>
Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com5tag:blogger.com,1999:blog-7797722657144934304.post-46113752560417131592016-08-24T12:28:00.000-07:002016-08-24T12:34:42.391-07:00Consume or Create? <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj08KCTjdt2QO0dRkZYzq6pUK11WtwD5ryigyf1GE1AzP4Ergzy4MmgMjiXf7ry8RTYQ4SYyhWFdaENaW9f4ZdJYn0upS5QQRpQo7NHgZUlNc3ye-JW9No5p8ZXA9LDuFTUIeFierlpaMkY/s1600/12074830_1637902869813837_573082389251082892_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj08KCTjdt2QO0dRkZYzq6pUK11WtwD5ryigyf1GE1AzP4Ergzy4MmgMjiXf7ry8RTYQ4SYyhWFdaENaW9f4ZdJYn0upS5QQRpQo7NHgZUlNc3ye-JW9No5p8ZXA9LDuFTUIeFierlpaMkY/s400/12074830_1637902869813837_573082389251082892_n.jpg" width="400" /></a></div>
<br />
<br />
<div style="text-align: center;">
<i>"If we focus more on the end result - the product - more than we do on the process, we teach ourselves and others how to consume instead of how to create." </i></div>
<br />
The quote above is a thought that came to me yesterday while discussing visual art, but it is applicable to all art forms, including dance.<br />
<br />
It's not entirely accurate to say that bellydance originated from folkloric social dances that became stage dance much more recently. I think if we consider what the emergence of dance in civilization looked like, we would find the revelation and emotion of movement - the pleasure of not only doing it, but also watching it. And when most of your waking life is dedicated to surviving, time to dance often becomes relegated to times of celebration and sacred rites - and in some cultures, combined with fitness and combat training. In these situations, being a dancer wasn't a hobby or pastime, but more about a valued profession that helped to sustain the culture. <br />
<br />
<br />
As we gained more time for leisure, and economic structures changed, dance as performance became entertainment that was available to all of society in many places. (Dance as entertainment for royalty and the very rich emerged much earlier, as they achieved that leisure first.) Dance became more about being a means to make a living for general performance: for putting on a show without the strict context of celebratory or sacred rites. <br />
<br />
I think in the last few decades especially, there's been a distinctive overall shift in how we consume bellydance. It's moved from a market as a show for the general public to a "by dancers for dancers" market. And while there has always been famous bellydancers (often recognizable by non-bellydancers), personality cults emerged, with more and more focus on performing, and especially the glory of being the performer, emulating and imitating the icons. Selling the image and opportunity be like, look like, dance like the star. <br />
<br />
As we built events for ourselves, the festivals became centered around the opportunity to showcase one's performance - not to the larger public, but to other dancers. Hours spent trying to call-in to get a precious spot at a big event for a few minutes on the stage - or hoping to get the best spot at the applied event so that a career may be launched. Crafting and calculating what would make you stand out or catch people's attention. So much stress, focus, and importance pressed upon a few minutes that could mean everything or nothing at all. Or did it? <br />
<br />
I'm not dissing performing here - if you've read my blog at all, you'll know that I believe that powerful, beautiful, and amazing things can happen in a performance - for both the dancer and the audience. But as I <a href="http://darklydramatic.blogspot.com/2016/07/the-navel-gazing-bellydancer.html">said in my last post</a>, so much focus on the ego aspect, and not the growth suffocates the art. We're talking here about the artistry of the dance, not the artistry of ego-stroking. Worship of ideals and personalities leaves many in the dust, questioning their inspiration, their bodies, and their emotions. <br />
<br />
I am also not talking about glorifying the process. Spending countless hours in the studio and many many dollars on certification only matters to the clock and the bank accounts in the end. It's not the consuming that solely makes the dance, it's the dancer. Education and practice are vital for growth, but it's not the completion of them that guarantees the success, but the desire to keep growing and not having a specific end-game. <br /><br /> So back to my quote. Is it more important that we learn, or more important that we perform? Of course, in order to really perform well, we need to learn - but how much are we valuing and understanding the importance of continuing education? By selecting classes not just because we know the teacher's names or they are our friends, but by choosing topics that will challenge us, and finding new ideas presented outside of our circles. Do you go to a festival to show off and maybe be spotted by so-and-so star, or do you go to grow and to find yourself? Are we teaching our students that performing is the end-all, be-all? Are we focusing more on fame than function, form, and substance? Are we watching dance to be inspired and find our own voice, or as a fantasy to be that other person on stage? <br />
<br />
The true beauty and art of dance is not about accolades over a specific moment of performance or marking time in the studio, but the ability to truly create dance as you in every moment of your life.<br />
<br />
Some performance thoughts:<br />
<br />
<a href="http://darklydramatic.blogspot.com/2016/02/what-is-your-dance-for.html">What is Your Dance For?</a><br />
<a href="http://darklydramatic.blogspot.com/2011/08/captive-audience-understanding.html">A Captive Audience: Understanding the "Performing" part of Performing Arts</a><br />
<br />
<br />
<br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com0tag:blogger.com,1999:blog-7797722657144934304.post-58549939849278141632016-07-29T10:39:00.000-07:002016-07-29T13:06:57.321-07:00The Navel-Gazing Bellydancer <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFL2QZYHFbSa9SIjA6GMPxGRVxfGMJ3NaGQnGFQnfn04rkhTOhe3gI1Z3QSfrd8It3b7dhkmpdMF7cdl4yw9UHFkoa7slGlxGCIlj_9oAvONBvTLuFu1vySN7ctWLZkcfrr0W_-FtSdVRt/s1600/391A6503-de.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFL2QZYHFbSa9SIjA6GMPxGRVxfGMJ3NaGQnGFQnfn04rkhTOhe3gI1Z3QSfrd8It3b7dhkmpdMF7cdl4yw9UHFkoa7slGlxGCIlj_9oAvONBvTLuFu1vySN7ctWLZkcfrr0W_-FtSdVRt/s320/391A6503-de.jpg" width="213" /></a></div>
Let's be perfectly honest - no one got into bellydance with the singular, primary aspiration of being a cultural ambassador.<br />
<br />
You came to bellydance because you saw someone perform and wanted to try it, or noticed a class being advertised and thought it sounded like fun - or wanted a different way to exercise. It had cultural allure in the sense of either being something exotic/unusual, or it was a way to connect with your own roots. Or a friend talked you into it.<br />
<br />
And then you stayed because it satisfied something inside of you. It made you happy, it gave you something to focus on, it challenged you, it brought new friends into your life, or strengthened old bonds. And hopefully, in the process of becoming a bellydancer, you learned more deeply about the cultures surrounding it, and fell in love with them as well.<br />
<br />
In the beginning, it was all about you, and ideally in the end/in the process/journey, it became something larger.<br />
<br />
In my generation of dancers - and by generation, I don't specifically mean by age, but rather those who took up dancing in the late 90's/early 00's - I have noticed a similar trajectory. We all seemed to be missing something in our lives, and bellydance was the game-changer. Many of us were (and are) some variation of geek and/or goth: passionate nerds. This was an activity we could do that not only energized our bodies, but stimulated our minds and filled our spirits - as we were those little kids hooked on hieroglyphics and myths of ancient civilizations. It had roots, it had meaning, and it made us feel beautiful and that we belonged somewhere. Despite the fascinating theories that several researchers have put forth - the fusion aspects of bellydance (particularly gothic), were not a response to tragic world events (war and terrorism), but the natural blending of ourselves with the art we loved. We were drawn to bellydance because it represented something beautiful, and something a bit dangerous. And that danger wasn't linked to the cultures the dance originated out of, but the danger of being a sensual woman in control of herself - or with tribal, the danger and power of a group of women working together. Not unlike the allure of supernatural entities such as vampires, witches, etc that cycle in popularity. <br />
<br />
It infiltrated our lives, changed them, changed us. Upwards of two decades later, our lives taking drastically different paths than we ever imagined (in the realm of location, careers, relationships, families, etc), we look at the dance and wonder about what it means to us now.<br />
<br />
I remember one time in my first year of classes, I was waiting for a friend to pick me up so we could go to class together. (I think my car was in the shop.) And for some reason, at the last minute, she couldn't make it - and since it was such a late notice, I would never make it to class in time via the bus. I bawled my eyes out, it meant that much to me to go to dance class.<br />
<br />
In the years that followed, I continued to go deeper, striving to become a professional performer - you can go back years in this blog to read about that journey with all of its trials and tribulations. Looking at the overall arc of the journey - and comparing it to those of others in my dance generation, there's a definitive pattern.<br />
<br />
We got into this dance for what could simply defined as "selfish" reasons - we got into it for us, hoping to find ourselves (not even knowing we were lost). But that's the right kind of selfish - exploration of art that leads to a journey of discovery and revelation, to something bigger than ourselves. In the process, we built (or re-built) ourselves up, fell in love, and learned to grow and share. We found that the dance is more than us - it's the cultures that it comes from, their history - ancient and living - and that we should respect them through learning and performing with context. It's the community that is formed around the dance: what we share, teach, and give each other through the dance. It's the education of the body, of the people, of the senses.<br />
<br />
We may have started out dancing for ourselves - to become masters over our own bodies, to feel beautiful, powerful, and special, to experience the magic of the stage. But over time, to keep dancing, we had to find a different meaning to keep it going. To dance for yourself only when performing for others is a one-way energy flow that's not sustainable. But when you dance to share, to express, to inspire, and to find common ground, suddenly there's a fountain without end. Dance is an art, and art is about communication. Dance is not a monologue. A performance is a conversation, and the best conversations involve listening from all involved parties - including the dancer. <br />
<br />
When I ask myself why I dance nowadays, I do it because in the performance of it, I'm creating and engaging in a dialogue that can't be expressed in any other way. Whether it's part of a live music audio-visual experience, or for 7 minutes of recorded music, I'm bringing the audience into my concept of "church." I'm sharing with them everything I have learned, and inviting them into it. The performance isn't about or for me or my ego, but the exchange that happens in the space between us.<br />
<br />
I teach dance and produce events because I believe in the transformation that happens when someone learns to dance - and the community that is built when you focus on cultural education and foster a positive environment for everyone.<br />
<br />
In the larger picture of things, as we face a shrinking community, a type of Ice Age - we all need to do a bit of navel gazing in the sense of examining why we are here. What do we get out of the dance, and what do we GIVE back to it? If you're looking for fame and fortune, you're not in the right place, and you're not building anything for anyone, not even yourself. Are we here to share, to learn, to express? How much are we willing to change or grow to invigorate the dance? How willing are we to let go of old ideas and unhealthy habits that hinder growth? Are we asking ourselves about the ratio of appreciation versus appropriation and understanding WHY that does indeed matter NOW. <br />
<br />
I often remark in my classes that the navel is the "ear" in which we "hear" the audience through. It's where we receive energy and cycle it through - and it's time to stop looking and start listening. <span style="background-color: white; color: #1d2129; line-height: 19.32px;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span>
<span style="background-color: white; color: #1d2129; line-height: 19.32px;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span>
<span style="background-color: white; color: #1d2129; line-height: 19.32px;"><span style="font-family: "times" , "times new roman" , serif;"><br /></span></span>
<br />
<br />
<br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com3tag:blogger.com,1999:blog-7797722657144934304.post-35018950291656739592016-06-24T13:11:00.001-07:002016-06-24T14:41:07.903-07:00Your Next Dance Move <div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOup8gdND0zNyWYGWd5AR0BheYOwm_K8Y8-k3vXr9Siu5XItLBWGgpXCcbxSKLOWrfCYxH6M6J_9G-fJJggen8A2pKQ3TbIVW-ThOqUedix7nqINGiUILn-BmRmH5JSwgUJKn3VIXQuPcZ/s1600/391A8970-de.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOup8gdND0zNyWYGWd5AR0BheYOwm_K8Y8-k3vXr9Siu5XItLBWGgpXCcbxSKLOWrfCYxH6M6J_9G-fJJggen8A2pKQ3TbIVW-ThOqUedix7nqINGiUILn-BmRmH5JSwgUJKn3VIXQuPcZ/s320/391A8970-de.jpg" width="213" /></a></div>
Where do we go from here? That seems to be the question on a lot of people's minds.<br />
<br />
It's been over a year since I wrote <a href="http://darklydramatic.blogspot.com/2015/02/welcome-to-toilet.html" target="_blank">this piece</a> expressing my cumulative observations on the decline of the bellydance economy, and the rest of the year I spent writing about exploring possibilities, considering our community and our artform, and overcoming terrible things.<br />
<br />
In retrospect, I've spent a lot of time through the years writing missives and sharing thoughts and ideas in my workshops and events. I've been a main voice on the forums and threads defending fusion, trying to build the bridge between tradition and innovation, advocating respect on both sides, trying to open up a dialogue. In 2008, I remember a distinct point where I said to myself, "If it's going to be called Gothic Bellydance, it'd better be Gothic and it'd better be Bellydance" - and consciously moved forward on building a better understanding of the roots and elements of fusion - for not only myself but those I teach and reach. And through it all, trying not to have a <a href="https://en.wikipedia.org/wiki/Cassandra" target="_blank">Cassandra </a>complex about it.<br />
<br />
At a recent bellydance festival, two of my workshops were mini-intensives that included discussion: one involved the history of Gothic bellydance, which lead to where we are now. The other was about developing personal style, which also found its thread reaching to where we are now. And I realized I have been a lot more gentle online than I am in person about this stuff. Probably because it's very easy to be misunderstood online, when you can't see my face and hear my tone (and see my hands) -not to mention so many people skim versus read comprehensively nowadays.<br />
<br />
So I'm saying fuck it, here are three of the biggest issues facing the bellydance community and ideas about what to do about it:<br />
<br />
<b>The Younger Dancer & Cultural Consciousness</b><br />
For the last several years, the oriental dance community has been trying to tackle the issue of cultural appropriation vs. appreciation, and it seems finally that more folks in the Tribal Fusion scene are starting to do the same. Directly related to this issue is the severe drop in popularity of bellydance among younger people. Sure there's been a social shift in how younger people schedule their time, how they take on new practices/ideas, but the number one thing I am hearing from young dancers - and other young people who are possibly interested in bellydance - is that they're wary of its connection to cultural appropriation.<br />
<br />
The younger generation is both globally minded and extremely socially conscious. Add to that the fervency of internet backlash with people eager to point "You're doing it wrong!!!" without ever opening up an actual dialogue or offer solutions on what is "doing it right", and you have people who are afraid to walk into a potentially big steaming pile of mess. I can certainly understand not wanting to come under that sort of fire from your peers and people you don't even know. No one wants to be embarrassed or yelled at. I also suspect that other culturally-linked art-forms may also be experiencing a similar decline for the same issues. It's not going to change without two things:<br />
1) the eventual middle-ground balancing of public outcry on social issues, where instead of the extreme sides yelling out each other, more people have effective communication in the middle of it, to reach understanding and exchange information.<br />
2) the bellydance community as a whole works on continuing to improve respecting its roots through cultural outreach, grounding instruction through that cultural lens, and focusing on teaching and presenting appreciation vs. appropriation. It means re-evaluating some things, and change is never easy, but there's room for it.<br />
<br />
If you're unsure of what cultural appropriation is, there are many articles, blog posts, and threads going on about it. <a href="http://darklydramatic.blogspot.com/2015/12/the-heart-of-darkness.html" target="_blank">In a nutshell, are you stripping the dance from it's roots entirely, or addressing them? </a>Are you consciously fusing or doing whatever you feel like without considering the outcome? Are you listening to feedback or ignoring it? Are you making money off the dance without respecting it?<br />
<br />
<b>Innovation Starvation:</b><br />
When's the last time you saw real innovation that was based in bellydance? Not a costume, not a prop, not some other dance form with an undulation thrown in. Innovation isn't about doing some crazy to stand out, trying to out-do each other far above the atmosphere while leaving the roots behind. Not someone copying some other glittery star with a slight twist of eyeshadow, but true personal style, new thoughts being evolved, while still rooted in the source? There's a few newer dancers on the horizon, but a lot of what I've seen lauded as the next big thing is just another emulation of something else - at least for now. Innovation means having strong personal voice and style that isn't quite like any other one person.<br />
<br />
In the oriental/traditional community, there's certainly some interesting folkloric trends evolving out the culture itself, and the main sticky point is who's allowed to teach it first, who got there "first." I see the former point being rooted in cultural trends/developments, and the latter about who gets to benefit from the market - which leads to other issues we'll get to shortly.<br />
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With the demise of the largest Tribal/fusion festival out there - and many smaller events folding/retiring, I see a lot of folks wondering "Where do we get our trends from? Who do we follow?" Having watched the development of fusion over the last 17 years, I think it could be a blessing in disguise, because I feel the boom we experienced both blessed and damned us in many ways. It's time to look both inward and everywhere for inspiration. Ask yourself what do you want from your dance, what inspires you to dance - not just <i>who</i> inspires you.<br />
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What happens when you study from only a handful of "names" who all take from the same creative bin? Not much room for new growth. Innovation happens when you pull from very different boxes, and find what works for you, and it takes a long time to develop, like fine wine. That means studying outside of your immediate discipline, exploring new (to you) teachers and styles. And realizing that performing does not equal studying.<br />
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It also means creating community, which means going to classes and events, and interacting with other students and teachers. The more you open your circle, the more you learn, the easier it is to find your own voice and get proper feedback as well from. Which in turn means, when you innovate, you've got a solid sounding board to work off of, versus working in a vacuum.<br />
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We've already got enough copies, let's see some originals. Working towards real innovation will be integral to reaching outside of the bellydance microcosm.<br />
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<b>Getting Out of Our Microcosm</b><br />
How many events and programs are geared for dancers by dancers? How many shows are we now performing to just ourselves? Not there's anything wrong with that, but we're not expanding the pool of people seeing our art-form if we're advertising exclusively to ourselves. We need to be considering how to expand to a larger audience: how to market to them, how to get them to the shows, and then get them in the classes. Who are you targeting with your dance and why? Who would be interested in finding out more.<br />
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Then, if we are performing to the general public, what are we presenting to them? Are we being specific about what we're presenting, or just throwing whatever we feel like at them? For example, over the last several years, there's been something of a trend to perform in more and more casual clothing (and I'm <i><b>not </b></i>talking about folkloric presentations). There are many reasons for it: budget, comfort, modesty, etc - but there's also a helping of "not knowing better" meets a touch of "lazy." It's a lot of work to get all of the make-up on, and bedlah can not only be expensive but also really darn uncomfortable....but when we present our dance to the general public, we not only need to make sure the proper information is being put out there via an emcee or program, but that we're following professional stage protocol - for all dancers. The thing about all performance arts - they're about selling the fantasy, the power of the experience. I am not talking about selling "oriental fantasy" but rather the stage appeal of someone seeing an art presented beautifully and saying to themselves "Wow! I'd love to do that too." <br />
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As teachers, it's not only about teaching students a choreography - and the roots of the music and movements they are doing, but also how to look professional on stage. Sure, there are folks who get into bellydance just for fun or for fitness/health, but that doesn't mean not caring about proper presentation. We need to instill in our students a respect for the stage and the work involved to getting there - and that it takes more than 6 weeks to get there.<br />
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So for the next show you plan, consider not only the importance of what you're putting on the stage and how you're doing it, but who are you seeking to put into the audience and how to reach out to them.<br />
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<b>In Conclusion:</b><br />
In learning and loving this art - and wanting to see it flourish, we need to consider our own personal responsibility to ourselves, to the dance, to the cultures it comes from, and those we present it to. We need to be ever-learning, ever-thinking, and ever-exploring. We need to treat ourselves, our teachers, and our students with respect. So what's your next dance move?<br />
<br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com7tag:blogger.com,1999:blog-7797722657144934304.post-13244060822588971672016-04-05T14:01:00.001-07:002016-04-05T14:01:37.855-07:00Dance: At the Ocean's Edge<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Sunset (Diamond) Beach, North Cape May, NJ</td></tr>
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When I am able to visit my beloved Atlantic Ocean (and the temperature allows), I love to take off my shoes and immerse my feet and ankles in the shorebreak. As each little wave comes up to my legs and swirls around them, my feet disappear into the sand, becoming one with the beach and redefining the shape of each wave as it flows and ebbs. Sometimes I will advance forward and immerse my whole being in the water, and other times I will stay transfixed by the breakers, taking it all in. <br /><br />I grew up with the ocean, and no matter where I travel, the Atlantic is an integral part of my being. I don't have to be submerged or swimming to enjoy the ocean fully. I can fill my soul by watching the waves, feeling it touch just a part of me. I can breathe in the salty air and enjoy viewing surfers and swimmers go the extra mile. When I'm hundreds or thousands of miles away from the sea, I can still feel it inside me, hear the surf tumbling, the sparkle of the sun or the moon upon its surface. No matter what changes have gone on in me, in my life, the ocean has always there been there, waiting.<br /><br />In that liminal space between land and sea, I find a similar existence with dance.<br /><br />I find so many of my friends who found the dance about the same time I did, have been struggling with the question of what does the dance mean for them? When is it time to let go and move on? All those years, emotions, and finances invested in the pursuit of the dance...is it a sunk cost? Are we different now, will it ever be the same? Is the spark cooling until it extinguishes, or will it flare again? Something else is requiring my attention or fueling my inspiration, so is there an end?<br /><br />If we keep with the ocean as our metaphor for dance: sometimes there's too many people at the same beach, and they're too loud/rude/obnoxious/polluting and spoil your experience. Or maybe there's no one else there, and you don't want to swim alone. Sometimes you just really want to hike in the desert or go to the woods. Sometimes you're tired of sand in your shoes and the salty air drying out your skin - or you get waterlogged and need to dry off. Or you had a scary experience - a near drowning - and you need time to heal and recover.<br /><br />Here's the thing about the ocean (and dance) - it's all OK. You can take a break, you find a different ocean, you could chose not to visit it at all. You can sell the beach house AND still come back to visit. Basically, there doesn't need to be any ultimatums. You don't have to make any hard and fast choices. You don't need to announce to anyone your intentions. You don't need to tell the ocean (the ocean doesn't care, it's the ocean...ok, well maybe the ocean spirits will care.) To those that you visit and swim in the ocean with, you can simply say, "I don't feel like being in the ocean right now, I need some time away" and leave it at that.<br /><br />All relationships change, and that includes the relationships we have with certain activities. For many of us, finding dance was/is about finding ourselves in some way - control over our physical being, emotional and spiritual health, and something to immerse ourselves in. It is/was a safe place, an outlet, an opportunity, relief from a difficult situation, a means for expression. Then it got/gets us past that point, we grow and change, and our relationship needs to be redefined, reconsidered, renewed. It's natural and most importantly, to be expected. It may mean not teaching or performing, or participating in certain events. It may mean the style of dance will change, or a break all together.<br /><br />There is nothing wrong with any of these things. There is no need to feel guilty or obligated. (Staying attached to something because you feel obligated or guilty is about the worse thing you can do for you/them.) Follow your inspiration, follow your heart, and happiness will follow you.<br /><br />You don't have to say to the ocean, "I am breaking up with you forever." The ocean knows forever. You, on the other hand, do not. You never know what path could lead you back there.<br /><br />Even if your toes aren't touching the ocean, it's still there inside you.<br /><br /><br /><br />
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<br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com1tag:blogger.com,1999:blog-7797722657144934304.post-30860815252945806612016-03-29T10:44:00.001-07:002016-03-29T11:05:47.412-07:00Yes Dance. <div class="separator" style="clear: both; text-align: center;">
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When you dance, whose approval are you looking for?<br />
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Is it the accolades of the general audience?<br />
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Is it confirmation from your teacher or peers?<br />
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Is it acceptance from the culture the dance originates from?<br />
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As a performer, it's important to address the audience and connect with them. As an active learner, it's important to both give and especially receive constructive feedback to advance your journey. When you take on an art form, you acknowledge its cultural roots, so it's vital to do the research and present your work respectfully.<br />
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Yet while these are all good places to desire feedback from, they offer little in the way of supporting and sustaining the one person's approval you need the most: your own.<br />
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Over the years, I've seen a lot of dancers perform with the main focus to get the high off of feeling special and shiny. It seems to work great when the audiences are large and appreciative, but when the crowd is small, or more interested in their dinner, the pay doesn't balance the effort, or other dancers seem to get more applause, it creates an internal chasm and the dance loses its magic. The satisfaction of good dance can't come only from likes, zaghareets, tips, and clapping. It doesn't sustain or allow for growth.<br />
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Then there are the teachers who get off on power, recognition, and control, and others who only teach because they see it as the only way to make money off of dance and get stage time. The former wants you to crave their approval, for you to idolize and obey them in order to sanction your dancing. They don't want you to advance, unless it serves them well. The latter will give you lip service, but don't really care who you are or what you do. Narcissism abounds and never fosters.<br />
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The cultural perspective is significant and a worthy goal, but it's impossible to get universal approval and acceptance. Opinions and baggage vary from group to group, region to region, class to class, and of course personal experience.You can make yourself batty contemplating cultural appropriation and the place and status of the dance in various cultures. It can lead into a downward spiral of "why even bother?"<br />
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And what hurts me is that as I'm writing this, I know that as many of you read this now, you can think of one example from above (or all/multiple ones) of people you have encountered in your journey. People who have stolen the joy of the dance from you or those you know, who have left a sea of doubt, pain, and sadness in their wake. Sometimes that person is you, yourself.<br />
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Which is why I'm saying to you, when you dance, you need to dance first and foremost for YOU. You need to give YOURSELF approval and validation for dance. Regardless of your age, race, class, shape, size, or gender, the only person you need permission and acceptance from is yourself. Stop comparing yourself to the newest, hottest thing out there. Stop trying to be someone else on stage or in class. Don't gauge success by the amount of applause or likes. Don't judge yourself harshly because you don't fit someone else's paradigm. Don't play into the hands of cliques, clubs, and personality cults. You won't find validation anywhere else. <br />
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The message I'm trying to get across is NOT "go do whatever you want with the dance and screw everyone else." Also, while I do believe in "the only dancer you're competing against is the one you were" - which is meant to mean "eyes on yourself, stop comparing yourself to others" - the thing is, it's not a competition at all. We're all aging, and life is constantly throwing curveballs in the forms of illness, injury, family, work, etc - so that self-comparison can start to get quite cruel and create more guilt than good. It creates another kind of downward spiral that can kill dance dead.<br />
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Dance because it means something first and foremost to YOU. Dance because it makes you feel good in your body, in your soul. Dance in the bathroom, dance in the kitchen, and in your yard. Dance in front of thousands and dance in front of no one. Dance because you wish to, not because you feel obligated. Dance to lose yourself and dance to connect to others. Dance because you want to, when you want to. Dance to find yourself.<br />
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When you say yes to yourself, yes to your own dance, you will find the power comes from within you and grows outward, inspiring not only others, but yourself.<br />
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Blessings on your dance.<br />
-Tempest<br />
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<br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com4tag:blogger.com,1999:blog-7797722657144934304.post-14709051693712068822016-02-19T14:17:00.001-08:002016-02-19T14:23:07.460-08:00What is your dance for? <div class="separator" style="clear: both; text-align: center;">
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Coming out of PantheaCon this weekend, being on tour and performing for two weeks, and months of contemplation about the place of dance currently in my life (+ discussions with friends feeling in the same place), I feel like I've reached some clarity. There's nothing quite like teaching movement to a wide variety of very different people who find something new in it - and in their discoveries, I find my own root.<br />
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Dance is a tool, a gateway, a journey, a method. Solely unto itself, it is a means to connect the body and mind. It is a neutral element. But how you use and apply it can lead to healing or hurting - of both body and mind.<br />
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You can build up self-esteem and confidence, repair and reclaim your body, find a new form of expression, and make new connections with others - and yourself. It can empower you, invigorate you, challenge you, guide you to overcome obstacles, and help foster growth on a multitude of levels.<br />
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Or it can be used to build Ego, to hide insecurities and shortfallings, viewed as a means to an end versus as a continual process, and overworked to harm the body. It can be used to exploit, to separate, and to exclude. In excess the body could exceed the mind, or vice versa causing real damage to both.<br />
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For years, I have challenged my students to consider <i>why </i>they dance before they perform it. If performing is a dialogue between you and the audience, it makes a difference if you know what you're going to say and why. But even if you're not performing, I believe it's important to think about why you dance.<br />
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When it comes to dancing, I don't care how young or old you are, how large or small, which gender or sexuality you identify as, what your origins are, how long you've been studying the dance, what style you dance, or how well-known or "famous" you are or aren't. <br />
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I care that you come to the dance sincerely, foster it as best as you can, and support others. <br />
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I care that you are kind to yourself and to others, regardless of all of the separations, groupings, and labels. <br />
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I care that you don't put unrealistic limitations on yourself or others because of age, weight, shape, style, or gender. <br />
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I care that you want to learn, grow, and share - and I am honored to be part of such a journey with any dancer.<br />
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If you're in this dance solely for "fortune and fame," to build a following for your ego, to use and exploit others so you can feel powerful or pretty or pretend to be superior, I don't have the time, space or energy for you. And I won't make the room for you anymore.<br />
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My dance connects my body and spirit, and in turn allows me to share that unity with others in a way that is different than how I express with my art or my words. It's that wordless experience that goes beyond style, technique, costuming, physical shapes, or branding. It's what drew me here in the first place, and it's the connecting with others - through both performance and instruction that makes dance important in my life. <br />
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Why do I dance? I dance because I'm interested and invested in the beautiful unknown that happens in the space between my own dance connection and yours - and the world of discovery within and beyond that space, manifested through culture, music, spirit, and understanding.<br />
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Blessings on your dance journey.<br />
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<br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com1tag:blogger.com,1999:blog-7797722657144934304.post-39558998582748514172015-12-19T17:39:00.000-08:002015-12-19T17:39:42.031-08:00The Heart of Darkness<div class="separator" style="clear: both; text-align: center;">
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In the last few weeks, I have unfortunately witnessed several individuals making disparaging, bigoted, fear-mongering, and racist remarks about Arabs and Muslims*. While people displaying their ignorance and hate on social media isn't anything new (alas) - what really and truly upset me was that in their own photos and posts, showing them dripping in Afghani/Kuchi jewelry, Egyptian fringe, while laying on Berber and Persian textiles, these people claimed to also be bellydancers. <b> From a variety of styles. </b><br /><br />That pretty much broke my brain. I don't see how you can claim to teach and/or perform this dance, decorate yourself and your living space in objects originating primarily from Arabic and Muslim cultures, and make money off of it, while totally trashing the people largely responsible for all of it. <br /><br />Whether you're doing Turkish, Egyptian, ATS, Tribal Fusion, Vintage Oriental or Fusion, the roots are clearly there, and when you study and practice a dance, you are (or should be) acknowledging where that dance came from. Even if you want to claim the fantasy that this dance was done thousands of years ago in temples to honor Isis, Ishtar, or Inanna (which it could have been, we have no way of knowing for sure either way) as a way of divorcing it from the modern culture, you're wearing costuming and jewelry, and decorating with objects made by people LIVING in that culture right now. Who are not terrorists or extremists, and are just trying to get through life with as little hassle as possible.<br /><br />Even if you claim that all of your stuff is made here (be it the Americas, or Europe, or anywhere NOT the Middle/Near/Far East), that doesn't take away the responsibility of cultural responsibility.** Here in the United States, we don't just study only American History - there are mandatory curriculum classes in World and European History. Why? Because it's important to know these things, how everything and everyone evolves, and how we are all interconnected globally. So the same is true for modern fusions of the dance - know the evolution, know the roots, respect them.<br /><br />Which brings us to a very hot and relevant topic in bellydance right now - cultural appropriation, a phrase that often causes hackles to raise - and with good reason on all sides. <br /><br />First, let's look at the definition of the word <i>appropriate</i>, which in this application means: "to take to or for oneself; take possession of, or to take without permission or consent; to seize; expropriate; to steal." Now, notice the difference in definition for the word <i>appreciate</i> - "to be grateful or thankful for; to value or regard highly; place a high estimate on; to be fully conscious of; be aware of; detect: to raise in value."<br /><br /><b>To appropriate is to disregard or disrespect the origin of something, while using it for your own gain. To appreciate is to acknowledge and respect the origin, while raising positive awareness for it through your actions. </b><br /><br />I would rather be guilty of cultural <i>appreciation</i> than <i>appropriation</i>, wouldn't you?<br /><br />There are those out there using the tagline of "cultural appropriation" not as a means to open up a dialogue (which should be the intent right?) but to draw attention to themselves, as in "I'm pointing out the wrong, praise me for showing how wrong these people are, I did a good thing, and you should totally vilify them." That's about operating a personal agenda, not raising social awareness and sensitivity - and that sort of tactic tends to bruise more than it heals. It's frustrating, and it's the easy way out, because it is much more scary and difficult to open up a conversation with the Other. We can get comfortable behind our screens - but so much more good can be done face to face. (<i>And yes, I realize the inherent irony here of a blog, but I definitely work on practicing what I write about in "real life.") </i><br /><br />With that said, it's vitally important for bellydancers to listen, understand, and address these concerns. When someone raises the cultural appropriation flag, we should not look at it defensively as someone yelling at us "You need to stop dancing!" but rather ask ourselves, "What are we doing to honor this dance?"<br /><br />It is also very important for us to understand what and how the younger generations see us. As I have mentioned earlier on in the year and last year - there is a decline in younger students. One of the many reasons for this is that young people are far more culturally aware and sensitive now than ever. They don't want to be involved in something that seems offensive and outdated. So we must ask ourselves, "Are we aware of how we are representing the dance?"<br /><br />So that solution part I mentioned earlier? Regardless of what style you dance, understand it's definitive connection to both Arab and Muslim cultures. The least you can do is be respectful of those cultures - and the most you can do is immerse yourself in learning about them, from classes to travel abroad, or within your hometown. Reach out to help with refugees through donations or services, be an advocate against hate speech. Learn, know, and respect the roots of your dance by treating those people as you would wish to be treated. That's human thing to do.<br />
<i><br />*I specifically say "Arabs and Muslims" because not all Arabs are Muslim (they can be Christian, Jewish, Atheist, or whatever), nor are all Muslims of Arabic descent (Turks, Pakistani, Indian, Indonesian, Caucasian, etc). Hopefully this is not a newsflash, but from the state of the Internet, it seems a lot of folks don't understand this.<br /><br />**Most bellydance imports today are made in North Africa (Egyptian, Morocco, etc), Turkey, India, Pakistan, and Indonesia. I can guarantee for you that the majority of those workers aren't Christian white folk. </i>Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com10tag:blogger.com,1999:blog-7797722657144934304.post-5918538935744419792015-11-27T15:09:00.001-08:002015-11-27T15:09:22.203-08:00The Real Safe Haven <i>“Surely all art is the result of one's having been in danger, of having gone through an experience all the way to the end, where no one can go any further.” ― Rainer Maria Rilke,<u> Letters on Cézanne</u></i><br /><div style="text-align: left;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKhNthCjW_IEU0Ay3DNGqYrxCH0wELAYZTRSOWPGQwSrfdyv3NLC6nW1003UmBDSH2ugTjfbcnWblnUe9DBaUbrV-20IY704TSmKnnoodH0kR7exodIcy0KG2b6MVPah_27BSNh29GpDD9/s1600/stage.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKhNthCjW_IEU0Ay3DNGqYrxCH0wELAYZTRSOWPGQwSrfdyv3NLC6nW1003UmBDSH2ugTjfbcnWblnUe9DBaUbrV-20IY704TSmKnnoodH0kR7exodIcy0KG2b6MVPah_27BSNh29GpDD9/s320/stage.jpg" width="320" /></a>A little while ago I noticed a fair amount of folks throwing around the concept of "the stage as a safe place for our art." And it really puzzled the heck out of me. In fact I am pretty sure I made <a href="http://www.hark.com/clips/nkjgjfqpxm-scoobys-aaaarug" target="_blank">this sound.</a><br />
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I credit my years of art school training with instilling within me the concept that the studio/classroom is a "safe" place to learn and grow, but once it goes out to the gallery, anything can happen. You can practice your technique, charter your concept, execute your theory as much as you want, but once it goes out to the public, it's largely out of your hands how people will respond. So it's not "safe", and by the nature of it, is actually extremely risky and full of danger.<br /><br />Which I think therein lies in much of the source of stage fright. Sure, you're afraid you're going to mess up, but much of the fear has a lot more to do with doing it in front of a whole bunch of people, and not knowing how they will react: the unknown frontier. We know this to be true through our own experience as the audience - because of what we have thought when we have been exposed to other people's art on stage. <i>(Everyone's a critic right?) </i><br /><br />The stage and the gallery, these are not "safe" places. You can think you're hitting your target market and sympathetic audience all you want, but you have no control over what people think. Whether you're walking out on stage or hanging your art up on a wall, you are vulnerable. Whether it's your body as a performer, or your visual art, or the music you play - you become exposed. It is the nature of performing, of putting your art out there. We hope that we will be treated kindly, with insight, understanding, and respect - but we should also be aware of the diversity of human nature. It's hard to control who watches and comments on your videos and photos when you're trying to promote your work and get it out there. In order to become better performers, stronger artists, we have to accept those risks, process the feedback, and do what we can to protect ourselves in ways that won't hinder our growth or harm us.<br /><br />Which is why I'm a big advocate for making sure the classroom/studio IS a safe place. Because of the dangerous nature of the stage, the classroom must provide a positive environment to build better artists. It must come from a place of respect and understanding between <i>and </i>among teachers and students. It is important for students to feel comfortable enough to allow themselves to be challenged. It is vital for students to learn not only how to give but also how to receive constructive critiques.<br /><br />What I try to do to make my classroom a safe place, in no particular order:<br /><b>-Cut back on negative talk: </b>whether it's self-deprecation or gossip/gripes about specific people/events/situations, the classroom is not the place for this. There's no room for excuses like "I can't do" or "I didn't do that because" - instead we focus on how we can make it work.<br /><b>-Address students and others respectfully: </b>All of my students are on the same level, despite how long they have been involved or how long I know them. I may push the ones I know closely a bit more because I can see when they are not giving themselves a fair shake, but there are no "stars." I will also name folks I respect by name and why, but I'm not going name those I don't agree with like "Glitterbibi can't find a beat to safe her life." Instead, I will use what irks me to find inspiration on how to teach my students to do better. Students should treat other as well respectfully.<br /><b>-Balance general and specific feedback:</b> Everyone can use posture reminders. Telling my class to make sure their chins are up creates a meerkat experience in my classroom that is fun and effective, but I also look for gentle ways to address problems individual dancers have without them feeling targeted or interrupting the class flow too much. We work on critique exercises, including the infamous "crit sandwich cookie."<br /><b>-Communication:</b> I encourage my students to ask me questions and to come to me about issues and concerns. I also have signals for when we need to cut down on chit-chat and get to work.<br /><b>-Body/Age/Gender Positivity: </b>All sizes, all ages, all genders are welcome in my classes. I am sensitive to the fact that moves will vary visually from body to body, and seek to help each student discover how to make the most of each move on their frame with their skill level and ability.<br /><b>-We all Mess Up:</b> I acknowledge the fact that I'm a dork in other people's classes (and well, in my own as well). We all make mistakes, that's how we learn how to do it right. If we can take away the fear of "doing it wrong" in class, students have much more confidence when it comes to doing it right on stage.<br /><br />We can't protect our students from everything that could possibly happen on stage, but we can prepare them, and give them to the tools to be stronger performers. Which, if you think about it, makes them better audience members as well. Both elements in turn makes for a stronger, more supportive community that continues to elevate and empower itself.<br /><br />Lastly, while we understand the stage is NOT a safe place, we recognize that beyond the dangers lay the possibilities for growth, transformation, education, and inspiration. That it<i> is </i>a risk worth taking for the artist who wishes to surpass their ego for the sake of enriching their work, as well as those who will come in contact with it. Together we change.<br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com0tag:blogger.com,1999:blog-7797722657144934304.post-70347208317653402412015-11-12T17:13:00.001-08:002015-11-12T17:14:33.291-08:00What Lies Beneath<i>Now that another successful <a href="http://www.wakingpersephone.com/" target="_blank">Waking Persephone</a> has come and gone, and I'm back from being on tour, I'm starting work on a series of posts to help foster positive growth and stability within the dance community. This first post highlights things I said in the community roundtable, and recent workshops. </i><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja8J3e9z5XwkUai-muv1ppXChpDUVoKl9yJy2cowqjohj8AYvAnkbnVJkZoXIRqJkn2GVS7aTAmxJsJ7aSjJgEvyO46o1jNGIuBfXzFIPsrWCR3BYvkqMbbTeNLalC8KI52YVSVF7lQLgt/s1600/thinice.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja8J3e9z5XwkUai-muv1ppXChpDUVoKl9yJy2cowqjohj8AYvAnkbnVJkZoXIRqJkn2GVS7aTAmxJsJ7aSjJgEvyO46o1jNGIuBfXzFIPsrWCR3BYvkqMbbTeNLalC8KI52YVSVF7lQLgt/s320/thinice.jpg" width="320" /></a><br />
One of the many thoughts that ran through my head as I watched the chaos build, ebb, and spread online in mid-September is that these things were simply more rocks hitting an already cracked and compromised windshield, more bricks building on a crumbling wall, more weight on a thin sheet of ice.<br />
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To put it simply: the "bellydance community"* is not as strong as we'd like to think it is. A strong community knows how to properly and responsibly react to and handle problems. It knows how to provide adequate support, help foster resolution, and clearly communicate. It repeatedly sets up and holds to positive examples of professionalism while addressing personal needs. And if it doesn't know how to do these things, it learns how to do them in order to become stronger.<br />
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I believe it is very important to stand up against objectification and fight sexual misconduct. But in order to best address those and similar issues, we need to make sure we're already taking care of ourselves and each other solidly. There is a significant level of harm that is done by dancers to <i>each other</i> through slander, theft of intellectual property, undercutting, and other shoddy business practices. These very rampant issues cause much harm to our community - personally and professionally. But they are rarely dealt with head-on and more often ignored for the sake of the cult of personality or "being nice."<br />
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So what can we do?<br />
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It all comes down to communication.<br />
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Communication is the cornerstone of community. Good communication fosters growth, stability, and solidarity. Poor communication drives wedges, feeds negativity, and brews distrust.<br />
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It is very easy to get carried away with things we read online, misconstrue them, and feed into controversy. But more often than not, all of that can be avoided entirely with a few easy steps. Words can build and words can break, so it's up to us to use them effectively. So here are three points that can help us <i>all </i>build a better community:<br />
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<b>READ</b>. Practice comprehensive reading. Before you share an item or reply to something, read it. Then read it again. Then read it at least one more time to make sure you understand it. Then read what you wrote. And re-read it before you hit enter. <br />
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<b>ASK.</b> If you don't understand or unsure about something, ask. And by ask, I mean, politely, concisely ask for clarification. "Could you please explain or expand upon what you meant by ...?" Then read (or listen to) the answer and review. Ask can also mean questioning yourself and your own thoughts: exercising critical thinking. Why do you believe something to be true? Do you automatically agree with someone because they're your friend or your teacher, or disagree with someone because you don't know them or heard something about them? Why is that?<br />
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<b>BE DIRECT & OPEN</b>. This is probably the hardest part, but it definitely solves the most amount of problems. Women especially can have a hard time communicating with each other when they are afraid they may disappoint someone or make them angry. Or read much deeper into something beyond what was meant by it. Have a problem with a person? Respectfully address THAT person - not your buddy, not their friend, not everyone but them and vaguebook it. Instead, by being clear and upfront about concerns and issues, you can meet most issues head-on before they fester into serious problems. FYI - being direct does not mean having license to be an asshole. I have seen some folks be very abusive under the heading of "I'm just telling it like it is." Remember to address people respectfully (even if you disagree with them), and consider how to address the problem and works towards finding a solution.<br />
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Hinging on that note of respect, here's the other vital part about understanding community and making it strong: what do we ourselves bring to it? If communication is the cornerstone, we are the earth underneath it and the stones built on top of it. How stable are we? How much do we honor our own integrity?<br />
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It is very hard to treat others with respect if we don't do it to ourselves. How often are you self-negative about your own body and abilities? If you are very critical of yourself, it stands to reason you will be critical of others. Likewise, if you fail to have compassion for yourself, it's very hard to have it for anyone else. Everything we build starts with us, as individuals. How we treat ourselves often dictates how we treat others. And probably the hardest piece of advice on this whole page is "be kind to yourself."<br />
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By addressing ourselves and each other with positive intent and constructive thinking, together we can build a better community for all of us. Which means that what lays beneath the icing is some gloriously fantastic cake.<br />
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(Yes I'm ending this on a food metaphor when I started out with a construction one. Because cake.)<br />
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<i>*(I put that in quotes because there are many different groups and communities - regionally, stylistically, by troupes/groups/associations. You could say that the controversy mainly impacted the Tribal community, or that the Oriental community is more grounded - but neither statement would be entirely correct either. First of all, over 60% of dancers participate or work in multiple styles, so they're usually involved in multiple communities. Secondly, one merely needs to look at old bellydance magazines or recent forums to see there has been and is just as much drama in the Oriental/Cabaret scene, for decades. And also, the advice here can work for EVERY kind of community...)</i>Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com3tag:blogger.com,1999:blog-7797722657144934304.post-42428625752480799232015-09-23T10:06:00.000-07:002015-09-23T10:06:21.676-07:00It's Not "Us or Them." It's Just "Us." Today I need to make some steps to get back to some semblance of daily life. I want to say a few more things, and then I'm doing what I can to move forward in my own way.<br /><br />Everyone has a right to express their reactions, emotions, and feelings in the face of tragedy. Everyone is going to have their own healing process and timetable. Talking about healing doesn't mean it's happened, or should happen quickly. I don't know when things are going to be "normal" again, nor do I have all (if any) of the answers. <br /><br />As human beings, we are highly complex. Our backgrounds and experiences make us who we are, and that allow us to have different perspectives. The answers we are given are rarely the answers we want or crave. And that in turn makes us angry. This situation is far more complicated, and so there is no one side or two sides or eight sides. I can forgive and still be as angry as fuck and raw from in the inside out. I can talk about the hope of rebuilding without condoning the atrocities. I can only approach difficult situations the way I know how - with kindness. It may sound like an easy solution, but it's not. But once things are said and done, it's me I have to wake up with every morning. I'm the one who has to live with what I say to others and how I treat them. <br /><br />I have not only been deeply pained by the original issue, but the way I have seen fellow human beings treat each other because of it. Slandering, name-calling, and bullying in private groups and exchanges makes you no better than the individuals responsible for this mess. It's good to vent, but it's not good to abuse someone who has a different perspective than you. No one has all of the information, no matter what they claim. <br /><br />It's very important to stand up and fight against the injustices being done to us by "them." Words have power and can harm greatly - whether they are of a sexual nature or not. Abuse is abuse. <br /><br />We need to communicate WITH each other, not at or around. So much treachery has been done by dancers to other dancers behind closed doors, or by people claiming to support them. This in itself is nothing new, we've been doing it ourselves forever. We have all done it, and have it done to us. I made a conscious decision a few years ago to try separate myself from participating in that vicious cycle. It's not easy, but it's made a world of difference in my life. <br /><br />Your fellow dancers need you. We need your love and support. Stand up with us, not just for us. Ask us what we need, not just what you think we need. Be involved in building a healthy dance community that includes everyone, and where we work to solve problems by communicating, listening, and being kind. <br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com3tag:blogger.com,1999:blog-7797722657144934304.post-636594616805426602015-09-22T15:15:00.000-07:002015-09-22T15:23:29.535-07:00How Do We Heal? Looking for solutions when our hearts hurt. <br />
I look upon my dance community, and it causes me great pain to see and hear all of the anguish, suffering, and confusion. This dance is supposed to be about celebration, exploration, and expression. It should be a safe place for all to learn, grow, and share in. <br />
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I received notice that my own image was included in this controversy. I have not seen the images, but I don't need to - it doesn't change my anger and hurt over this. My heart goes out to my fellow dancers likewise directly or indirectly affected, and I appreciate all of those who wish to support us. I am deeply hurt, shocked, angered, and disappointed by actions taken by individuals in our community who claim to support us and our work. There is no excuse for such behavior, and wrong has been clearly done.<br />
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Having been a teacher, vendor, and volunteer at Tribal Fest for over a decade, I feel wrecked and raw. Kajira has been a close friend and mentor for many years, and has been there for me in times of need. I can't even properly express the amount of anguish I feel for her, and all of us affected - which really is...<b><i>everyone</i></b>. No one, it doesn't matter how many or how few, should be treated in the manners that were expressed. <br />
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I feel that I must make a statement about this situation for several reasons. I was not involved or consulted in the statement that went public on Sunday, and I don't feel comfortable letting other people speak for me or make actions on my behalf. My name and my word is my power. I want to talk about resolution, what is being done and what can be done to rectify this situation, what actions can be taken to further prevent these kind of activities and other dishonorable behavior within the community, and what sort of future are we building for our dance.<br />
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While I have not talked with any of the other members of the private group, I have spoken at length with Chuck and expressed my hurt and my anger to him in no uncertain terms. He was forthright in accepting his responsibility and apologizing unreservedly for his actions. But an apology doesn't remove the pain or make the situation go away. It is a step in the right direction, though - the first of many steps that he will need to undertake in order to properly make amends for his actions. I do believe he is truly sorry for his actions (and also lack there of), and that growth can come from this. Regaining trust and respect is going to be a difficult road and is going to take a long time - of that I have no doubt. <br />
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This past Tribal Fest was an especially powerful one for me. After years of working through difficult personal circumstances and professional drama within the community,TF15 truly felt like a homecoming. I feel like I was able to make peace with folks I have been estranged from, and I know others felt that way as well. So this tragedy makes that contrast all the more painful. Tribal Fest means so much to so many people, and has weathered so many changing conditions in the dance community. I believe it is possible to rekindle the spirit and beauty that is at the heart of the event, and get past this as well. I am willing to give Tribal Fest the benefit of the doubt, and lend my support to Kajira for reclaiming it as a safe, loving, and powerful space for our community. <br />
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<b><i>Our society is in a state of flux, where outdated and small-minded acts are being purged for a more equal, healthy society that fosters respect and understanding</i></b>. There are definitely some trees in our forest that need pruning, and I think we can do that without burning down the whole forest. I know that I, myself have made mistakes in the past, and have been granted the space to make it better - and I have extended this same courtesy to others. I believe in making amends and helping to facilitate positive change. I'm asking myself, those involved, as well as you, what are our next actions? What can we do to foster growth and healing, promote education and support, and strengthen our community? <br />
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One thing that I am doing to address this: In just a few weeks, the event that I produce, Waking Persephone, will take place for its 4th year. One of our features is our free, open-to-all community roundtable experience, where attendees can discuss problems, issues, and perspectives affecting them, and ask questions of their dance leaders. I am honored that Kajira is on our teaching staff this year, and I have asked her to address what has happened and be open to the community's questions and thoughts. I invite all attendees and the larger community in general to come and participate.<br />
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I am still absorbing the shock of all of what has happened, and it will take time to recover. I will do what I can to be available to my friends, students, and family, and I am very much interested in your thoughts and suggestions. My deepest hope is that the dance community will emerge out of this crisis even stronger, more beautiful, and more supportive.<br />
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Blessed be.<br />
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Tempest Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com17tag:blogger.com,1999:blog-7797722657144934304.post-22590686936199179432015-08-12T11:39:00.001-07:002015-08-12T11:39:12.626-07:00Core Concern: Why I Don't Film My Classes<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZFpBSADR6_c6C63mJiNx-1crsxA8Rx6jcRyE5NGIKh3ItH-ealv_eGeY5dSdygLZL-uRxuHXk53eYQGWUqXxaLe94KHaCsFZmE1BvzUquV4TfkxdlOHgaLDVstx36zHA90mJwZWZfkffz/s1600/10661986_10152317457786771_7846629535365009613_o.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZFpBSADR6_c6C63mJiNx-1crsxA8Rx6jcRyE5NGIKh3ItH-ealv_eGeY5dSdygLZL-uRxuHXk53eYQGWUqXxaLe94KHaCsFZmE1BvzUquV4TfkxdlOHgaLDVstx36zHA90mJwZWZfkffz/s320/10661986_10152317457786771_7846629535365009613_o.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>My home studio - photo by Geisha Moth</i></td></tr>
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I have received many requests to offer my classes online, to just please film my weekly classes and make that footage available. I truly feel for the folks who want to study with me on a regular basis, but live too far away or their schedule doesn't allow it. I love teaching, so of course I want to respond to that need. I am also aware that in this strange new world of the bellydance economy, a lot of workshop bookings happen because that teacher offered online classes.<br /><br />But I just can't do it. Why is that?<br /><br />It's not the technology. I have an excellent camera, an excellent internet connection, and there are a multitude of resources to help me get that footage out there.<br /><br />It's not the money. I work as an artist/dancer/designer full time, so the extra income isn't something to be blinked at.<br /><br />It's not the content. I have over two dozen workshop topics and offer 3 kinds of intensives, and I know the material is good and proven. And for those of you who think I'm amusing and fun in workshops...my weekly classes are even more so...and with cats.<br /><br />It's not quite the time either. I do have a very full schedule, so the obvious choice would to be film the classes as I'm doing it to make the best use of time and effort.<br /><br />So what's the deal?<br /><br />It's about respect.<br /><br />I respect my students, and endeavor to offer them a safe, positive environment to learn in. I recognize the fact that class is about the learning process: that you don't get it right on the first try, that you're going to mess up something you know quite well, and you want to be able to do that where you feel comfortable as possible and supported. My home studio is mirrored on 3 walls, and not a huge space, but we use it completely in a variety of formats throughout the class, so everyone would be in the frame of the camera regardless. And that's not something they need to be worrying about when they're spending their time and money with me to learn dance.<i> (It shouldn't be a surprise to most that my classes aren't made up of lined up drills and repetitive combinations - which are easy to film, but not what I believe in when it comes to teaching dance. There are other ways to build strength, muscle memory, and understanding of dance.) </i><br /><br />I also cater my classes directly to my students' needs. I'm not teaching the class for my sake, it's all about them. I invite my students to bring me their questions, concerns, and desires about what they want to learn. If something comes up in class, I want to address it and work with them, rather than worrying about sticking to a set syllabus, or worrying about the clock. They need to feel free to ask questions and get feedback, without an unknown audience watching.<br /><br />And online students can't get that level of direct feedback and interaction (at least not yet, maybe when there is real holodeck technology, and you could actually "beam" into the class, and interact like you ARE there), so that's another concern of respect. And if I can't give you personal feedback and response in class, you might as well be watching one of my <a href="http://darklydramatic.com/shop.html" target="_blank">DVDs</a>. Which happens to be what my students use to keep in practice when I'm on the road and unable to offer weekly classes. <br /><br />So what are your options if you don't live by me then? Well, obviously it's not the same as a live class for the reasons stated above, but both the <i>Bellydance Artistry</i> and <i>DecoDance</i> DVDs are a good place to start to work with my material. I do offer skype lessons, schedule-permitting, but the best things to consider are in-person opportunities. If you're traveling near Seattle (or I'm traveling near you), see about scheduling a<a href="http://darklydramatic.com/private-lessons.html" target="_blank"> private lesson</a>. An hour-long private lesson with me typically gives you at least a month or more of material to work on. Check to see if I am <a href="http://www.museumqualitydance.com/" target="_blank">offering any intensives</a> near you or if I am offering <a href="http://darklydramatic.com/workshops.html" target="_blank">workshops</a> at an <a href="http://darklydramatic.com/events.html" target="_blank">event near yo</a>u. Or inquire with your local event producer/promoter about hiring me for their next event - because as a producer myself, it helps to know about interest and draw concerning who to hire. <i>(Well, this turned into the shameless self-promotion paragraph...)</i><br /><br />Lastly, I don't offer online classes because our cats can't sign release forms.<br />
<br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com3tag:blogger.com,1999:blog-7797722657144934304.post-77336553989354197632015-07-23T17:30:00.000-07:002015-07-23T17:30:16.443-07:00Manifesting Dreams: Custom Orders - Part 1 - Being A Client<div class="separator" style="clear: both; text-align: center;">
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Over the last few weeks, I have found myself talking again and again with very different folks about custom orders - from both sides of the spectrum (as the provider and as the consumer). Discussing what worked, didn't work, and how to make it run more smoothly - because we all make mistakes, the key thing is to learn from them! I hate to see anyone have heartache over this special kind of transaction, so I decided to compile notes that can be useful regardless of which side of the process you're involved in.<br />
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<b><i>(For the purpose of this article, I will refer to the business/provider as the designer, and the customer as the client. For Part I, I will address things the client needs to know. Part II will discuss what the designer needs to know.)</i></b><br />
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<b><i>First, why choose custom work?</i></b><br />
-As a client, custom work means getting a product that is especially designed for your needs - whether it's a unique design (such as a logo), a portrait, song, or special work of art, clothing made especially to fit you. There's a thrill to have something made especially for you, that very few or no one else will have anything quite like it.<br />
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<b><i>What to know as client: </i></b><br />
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First, it's important to have a fairly clear idea of what you want. Most designers are not psychic or mind-readers, so they're going to need to know what you're looking for. Keep track of ideas you like (and don't like), and prepared to answer questions and give feedback.<br />
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<b>-Choosing a Designer: </b>Look for someone whose work/portfolio both appeals to you<i> and </i>is in alignment with your project. It's important that your project and the designer are a good fit. If you're looking at getting a full color logo digitally made, but your chosen artist does only black and white work drawn by hand, that's not going to work well. Likewise a designer who makes clothing specifically for large men might have a difficult time making a dress that fits properly for a petite woman. Also, if they do indeed tell you they don't do what you're looking for - don't take it personally. A good designer knows what they are capable of, and what they are not. Similarly, if a designer's portfolio doesn't reflect the kind of project you are looking for, but they say they have done that sort of work before, ask to see it/hear it/reference their client. Also, be sure to look for reviews or get feedback from other clients.<br />
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<b>-Are you compatible? </b>A custom order is indeed a kind of relationship, so it's important to feel you are able to communicate effectively with the designer. If you don't feel comfortable or understood, don't go there, no matter how much another friend or famous person may say they're awesome. Trust your gut! I have seen plenty of folks who have made names for themselves by getting their work seen/used by someone famous. Little does the "regular" person know that some designers often give away or sell their work at a discount so that it can be seen...then the famous person or friend wears it once or twice (if that's as long as it holds up) and boom they have a reputation.<br />
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-<b>Pricing:</b> Custom work can be expensive, and it can take a while, depending on the designer's schedule. First peruse their regularly available work and consider if the price matches the quality of the work. Many designers charge more for custom work, because it can take more time and investment of materials on their part to create your project. So expect to pay generally 10-30% more depending on what you're looking for, make an investment upfront, and for it to take some time for the project to be completed. Similarly, if a price seems too good to be true, it usually is.<br />
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-<b>Time: </b>And ah yes, timing. Deadlines are important, for both parties. Very rarely will you be the only client a designer has - and orders are typically addressed accordingly to access to materials, order dates, and other details. Work that is done by hand definitely takes longer to be done right, so exercise patience and listen to projected dates when discussed. If you are in a rush, let the designer know that before you place an order, and if they say they can't do it, don't push them. I would also suggest adding a 1-2 week buffer for your deadline. Confirm in writing or in a contract when the project needs to be done/delivered. If you say "oh no rush" or "whenever you feel like it" - some designers take that as a cue to keep pushing your order off when someone else has something more pressing. Or that you're not serious about your project. Yes, I know you're trying to be supportive and polite, but it's better to be specific.<br />
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Here I would like to take a moment to talk about the <b><i>almighty triangle of cost, quality, and time</i></b>. I first heard it when I worked in a high end frame shop and it applies to all custom projects. Out of those three terms, you could only choose 2 out of the 3 at any time:<br />
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Time + Cost = A project done quickly and inexpensively, but the Quality will be lackluster.</div>
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Quality + Time = A fantastic project delivered quickly, but it will Cost you more. </div>
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Cost + Quality = Great work at a reasonable cost, but will take a longer Time to finish.</div>
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Now that you've chosen a designer, and begun to work out the details, let's look at getting down to manifesting that project successfully:<br /><br />
<b>-Follow directions carefully</b>. Read all instructions, contracts, etc, carefully and repeatedly. Make sure you understand them and what is needed from you to get started. If not, then ask questions!<br />
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-<b>If you need help with determining size, color, etc - then get it. </b> Don't wing it - you will only be disappointed, and have only yourself to blame if you give the designer the wrong information in the first place.<br />
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<b>-Get ALL the requested information to your designer in a timely manner, in order to meet your deadline.</b> If you have a troupe of 12 dancers getting custom tops, and you only give the designer 10 of those sizes up front, and then 4 weeks later send along the other 2...and expect it all done in 5 weeks total, it ain't happening. Anything that involves physical materials and multiple steps - a designer MUST HAVE that information up front before starting. "I think they're a small" won't cut it, especially if you come back with a medium and a large. The designer needs to know how much material to buy (determined by the sizes), and then will cut all the pieces in one stage, then sew all the pieces together in the next, then embellish all the pieces, etc. Rarely with such an order will a designer make one piece at a time for a large order. It's a poor use of time and energy.<br />
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-<b>Be sure to get all of the details in writing</b>. Many designers will have a contract for you to look over and sign - which protects BOTH parties. If there isn't some sort of project order or contract, then compile an email that you both agree to all of the details on. "I'll remember what we talked about (6 weeks from now)" isn't the best way to do business!<br /><br />-<b>Material Girls....</b>When dealing with multiple orders/troupes, it's important to realize that a designer calculates how much fabric/materials are needed by the sizing, and typically work in steps....all the pieces cut, then sewn, then embellished...so providing two troupe member's sizes 3 weeks after placing the initial order...is typically pushing your order back 3 weeks. The delay is your fault, not the designer's. Likewise, if the project relies on you sending materials, do so promptly and be sure to follow up with the designer that they have received it. If there is going to be leftover material, outline whether the designer should keep it or send it back to you.<br />
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<b>-Expect to pay a deposit UP FRONT</b>. Personally, my project deposits are typically 50% of the total cost upfront. As a designer it means that my client is serious about their project, understands the terms/contract, and I have the means to invest in any necessary materials for the project. Other designers may charge another percentage or a flat amount for a deposit. The client pays the remaining balance when the project is ready to be delivered. Also note, additional changes may cost you more (again, read the details), and shipping or tax may not be included in the initial project total. Be sure to work these details out in advance so you're not surprised. I also would recommend exercising extreme caution regarding anyone who asks you for the full amount up front. Consider the balance as an incentive. If for any reason YOU decide to cancel the project or can't pay for it after it has been started/contracts signed, then expect to lose your deposit. It's only fair for the work the designer has put in. Similarly, if a designer fails to work on a project or deliver it within the time discussed, they risk forfeiting the deposit.<br />
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-Lastly,<b> remember that poor planning on your part does not constitute an emergency on the part of the designer.</b> Be realistic in making your choices, exercise clear communication, follow directions, and you'll be on the way to manifesting the best outcome for your custom order!<br />
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<br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com0tag:blogger.com,1999:blog-7797722657144934304.post-50916381559236318542015-06-22T12:43:00.003-07:002015-06-22T12:56:10.520-07:00The Cure For The Common Clone <div class="separator" style="clear: both; text-align: center;">
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It's one of the truths of evolution: diverse roots make for a stronger gene pool. <br />
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Continuing on our exploration on how to keep moving with the changes with the bellydance economy, I wanted to try and tackle something I have heard a lot of folks comment on over the last few years: the homogenizing of dance styles. More specifically, personal style being overpowered by cloning/copying - meaning that X, Y, and Z dancers all look like A dancer - moves, make-up, music, costuming, facial expression - mostly devoid of their own personal sparkle in the equation.<br />
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<b><i>But wait! All artists must learn from the masters, and they learn by copying! </i></b><br />
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Yes, but as an artist transitions from being a student to being a professional (on their way to being a master themselves right?), they are expected to start producing their own unique material. And if you copy from only one style of master (say the Impressionists), then you're narrowing your educational base severely. Also, learning isn't about only picking to study what you like. There are plenty of art movements/styles I don't personally like, but I still needed to learn about them. Why? Because having a strong foundation means having more to choose from as I grow - that I understand the history, the rules - and how they were broken. <br />
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No matter how much I may love the artwork of Andrew Wyeth, if I put up a show of consisting of paintings copied directly from his work, but presented it as my own at a gallery, it wouldn't fly. I could use a similar style of painting, approach to light and subject matter, but the imagery and expression would need to be entirely me. So students copying their favorite dancers and trying the material out at recitals and haflas, or dancers presenting choreography as a homage to a certain dancer (with permission/fitting a themed show) is one thing - but if you're claiming to be a professional dancer, you'd better be presenting your own work. The same is true for teaching.<br />
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<b><i>But wait! There was such an explosion in the dance community over the last 15 years - more teachers, more access to material, online videos, more shows, more workshops, more festivals - shouldn't that mean more diversity?</i></b><br />
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It could, but booms also mean that things move faster than perhaps what is best - so more teachers with less training, more performers without proper backgrounds, more and more events produced by folks without experience or focus, etc - essentially leading to over-saturation. And as the economy continues to get more precarious, event producers have been more likely to to hire names that they may think will guarantee their investment - but even those names will stop selling out their workshops when all of the events seem to have the same names, and there are less students to go around. And if the majority of those names all have the same background/style, then the students are essentially learning from the same genepool, producing more of the same.<br />
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How was it different 10, 15, 20+ years ago? Fewer events meant that there were less chances to study which means taking advantage of that event when it happened in or near your town. More often than not, those local events also only featured one or a few teachers, versus a large roster festival (destination event!), so the producers cycled instructors and styles taught every year. So no matter what style you learned from your weekly instructor, you got an infusion of something different a few times a year that definitely impacted how you saw the dance.<br />
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Weekly in-person classes - another changing creature. DVDs and online classes are great for on-demand instruction - and exposure to diversity (if you make those choices) but you're not going to get the same level of feedback (if ANY - cause if one of my DVDs starts giving you feedback, it's probably possessed...) one gets in a weekly class. <br />
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Another factor is the Combo-Nation. ATS, ITS and assorted TS variants are based on a system of codified combinations devised to allow for cohesive group dancing. While different troupes can surely come up with their own combos or "accents" on existing combos, the system is still inherently based on clearly identifiable moves that are performed for a set number of beats, counts, etc. Not that there is anything wrong with that in itself, but when a dancer decides to branch out into dancing solo (which was at the root of Tribal Fusion when it started), it can be very hard to break out of using that system. Another by-product of that system is the tendency to override the music - while a combo could be fast or slow (and therefore applied to fast or slow music), unless it was crafted and choreographed for a very specific section of that music, it can rarely capture all, let alone even some, of the nuance of the music, if it has to be in so many repeated counts with certain movements. If the dancer hasn't been immersed in how Arabic music works and the art of improvisation without relying on combinations, something special is lost in translation when they move into a soloist format. <br />
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But if that's what all the community/audience has seen and accepted as bellydance for the last decade, it unfortunately becomes the standard. And folks like to follow what's popular - it's safe.<br />
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<i>(Here lies the ironic situation of now being that cranky older dancer going "damn kids, get off my lawn! that's not bellydance!" which is pretty much what I heard 15+ years ago bringing Gothic Bellydance on the scene. Is it the same? Not quite, because we mostly understood what rules we were breaking back then, and had the foundation. The drama was more about fear of dark concepts and looking weird making it "not bellydance" verus not understanding the music, improvisation, or cloning someone else.) </i><br />
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So what am I doing about it?<br />
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I am very proud of the fact that of my students who have gone on to be professionals - none of them look like Tempest-clones. (If you see such a thing, it is most likely someone who hasn't studied with me personally.) How/why? I teach foundation of music, movement, and culture alongside fusion concepts. I encourage them to dance and dress to what suited their bodies and personalities. I recommend other teachers and workshops for them to study with. And I'm always studying myself as well - never stop learning! <br />
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I produce bellydance events designed to introduce them to concepts beyond what I offer - particularly <a href="http://www.wakingpersephone.com/" target="_blank">Waking Persephone</a>. I have designed WP to be an event that offers any style of dancer a complete experience that gives them a buffet of choices. I have heard some ill-informed snarkery that seems to think because we don't have certain "big names" in our line-up, that we're somehow poorer for it, or didn't have "connections."<i> (insert maniacal laughing)</i> As if hiring a famous dancer was some big elusive mystery <i>(it's not) </i>or that I haven't been an internationally-hired teacher/performer for at least a decade now and didn't know pretty much everyone <i>(I am and I do)</i>. Nope. I could build the perfect formula event based on the usual model, but I'm not interested in that. The point of WP is to focus on folks who are doing things differently, who you may not have heard of already (but should get toknow), and to give established folks a chance to do something they're really excited about, but rarely get to offer. It's essentially an exercise of the Anti-Popularity Game. It's rather risky because we're going against the grain, but the results make it oh so worthwhile.Every year, we help more dancers find their own personal styles, learn to speak with their own voices, and grow their foundation. That is pure win.<br />
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<i>(Yeah, that was some shameless self-promo, but this <b>is</b> my blog.)</i><br />
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So worried that your dance feels like something from the Bellydance Borg? Here are some things to consider:<br />
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<ul>
<li>When was the last time you took a weekly class? If that's not available, how about a workshop? How about a private lesson?</li>
</ul>
<ul>
<li>When was the last time you took a workshop with someone you hadn't heard of/outside of your style? Next event, check out the OTHER names on the list and sign up for something different.</li>
<li>If you're coming from a TS/TF background, be sure to study some Oriental/Cabaret, and in particular, learn more about Arabic music.</li>
</ul>
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<ul>
<li>Add to your practice some free-flow taqsim (no combos), for 1-3 songs.</li>
<li>Costume for your own body and for your own personal tastes.</li>
<li>Want to see someone different at your local event? Let the producer know!</li>
<li>Consider what it is you want to say with your dance - because you should be saying something, in your own voice. </li>
</ul>
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Raq on folks!<br />
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Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com0tag:blogger.com,1999:blog-7797722657144934304.post-57048896765951897112015-06-15T16:10:00.002-07:002015-06-16T17:16:35.592-07:00A Tribal Fest History & Homecoming<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">2015 - Photo by Carrie Meyer</td></tr>
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<i>(A little late in posting this - but have been on tour for the last month, so not much time to collect my thoughts! And there are a lot of them...)</i>This year marks 13 years of attending <a href="http://www.tribalfest.org/" target="_blank">Tribal Fest</a>. The only ones I have missed were the very first one and Tribal Fest 14 (last year - as <a href="http://www.nathanieljohnstone.com/" target="_blank">the band </a>was hired to play at Steampunk World's Fair in NJ - which is alas, always the same weekend as TF - but we did make a 2 week tour of it!).</div>
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My journey into the world of bellydance came via a friend's recommendation that I check out this amazing troupe she had seen performing at a San Francisco street fair. That troupe was <a href="http://fcbd.com/" target="_blank">Fat Chance</a> and even in the way back early days of the internet, I found myself going down a fantastic rabbit hole of pictures, articles, and discussion threads. I read (and re-read) numerous articles and interviews by <a href="http://blacksheepbellydance.com/home/" target="_blank">Kajira Djoumahna</a>, author of <a href="http://blacksheepbellydance.com/tribal-bible/" target="_blank">The Tribal Bible </a>and founder of United We Dance (which evolved into BlackSheep BellyDance). Through following her work, I found out about the first Tribal Festival that was about to take place - in some place called Sebastopol, California. A recent college graduate, supporting 2 on an hourly wage as a gallery assistant and having no idea of how to even financially manage a trip to CA, I felt miserably stuck all the way in Rhode Island, unable to attend this mystical event.<br />
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<tr><td class="tr-caption" style="text-align: center;">2015 - Tish, Nathaniel, and Tempest</td></tr>
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So you can bet your binti bells, when I moved to the Bay Area of California the following November, Tribal Fest was top of my list! When TF2 rolled around finally, the same friend who had introduced me to FCBD and I set off towards Sebastopol to see what it was all about. The drive up was a comedy of errors, including getting ourselves trapped and detoured by the Bay to Breakers run and the infamous 101 traffic - but we did eventually make it up there that rainy afternoon. I remember being overwhelmed by the amount of beautifulshiny things for sale and the amazing performances.<br />
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And after that, every year, I have been involved in some shape or form - first with performing and vending, and then adding teaching to the list a couple of years down the line, organizing gatherings (the first Motif in 2007, and live music afterparties at Aubergine) - as well as helping out graphic design in some shape or another. Through Tribal Fest I have studied with amazing legends of the dance - and shared the stage with them(!), met countless wonderful people from all over the world, shared my ideas with fantastic students, my designs and art with even more folks. I have encouraged so many folks to attend, including dragging friends out from the far reaches of the East Coast! And even when I moved all the way back East in mid 2007, I still trekked out every year from NJ or RI - to be reunited with my extended bellydance family.<br />
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Though I also have to say, it wasn't all butterflies and hipdrops. As I advanced along in my dance journey/career, the vibe started to change for me - I think around 2007. There are so many factors contributing to that feeling over the next 6 years that it's unfair to place the weight of it on one thing in particular. Instead a culmination of personal issues stemming from relationships, a feeling that there was more of a focus on "what's cool/popular/how weird" by performers/audience than of "what makes good bellydance," making for a stressed greenroom and terrifying stage (unless I was dueting with <a href="http://www.anaar.info/" target="_blank">Anaar</a>, then everything was peachy), less of the super friendly folks from the midwest/east coast attending (due to the rise of some really great events out those ways), dealing with other people's drama llamas, and the stress of having a vending table directly in the auditorium - as it got more and more crowded each year, and the show grew longer hours. (Not ideal for an introvert who relishes quiet.) The mix of all these things made my experiences bittersweet - there were things I truly still enjoyed, but I was also stressed about a lot of things too.<br />
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<tr><td class="tr-caption" style="text-align: center;">The Decision - Photo by Geish Moth</td></tr>
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When 2013 rolled around, being in a new and healthy relationship - and moving to an outdoor vending spot made a huge difference in my outlook. I was focusing on being more positive and putting negative experiences in the past. However, a few of the folks I encountered weren't on the same page, and that was extremely disheartening. So I have to confess to being a tiny bit relieved when we were booked for the east coast in 2014. But it was definitely weird being surrounded by steampunks instead of dancers for that weekend - and watching friends post TF photos of everything that was going on! I felt displaced.<br />
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With an invitation to teach in 2015 and the theme of family reunion, I wondered how this year's experience would be. How would it differ from previous years? How would the changing bellydance economy effect everything? How would it go with some of the "usual suspects" missing? I mentally tried to brace myself for it all.<br />
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<tr><td class="tr-caption" style="text-align: center;">Didi and Tempest in the Green Room</td></tr>
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And you know what? <b> It was WONDERFUL. </b>Not only did it have all of the sweet parts from years before, but there was an overwhelming positive vibe surrounding everything (at least to me). Vending went extremely well - probably due to the new <a href="http://www.magodjinn.com/" target="_blank">Mago Djinn</a> line and focusing more on my <a href="http://www.owlkeyme.com/" target="_blank">artwork</a>. My workshops were well-attended with enthusiastic students, and I felt great about my performance (which had felt a bit risky coming into it). But what really was the icing on the cake was all of the positive interactions I had with so many people - old and new faces alike. On one hand, there were so many new folks, coming to Tribal Fest for the first year - and they brought their excitement with them! (Hilary from PA gave me several beautiful flower crowns over the course of the event, that she handmade from the local wildflowers ;)) On the other side, there were long-term folks reaching out, and starting new positive threads. And other folks in my close circle of friends also reported the same. This news lifts my heart so much on what it means for the bellydance community in general.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt7V-xaZcSS07lo473Ph1woEHmj-GUSi1ebqlYd6TF2EGftM4F3JgZy53szrmKqI5IyBW10xaZFxC2fmwT4TpIurbQ3bydEPYXg2oBz_EwSrTajHSmh5EVap50vGFfdckbzd1xAuyW9e6t/s1600/11108203_658384967627226_546627294506154685_n.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt7V-xaZcSS07lo473Ph1woEHmj-GUSi1ebqlYd6TF2EGftM4F3JgZy53szrmKqI5IyBW10xaZFxC2fmwT4TpIurbQ3bydEPYXg2oBz_EwSrTajHSmh5EVap50vGFfdckbzd1xAuyW9e6t/s320/11108203_658384967627226_546627294506154685_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Mago Djinn/Owlkeyme Arts Booth</td></tr>
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Some of my favorite moments: watching the <a href="https://www.youtube.com/watch?v=5Ckt4pnwmpw" target="_blank">opening ritual with Guedra Blessing</a> with Amel Tafsout, catching some of our <a href="http://www.wakingpersephone.com/" target="_blank">Waking Persephone</a> teachers perform, spending time with old and new friends, doing some incredible shopping at the <a href="http://tuaregjewelry.com/" target="_blank">Tuareg Jewelry</a> booth (I may have sold my soul to Terri, but I am OK with that), hanging out with <a href="http://www.geishamoth.com/" target="_blank">Geisha Moth</a> and making use of her special lounge area, and lots of good discussions with fabulous people.<br />
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And I'm stupid excited already for next year. I really am! If you haven't been to Tribal Fest yet - or perhaps haven't been in a while, then I would seriously consider coming in 2016. And the theme has a sci-fi twist to it: "Dance Long & Prosper" - what's not to love? I think it's going to be a blast!<br />
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Lastly, here is my performance, music is <i>"When The Wolves Return"</i> by <a href="http://www.egolikeness.com/" target="_blank">Ego Likeness</a> - thanks so much to Donna and Steven for letting me dance to it before it was "officially" released:<br />
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Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com1tag:blogger.com,1999:blog-7797722657144934304.post-31458370660773858692015-04-24T21:19:00.001-07:002015-04-24T21:29:28.820-07:00Healing The Hater, Part IWhy do people hate?<br />
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Sometimes hate is born of a grudge or past transgression -and serves as a form of protection (though doubly barbed inside and out) - but most of the time hatred is rooted in misunderstanding, fear, and insecurity. Hate tends to be something we learn from someone else - hearing what family or friends say as we're growing up, what we hear down the line from peers as adults, etc.<br />
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As human beings, we are given to fearing or mistrusting that which we find unfamiliar or different from ourselves. There's an underlying drive to feel part of a group, to feel accepted and familiar. Then there's a point in our development of self and personality where we can find excitement in the unfamiliar and embrace the different - or absolutely abhor it. Perhaps it's a vestige of a survival instinct or really a matter of personality (nature vs. nurture) - but in modern-day society, the sense of difference tends to pare down to "does that make them better or lesser than me?" If one is fully secure in one's own self, that question never even comes to the surface. But that's not such an easy state to get to either.<br />
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I want you to think about someone you extremely dislike or disliked in your life. Think about how it makes/made you feel to be around them, to have to interact with them, or hear someone mention their name/talk about them. You most likely felt a mix of anger and anxiety - a bad feeling from your chest to your gut - and perhaps panic as well. Not a nice way to feel, is it? But at least it would tend to go away after the experience was over, for the time being, though it probably left you feeling a bit dirty. Like that feeling corrupted your peace of mind and body, and left a residue. Not very healthy is it? Hate is essentially raging an energy war that flares up every time that you run into that person.<br />
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Now imagine if those same feelings and energy weren't directed at another person, but instead at yourself. And not just you as a person, but a particular part of your body. Perhaps that body part doesn't fit within society's so-called standards of "beauty", or maybe it doesn't function as well as it used to. Maybe you were fine with it until somebody made you feel ashamed about it. Whatever the reason, it falls into this category of being "Other" - something that is a part of you that makes you devalue yourself. <br />
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It's a part of you, and it's not easily going away. Which means you have declared war on yourself - on some level, you are constantly throwing that negative energy at YOUR OWN SELF. Which isn't a healthy state to exist in emotionally, mentally, physically, or spiritually.<br />
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In the many years I have been teaching dance and traveling all over the world, I have found no shortage of dancers who hate something about themselves, especially while they are comparing themselves to other dancers. I have heard "well, I can't dance until I....(fill in the blank with some sort of body-related issue)" - which often means, they're not dancing at all. Or they're constantly going through cycles where they are dancing/not dancing - and often fighting more health issues along the way. Further compounded by our healthcare system that tends to treat the symptoms, but not the source.<br />
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Right now you may be saying, "Oh Tempest, sure I get it - now you're just saying if I throw 'love and light' at myself, all of my problems will go away...NOT." <br />
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Nope. I'm not saying that, and those who actually know me, know I'm not all "love and light and fluffy bunnies." Well, I'm all about fluffy bunnies. Because bunnies! But I don't believe throwing glitter at problems makes them go away - that's pretty much the treat the symptom, not the cause all over again.<br />
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What I'm talking about is taking some time with yourself and examine the root of your self-hate. Stress often manifests itself in a variety of very physical issues - affecting your digestion, your skin/hair, your weight, etc. And if you're throwing hate at those parts, it's not going to make them get better. That's like trying to get a plant to flower while giving it acid instead of water, darkness instead of sunlight, and a smaller pot versus ample room to grow. Instead, the cycle will continue to spiral downward, and take you with it.<br />
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If you find that stress is at the root of your issues, I very much know that it's not easy to simply remove stress from your life, but there are always ways to change/improve the situation - if you really truly want change. Sometimes it requires serious, big change - but if that's what makes you healthy and happy, then it'll be worth it. <i>(Personal example - from about 2009-2011, I was losing my hair, or at least the hair on my scalp, and the doctors had no clue why. They just had shampoos, tonics, lotions, and talk of biopsies to offer me. I realized I was deeply unhappy and in a relationship that was unhealthy for me that I couldn't make any better. It took a great deal of pain and change to start a new life...but within weeks of that, my hair started growing back, skin issues cleared up, etc. That was the start of a new journey, a new me...)</i><br />
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But maybe it's a learned behavior that's the problem. A feeling that your body or part of your body is too big, or too small or doesn't look "right." Someone made fun of you, someone said you weren't pretty/beautiful, that you were fat or flat-chested. First, why are you letting someone else's opinion (rooted in their own insecurity) determine YOU? Secondly, compared to whom?? How you are put together is what makes you, YOU. Celebrate those parts that make you up while focusing more of what makes you special. Every person has a feature that someone else wants, EVERYONE. <br />
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So for this, I'm going to propose something you may find silly, but trust me on this. I want you to make a little altar or shrine to you (or to that body part/system), and start to be NICE to it. Every day. You can put affirmations in a jar, buy flowers, have a pep talk - anything that is positive. True, it may feel silly, but consider where you have been - this is essentially the opposite. This is the fresh water, sunlight, and space you were denying yourself. This will change your war to a truce...and possibly get you on the road to being friends again with you. And that's where everything good begins.Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com4tag:blogger.com,1999:blog-7797722657144934304.post-48759427307777643072015-04-01T09:58:00.003-07:002015-04-01T11:15:28.717-07:00Temptress's Coffeepot: 10 Secrets of How To Achieve Bellydance Fame & Success...*Looking for the fast track? Here it is!*<br />
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1) Haven't studied dance for very long? It's ok - you can mix a whole bunch of unrelated things together and call it fusion! Nobody will ever be the wiser, and you'll look super cool.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4NPj967LBEjkTuWt14IxW0eHaHqgeLQATSt7JapYNSA3ebFpbQa3vqcNRo3b_YsxywoGx-AFZ7LJiL96E0HxIufNIgusM5wYkFP0g4uwLY6D7Y1y0i9NyDm2fcDipqEhK4afIEVQkDbqP/s1600/belly055.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4NPj967LBEjkTuWt14IxW0eHaHqgeLQATSt7JapYNSA3ebFpbQa3vqcNRo3b_YsxywoGx-AFZ7LJiL96E0HxIufNIgusM5wYkFP0g4uwLY6D7Y1y0i9NyDm2fcDipqEhK4afIEVQkDbqP/s1600/belly055.jpg" height="320" width="203" /></a>2) Still worried that your moves aren't up to snuff? Make sure to wear a bra that doesn't fit properly - whether it gives you sideboob, the cups aren't big enough, or the straps are too long, nothing will take the audience's attention away from poor technique like boobs that may burst out at any moment. (For guys, this means wearing costuming that may reveal your prince at any moment, and/or which religion you could be.)<br />
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3) You know what else the audience loves to see? Your crotch and various shaving habits. Nothing makes an evening of dance quite like a good shot of your crotch sans underwear. Woohoo! Or is that hoo-ha? Bonus Tip: be sure all of your backbends are done with your crotch aimed at the audience.<br />
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4) Practicing with your prop is overrated. Props are just things to distract the audience anyway and keep them occupied. Bonus points if you have never even picked it up prior to going on stage before.<br />
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5) The height of theatrical proficiency is dropping your veil in the smack center of the stage...and then trampling over it several times during the course of your performance. Exert your dominance over that veil! And then be sure to bend over to pick it up with your butt to the audience for that final view of you.<br />
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6) You don't actually NEED to study any other forms of dance you are thinking of fusing into your performances or costuming. A half-hour of watching Youtube videos should cover it. Who really wants to learn about appreciating culture and history? In fact, you can learn everything you need to know about bellydance from 6 weeks of classes...and then start teaching it!<br />
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7) Don't ever undercut for a performance - unless it's for exposure, then that is totally OK. Similarly, it's totally OK to bitch about people undercutting you for performing meanwhile supporting businesses that knock-off small community designers/artisans, and/or promote sweatshop work. Also, don't forget to try and bargain down the services of photographers, musicians, and costumers - don't they KNOW who you ARE?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ2zuNR95Cn7tWibc0owHiBlWzgbHYOKevXJZpDl7ch7FG-GkwtUTjh5lYjELddCC7cBqq-k4eEf4LAuvYyNjNsNadLb04d7HLHPg1xT4WYD4qs2TOqjWsoAy0YNp2DbAzWd6eL1qkjT9V/s1600/egyptian021.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ2zuNR95Cn7tWibc0owHiBlWzgbHYOKevXJZpDl7ch7FG-GkwtUTjh5lYjELddCC7cBqq-k4eEf4LAuvYyNjNsNadLb04d7HLHPg1xT4WYD4qs2TOqjWsoAy0YNp2DbAzWd6eL1qkjT9V/s1600/egyptian021.jpg" height="320" width="197" /></a>8) On that note....Want to be seen as a big-name? Treat everyone else around you like peons - they will assume you have greater abilities and load reverence and respect upon you. Because of course all the big-names must be divas. Disrespecting everyone else is how you get up in the world.<br />
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9) ) When you get into the dressing room or green room, spread your stuff over EVERYTHING. Yeah, there's 20 other folks who need to get in there too, but you got there first, and everyone will respect you for claiming your territory so gloriously. Obviously you are VERY important!<br />
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10) Lastly, whether you have already performed or are waiting to go on, do NOT pay attention to whomever is on stage. Be sure to be extra loud in talking to your friends, extra snarky, especially near any video camera. This dance is all about you anyway.<br />
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<i>(*complete title is: "10 Secrets of How To Achieve Bellydance Fame & Success In All The Wrong Ways" - Happy April!)</i><br />
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Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com1tag:blogger.com,1999:blog-7797722657144934304.post-57161799394372530712015-03-25T12:12:00.000-07:002015-03-25T12:12:36.620-07:00The Eye of the Beholder<div class="separator" style="clear: both; text-align: center;">
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When you watch a dancer, what are you looking at and why? What wows you the most?<br /><br /> Have you ever gone back to watch a video of a specific dancer or style of dance that blew you away years ago, but doesn't give you the same feeling now - or perhaps the exact opposite? Something you thought was "boring" has now become captivating?<br /><br />Ever wonder what changed?<br />
<br />I'm not saying it was aliens, but....<br />
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<i>(Just kidding...)</i><br />
<br />What changed was you. Really.<br /><br />An integral part of my formal fine art and design training over the years has been the task of considering the audience. This means thinking about what will capture their attention, how it will make them think, and what it may make them feel. It also means contemplating who your audience is. For a fine artist, the sum of this work is to consider how much of impact your work may have on others, so that you're not just creating art in a vacuum. For designers, it's about selling product (services, items, ideas). And well, sometimes both worlds overlap - and it certainly applicable to the performing arts.<br /><br />In the realm of my professional work as a designer, this trained me to watch how people react to things: what they get excited about, what they dislike, what causes a trend. Not just for art or jewelry, but for dance as well. It's really quite fascinating - both in person and online. (Peoplewatching!)<br />
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So back to you: Your own experiences inform and flavor everything you see. The more you learn about something, the more you will see - and how easy or difficult that process was for you personally will also affect what you see.<br /><br />What do I mean?<br /><br />Think back to the first time you ever saw a dancer perform live, prior to taking classes/starting your dance journey. You most likely took her (or him) in as a complete experience - the fluidity and grace of the movements, the sparkle and flash of the costume, their smile and gestures, and how it made YOU feel - excited, wowed, inspired. It didn't matter if that dancer was a newbie in an airport special or a grand master of the dance in a Madame Abla. She was the epitome of beauty and magic to you.<br /><br />As you started to take classes, the next time you saw a dancer, your focus was most likely on technique. You were learning how hard certain movements can be, so the more difficult the moves on stage appeared to be, the more you were impressed. Who cares what she did with her face or what she wore, did you see those amazing isolations???<br /><br />When you started to tackle issues of costuming, suddenly you were paying a lot more attention to what other dancers were wearing. What worked, what didn't worked. And how it could look on you! Who cares if it worked with the music or the moves?<br /><br />When it's time for you to perform yourself, whether that's crafting a choreography, doing improv, or somewhere in between, and choosing music, you start to notice how other dancers put together their dances. You also start to notice how other people respond to those performances as well. You wonder how they may respond to YOU.<br />
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What style you learn also informs how you view a dance. Human beings often feel more comfortable watching something they have familiarity with. Something they can measure up as a "doing it right" or "doing it wrong." If you're totally unfamiliar with a style unlike the one you're learning, it may be difficult for you to enjoy because you lack a frame of reference, except you know it's not what YOU know.<br /><br />When you truly learn what musicality is, and how to apply Arabic musical concepts to the movements, regardless of the style of music, you start seeing performances in a whole new light. That excellent "technique" back from the early days might not make sense any more when he pops his chest to the "dum" or she does hip drops on the "tek". You start to see folks dancing over their music, and you discover the amazing quality of breath and stillness.<br /><br />When you start to understand stage presence and the value of deepened expression, you really begin to notice facial expression (or lack there of) - and when a dance says something to you as a whole, or leaves you cold. You get excited when you see a baby dancer truly enjoying herself, and find yourself on the verge of tears as a veteran of a dance pulls from the depths of her heart and holds you in the palm of her hand - without a single "trick."<br /><br />And lastly over time you learn that when you watch a dancer, you can't compare them to you or to anyone else They are their own dancer with their own story, journey, and path to follow. You enjoy that for what it is, and the only dancer you compare yourself to, is the dancer you used to be.<br /><br />
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<br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com1tag:blogger.com,1999:blog-7797722657144934304.post-69636356671606823412015-03-17T11:37:00.001-07:002015-03-17T11:38:58.101-07:007 Keys to Finding Happiness in Bellydance<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUREpP7x4NfA5WdIpNJn_WU1zxipWD2lN0LftjnKOfunDYH-klxX1A4hUeFtvMBaytCEnexrBkzIEFUiU4FimuXQFL3aH7dUlMP4oaYZNEb7VYgSwfTHrd5fwBREFhoxOFR-t0wHwvvVMU/s1600/2014-5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUREpP7x4NfA5WdIpNJn_WU1zxipWD2lN0LftjnKOfunDYH-klxX1A4hUeFtvMBaytCEnexrBkzIEFUiU4FimuXQFL3aH7dUlMP4oaYZNEb7VYgSwfTHrd5fwBREFhoxOFR-t0wHwvvVMU/s1600/2014-5.jpg" height="320" width="250" /></a>Less is More: When it comes to dancing, less is more. Don't throw everything and the kitchen sink in there. Remember to breathe, and remember to have breath. And not all of that statement is about air intake.<br />
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More is More: But when it comes to costuming, more is more. And not just your costume, don't forget stage appropriate make-up, hair, and accessories. BE SHINY. <br />
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Be inspired, but be you, which sounds easy but is very difficult. Imitation is easy and short-lived.<br />
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There is always more to learn. If you think you have learned everything there is to know about bellydance, you're nowhere near the finish line (of which there isn't one anyway), and especially NOT BETTER than anyone else.<br />
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The One & Only Truth: For every "truth" in bellydance, there are at least 3 supporting facts and at least 3 facts that also disprove it. Culture is always in flux and history is full of nuance. If anyone says their way is the ONLY way, they're wrong. Move on. </div>
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The most likely cause of losing your love for the dance doesn't come from within, it's almost always an external influence. Remove those influences and seek new inspirations, and you'll find a renewed sense of love. If you let others take the joy from you and you do nothing to change it, then in the end, it falls on you, not them.<br />
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Always wear underwear. Always. If it involves a stage or performing for anyone besides your cats...wear underwear. I mean it. No butts.Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com2tag:blogger.com,1999:blog-7797722657144934304.post-34477822374837950312015-03-10T17:45:00.001-07:002015-03-10T19:30:30.584-07:00Let's Cut the Crap, Kill the Cult, and Fix The Boat <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLXoH2mornbScdq0cIkzU7v_IalV64MWZAf-gCiQuyc2DXOP1pZmgM4z73e61rq78_0nQbTHszY2mNrhwkm1kaHrLTUbbp77zPwBL73899oI23aurSzyPdV8S80RAVpGx8LpChAA05wUNC/s1600/640px-Groucho_Marx.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLXoH2mornbScdq0cIkzU7v_IalV64MWZAf-gCiQuyc2DXOP1pZmgM4z73e61rq78_0nQbTHszY2mNrhwkm1kaHrLTUbbp77zPwBL73899oI23aurSzyPdV8S80RAVpGx8LpChAA05wUNC/s1600/640px-Groucho_Marx.jpg" height="320" width="254" /></a>The years of my career where I worried about what people thought of me were the worst: physically, mentally, emotionally, and spiritually.<br />
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I didn't get into bellydance for fortune or fame. I got into it because my soul called out for it. I remember attending a world music concert where the band did a short piece inspired by the Zar, and the ayyub rhythm sounded like the voice of a long-lost friend I never even knew I had. The beauty and sensual power of the oriental dancers I would see live at the local restaurant transformed and transfixed me. The images and VHS tapes I would soon see of Tribal dancers moving together sung out to my heart. The music, the movements, the cultures, the costuming, the mystique - it all spoke to me.<br />
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It also whispered to the little girl deep inside who never had any sisters and had a long line of "best friends" who ended up moving away, going to different schools, or were more concerned about stuff than actual friendship. It touched the bruised young woman who was too skinny and flat-chested, too smart, too much a tomboy, too weird, too artistic, too not interested enough in the popular, typical things. It wasn't that it promised her sisterhood, but it showed her women working together beautifully to make art in motion - and that was inspiring.<br />
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And I think that same whisper comes to many women (and men as well). That not only does this dance offer all of the amazing history, music, movements, and culture AND a chance to foster self-esteem and self-expression, but it hints at a place that feels like home. It suggests a common language, a unique understanding, and a social ground for those who don't quite fit in.<br />
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<a href="http://darklydramatic.blogspot.com/2015/02/welcome-to-toilet.html" target="_blank">"Welcome to the Toilet"</a> brought up a few discussions that made me think about that promise and appeal. Several dancers talked about the feeling of being unwelcome and/or not a true part of the classes they were in or festivals that they attended - which was very sad and distressing to me.<br />
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Sure, you could suggest that maybe those individuals who found the classes/events unwelcoming just aren't good at socializing and it was all in their head - that it was them, not the teacher, the rest of the class, or the event itself. That perhaps they expect for the teacher to instantly be their buddy/friend or for there to be open arms at registration check-in. But I don't think that's fair nor accurate. Unfortunately some folks in certain positions have confused exclusive and inclusive - and forgot how to be welcoming to newcomers and others.<br />
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I think some people come into this dance to feel accepted, become empowered, and think that this is now their opportunity to make up for whatever slights they experienced in their youth. That now is their time to be "cool" and begin to structure classes, troupes, and events around that model. Human beings are very social animals, so we naturally want to foster groups where we feel we belong - but the issue comes when we start to believe our group is the only/best/coolest/whatever group. Those individuals end up re-creating the very scenario they felt slighted in from years ago. And then it stops being about the beauty and power of the dance, but whether or not anyone else "belongs." The popular opinion of the perceived elite becomes almighty and a cult or clique is formed.<br />
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But one style is not "cooler" or "better" than another - we're all in the same boat. Yet folks get hung up with being part of the "one true style." They want to feel that their style/group/troupe/event is THE best - but why? Being different doesn't equate to being wrong (or right). Your path is exactly your path, not anyone else's, and there's no way to compare it. <a href="http://darklydramatic.blogspot.com/2012/12/your-dance-belief.html" target="_blank">Dance isn't religion.</a> And throwing around canon (yes) balls around only damages the boat we're all on.<br />
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I certainly wasn't prepared to handle a lot of what I experienced from around 2004-2009. I was muddling around doing this thing that was inspiring to me, and suddenly I was under the magnifying glasses of many people I didn't know, being told what I was doing wrong or right, how I met or didn't meet their expectations or definitions, what I should or shouldn't be doing, complete with sudden new best friends, advocates, frenemies, and adversaries. Dance stopped being so much about this beautiful exploration of culture and self, and about what other people wanted/didn't want. There were several times I seriously considered quitting dance altogether. <br />
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Then I re-discovered dance for myself, and what drew me to it in the first place. I found inspiration from within, as well as considered what it could mean for others and their own experience. Most importantly, I stopped caring what "everyone" thought and found happiness in reaching across ALL the borders. Why be just be or think one way when you enjoy the diversity of many?<br />
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I have worked hard to make sure that my classes, events, and workshops have been and are welcoming for all. We have joked that it's a bit like the Island of Misfit Toys, but I wouldn't have it any other way. The dance should be available to everyone to learn and enjoy responsibly and safely. It's not about being cool or special or popular - it's about sharing the dance. We can do that across styles, genders, and origins - and have a fantastic journey together.<br />
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I'm pretty sure we all learned about sharing somewhere around kindergarten. So let's go back and remember those important lessons, kick out the high school behavior, and grow this dance in healthy, positive ways.<br />
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I will leave you with one of my favorite quotes from Groucho Marx who said<span style="font-family: Georgia, Times New Roman, serif;">, <span style="background-color: white; color: #252525; font-size: 14px; line-height: 21px;"> "I don’t care to belong to any club that will have me as a member." </span></span><br />
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<br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com2tag:blogger.com,1999:blog-7797722657144934304.post-61925128230281312072015-02-27T15:25:00.000-08:002015-02-27T15:26:10.832-08:00Hang In There Until Death Comes<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8n0MhnKxGoAi6g-ddAMEwoxuB-4u6GHcbQEzRYkj9Zwf74VWoJ_wQgvXGYjepDQii6t_w_kmSairGEh3Sjd9vr9tX0JqXvHM73sAgUtrPu8U4i8a0YpACIlHHbP3Zsv5uxxUwJGsc95aS/s1600/DeathXIII.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8n0MhnKxGoAi6g-ddAMEwoxuB-4u6GHcbQEzRYkj9Zwf74VWoJ_wQgvXGYjepDQii6t_w_kmSairGEh3Sjd9vr9tX0JqXvHM73sAgUtrPu8U4i8a0YpACIlHHbP3Zsv5uxxUwJGsc95aS/s1600/DeathXIII.png" height="320" width="211" /></a>In case it needs stating, I didn't say bellydance was dying or that the current state of things will lead to the end of it all.<br />
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In fact, I'm pretty sure the dance will outlive all of us. It was here before, and it will be here after. It has experienced adversity and popularity, withstood being outlawed and pushed underground, has seen many successes and booms, as well as failures and downfalls. It grows, it changes, it stays the same as well. Bellydance is an art immersed in multiple cultures and areas, and art always finds a way to move forward. Art is part of human expression - and as long as there are humans, there will be art.<br />
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But we can't keep on with the current/standard model found with the bellydance community itself. Once something has gone past equilibrium, changes have to be made. There will be losses before a new cycle begins again.<br />
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Which is what The Death card from the Tarot is all about. Endings leading to new beginnings - change, transition, and rebirth. It's akin to the myth of the Phoenix, and of Kali Ma - that sometimes there is destruction, chaos, and cleansing before there can be new growth.<br />
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But I don't think we've even reached Death (#13) yet. I'm pretty sure if we were going to assign a Major Arcana card to the Bellydance Community as a whole, we'd be pulling The Hanged Man (#12). It signifies stagnation, being stuck, restricted, unable to make movement or change to affect one's situation. It calls for meditation, patience, introspective consideration,and sacrifice. Consider the myth of Odin hanging from the World Tree, wasting away, dying, and then falling to be reborn.<br />
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What does The Hanged Man signify? Those that are willing to be patient, to endure, to make changes, and weather it all will make it through to the next cycle when it eventually comes, or perhaps move on to other paths in the meantime. <br />
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Now, what would I like to see happen? (I can have fantasies too.)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbQfLR5_DPFO8-wZiid4rEENql-vBXIdVmHnDVxQ1Y4YosahL-wNqOt-ayruEHlnTmehehq_v0OW6koknd58WJ2SGfT_a4Q8RLm7WgdvWOzGhmYIIEOF3h8c-0IyXJRVstrou0BPIehA0U/s1600/12_hanged_man.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbQfLR5_DPFO8-wZiid4rEENql-vBXIdVmHnDVxQ1Y4YosahL-wNqOt-ayruEHlnTmehehq_v0OW6koknd58WJ2SGfT_a4Q8RLm7WgdvWOzGhmYIIEOF3h8c-0IyXJRVstrou0BPIehA0U/s1600/12_hanged_man.jpg" height="320" width="213" /></a></div>
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-A balancing of the student/teacher base and influx of new dedicated students who are excited about the dance.<br />
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-The end to poor business practices - from undercutting and backbiting to celebrating cloning and mediocrity - while moving towards more grounded understanding of the business aspects of the dance, and mutual respect.<br />
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-An end to cults of personality and cliques that fail to further the dance itself, often wearing down and driving out more potential dancers than attracting and maintaining them.<br />
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-A healthy respect for both tradition/history and innovation/fusion, fostered mutual respect among the various styles and genres - seeing that they can compliment each other versus compete with each other.<br />
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-More appreciation for live music, culture, costuming, history, and taking the time to learn the craft/trade aspects, and improved communication with the larger community.<br />
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-Understanding that while the dance can bring on amazing transformation in a person (mentally, physically, spiritually), that it's not all about you - that learning and being a part of the community is about everyone involved. It is not a tool solely for boosting one's ego, power, or sense of entitlement.<br />
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-That we all rediscover our love for the dance.Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com3tag:blogger.com,1999:blog-7797722657144934304.post-20560344993479080062015-02-26T12:55:00.002-08:002015-02-26T16:31:13.271-08:00Welcome to the Toilet. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ny8RW3KzyNfP40MHIIdguhcA833eIavrcEzypQMmXDc-DYHF_ZF6NLc_JDktNMqcxk_Ic1JFBMAUQ0HY2xwBtkZzQcQjSjshwuEwWUVkeZi4EWp9iemURR2qVqOvWZcYGUV-9x5kYUhS/s1600/glittertoilet.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ny8RW3KzyNfP40MHIIdguhcA833eIavrcEzypQMmXDc-DYHF_ZF6NLc_JDktNMqcxk_Ic1JFBMAUQ0HY2xwBtkZzQcQjSjshwuEwWUVkeZi4EWp9iemURR2qVqOvWZcYGUV-9x5kYUhS/s1600/glittertoilet.jpg" height="320" width="234" /></a>A bit of a gritty title for sure, but I've yet to come up with a better metaphor for the current state of the bellydance economy. And every person I've talked to about it has had the same response: initial repulsion followed by slow nodding and thorough understanding.<br />
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There's a lot here, so bear with me as I try to get it all out. And this is all in reference to bellydancers, within the community - not factoring in the general public side of things (restaurant gigs, other kinds of shows, etc). Everything happens in waves, and each wave is a bit different - because the world keeps changing. These are not ALL of the reasons (I would have to go to novel-status for that), but a lot of the key contributing factors we are looking at.<br />
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While I have not been around as long as others in the field (such as my dance mentors), I produced my first bellydance event in 2001, attended numerous events throughout the world (some as an attendee, some as a vendor and more as hired talent to instruct/perform), have organized multiple tours, and still actively produce, teach, perform, and vend today. I was there at the birth of the new fusion movement, and I have carefully tracked the ripples over the last 1.5 decades, especially throughout North America. And I continue to talk and network with a lot of people in different aspects of the trade.<br />
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I feel lucky to have launched the larger part of my dance career in the midst of a boom. Thanks to a new DVD market, new social online media (remember tribe.net and myspace), and a hungry, inspired audience, the first nationwide tour I planned in 2006 (The Durga Tour) was a huge success across the board in terms of full classrooms/shows and merch sales. For the most part, sponsors didn't need to market hard or be that experienced to make it a success. The second tour for the most part saw equal numbers (or more) in workshop/show attendance, but the overall economy was hitting the merch sales hard. Where attendees may have dropped $50-$200 easily in 2006 on merch alone, most were sticking to the $20-$40 mark in 2009 (a CD, DVD, or t-shirt vs. pricier costuming) after buying their workshop/show ticket. This trend to me showed a willingness to invest in learning and something they could appreciate and work with for a long time, despite economic hardship. In 2012, I planned a smaller, low-key tour to help me move from Providence to Seattle, and numbers were down generally across the board, minus a few hard-to-reach spots (like Billings, MT) and locations were I have a dedicated, established fanbase. Newbie sponsors especially had a hard time, and most sponsors mentioned the number of events happening at that time - more on this further down.<br />
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I have also noted a transition in the last 10 years is a move from weekend events that featured 1-3 teachers offering workshops with a show to more and more big, multi-headliner festivals. When I first started out, the majority of the events I was hired to do featured only myself, plus maybe a local instructor for a weekend, where I would teach 2-4 workshops and perform in a show. Now I'm mainly hired to teach at festivals and to do intensives. I'm still quite busy and in demand, but in different ways and now, in different markets.<br />
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Really, when you stand back and look at the bellydance community as a whole, you could say wow, there's more teachers, more events than ever, more stuff happening - that must be a good sign!<br />
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It would be - if we had a continually expanding stream of new students coming up to support it. And we don't. More on that shortly.<br />
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So there's more and more new festivals/events happening, meanwhile the festival events that have been the initial inspiration and mainstays in the community for years are being hit hard, and some of them are folding/closing down. And many of the new events barely make it out of the gate. Why? <br />
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Location: Folks who would normally travel for hours to attend an event in another state or country, now have one in their own backyard. Why put out a lot of money for airplane tickets, hotels, etc - if you can have your favorite dancers in your own backyard? Or have 3 events that do that for you within 3 hours drive? Just how many big events can you attend in a year?<br />
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Vendors: Many of the old school importer vendors have closed up shop as well - because it's hard to compete with their own suppliers in India and Egypt selling directly online to their customers. Other vendors find it's easier/more affordable to sell their wares online than to shoulder the expense of traveling to sell at an event. And it's the vendor booth fees that really help finance the cost of an event (at least the venue) - so less vendors = higher costs. Then you have the independent designers whose work gets copied/knocked-off either by overseas manufacturers or other "designers."<br />
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Production: When there was very little competition for events, and when the market was booming, it was pretty easy to have a successful event, regardless of producing skills, attitude, etc. When you're the only game in town, folks want to play it. When they have choices, they're going to look for the game that's more user-friendly and treats them well. You had a limited number of platforms to advertise with back then, and you would reap the rewards of it easily. Now there's countless social media platforms to consider, and even more competition on them for people's attention. Nowadays, an event has to have an easy-to-use website, use online forms to apply for shows, have positive and prompt interaction, wallet-friendly pricing, and promise to deliver a whole lot to get folks in the door. Not like back in the day where you could hang a black-and-white flier on your studio door that Miss SuperHips would be teaching a workshop there in 3 months and be sold out in a week. So if a new producer NOW thinks all they need to do is have some big-name dancers on their ad and call it a day, they're going to be feeling the hurt soon enough.<br />
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Accessibility: Especially if that big-name dancer is at the more effectively produced/friendly event down-the-street, or also has online classes, or was just in the area a few weeks ago. When a student feels they could study with that teacher "next time", they will most likely wait. Do online classes, dvds, and youtube really cut down on event attendance? I think for some people, yes. Especially if they are on a tight budget. They will forgo the live experience for the digital. <br />
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Scheduling: Not only are we seeing more and more events as folks try their hat at producing, we're seeing more events planned right on top of each other - sometimes in the same city/area. And there's no excuse about the markets being different when surveys have shown that 60% of the community will attend both tribal/fusion and oriental style events. There's also a new trend in events designed to feed off established events, where they happen the week before/after the established event, trying to latch on to that fan base. There are only so many attendees to go around, and only so much money.<br />
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Money: Which brings us to money. Rarely are bellydancers independently wealthy, and you can only write so much off on your taxes (if you're doing this professionally vs. a hobby). The typical dancer has a set budget that they work with - how much they will spend on classes/workshops, how much on costuming/music, how much on travel. More events means that budget gets stretched tighter over several events, or they cut back to just one or two. You can only do so much with one body and a limited amount of money.<br />
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Cost: With the switch from bringing in 1-2 teachers for a weekend to dozens, the cost to produce an event goes up. Not only do you have more airfare, food, and accommodations to cover, but you need a bigger venue to have room for more workshops, more vendors, bigger show, etc - and hopefully more students. The idea is that if you have more choices, you'll attract more people than those that have fewer instructors/workshops.<br />
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The Dedicated Dancer: Those of us who were baby dancers in the beginning of the last boom and have still continued on (and those before us) - are looking for more serious experiences. They don't want a basic workshop, they want an intensive with their favorite instructor. Or if they're looking for workshops, they want to try new and different things or more in-depth approaches, rather than taking the same workshop with the same big-name - but with a different title. They remember forking over a lot of money for years to certain names, and began to notice that the material didn't change much - or wasn't delivered. When the Big Name Draw Glow begins to fade with the disappointment of non-delivery, they stop investing, no matter how much they may like that personality. However, the type of experiences the Dedicated Dancer wants is going to cost more money (and they know it) - so they're going to budget for those special events, versus going to other events. It doesn't mean they care less about those events or think the price is wrong - they are simply conserving their time/money for what they believe will advance their dance more.<br />
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Student Base: And this is where I think it all comes down to. You can keep expanding as long as the demand exceeds the supply (and the supply would be teachers/events/etc). But where are the new students? I'm not talking the usual crop of dancers in the hobbyist range who will come across a dance class at their local fitness center and fall in love. Or see you perform at a show or restaurant, and want to take classes. I think this group is a wonderful standard that has been pretty even across the board for the last several decades. No, I'm talking about new dancers under the age of 30 who are just coming into dance. The teens and the college-age folks who are excited about the dance and want to keep going. Before you start yelling at me "But I'm 18/24 and I love bellydance!" - yes, I know there are some of you out there (whom I love dearly!) - yay! But there's a whole lot less of you compared to when *I* started in my early 20's. So where are the rest of the young dancers? What are they into? Why are they not interested in bellydance? I have my theories on this too which deserves another post unto itself. But if we can figure out how to attract that market, it would mean an increase in students - which would feed everything else (though it's not a solution unto itself). You can't have more teachers than students. And right now, the majority of this whole economy is based by dancers for dancers (and hence a major issue for continued growth.)<br />
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Apathy: Lastly, when events/teachers are easily accessible - when there is a wide choice of workshops and shows to attend, things become less precious. Especially if the quality of any single event is less than stellar, then the market is less likely to take a risk, even if it's a different show/people entirely. One moldy apple can really spoil the bin. This tends to be especially true in large cities, where a lot of different events happen often at the same time or closely.<br />
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So in summary, basically we had a huge new explosion in the bellydance community/economy starting around 2000. Tribal attracted a whole student base, and Fusion even more so as it reached new inspirations and sources. The Bellydance Superstars latched into the college-age market with the music festival circuit (remember Lollapalooza?) and pulled more folks in to the weekly classes. There was a demand for more and more classes. More people started teaching. More events started happening. <i>(Somewhere in here I will insert the issue of the larger economy crashing - where a lot of folks lost their jobs/got laid off/etc, and they switched to more creative/independent means to make ends meet - teaching dance, producing, vending, etc. And few recognize how hard it is when you make your hobby your job.)</i>And the teachers and events continued to expand in number, while slowly the student base shrank. So now the toilet bowl has stopped up and has reached its capacity. We're at overflow with nowhere to go until things dry up and we've been holding at this overflow point for the last couple of years.<br />
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Maybe it just all needs to get flushed, and things will follow a new wave in another decade or so - which is what history seems to indicate. <br />
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Some events will continue to work the times, tap into the market effectively and prosper (or break even). Other events will just stop happening. Some teachers will keep with it and others will move on. There will be less classes, less events, less resources. And perhaps it will be missed and people will treasure what they have and support it more. Perhaps there will be another new innovation/spark of inspiration that will kick things off again. It's the circle of life, but with more glitter.<br />
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In the meantime, what do we do?<br />
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If we're producing events - ask ourselves, who benefits? Is it a quality event? Does it support the community and is supported in return? Are we reaching our market and interacting with them effectively? Are we networking with other producers to prevent overlapping, combining efforts to build better events?<br />
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If we're teaching classes/workshops - why do we teach? What do we offer that's different? Are we offering our students the best experience and material possible? Are we investing in our own education?<br />
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And ask ourselves, what can we do to support quality teachers and events? What we can do to expand our study of bellydance - the dance itself, the music, and culture. How do we reach out to the larger community and interest them?<br />
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And here's to the newest prop in the bellydance world: the almighty plunger.<br />
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<br />Tempesthttp://www.blogger.com/profile/15552450426383952631noreply@blogger.com8