"Dancing is for everyone, performing is not." (quoteth me)
Meaning that everyone can dance (and should), regardless of age, gender, size, ability. When we say the dance is accessible to all, that's really what it is - dance is an amazing part of the human experience. But taking it to a performance level, particularly in a professional capacity, is not for everyone and we shouldn't expect it to be. And there's nothing wrong with that. You don't have to professionally perform dance in order to enjoy it and share it.
Dance to love to live.
Musings and Tidbits from a Professional Bellydancer, Artist, Designer, & Creative Nuisance.
Monday, August 30, 2010
Thursday, August 26, 2010
Masking a Master vs. Making One
My "Elvis Impersonator" metaphor sparked much discussion on facebook, as well as off, and sparked several good questions/comments from friends and students.
One good point that was brought up is that we learn by copying. This is very true. We start out mimicking our teachers, often trying to get the look of the moves down, their expression, their costuming. We learn by doing what they're doing. We see great bellydancers and we wish to also capture that essence of them, to look and be like them. This is not an uncommon desire in the least. But we'll come back to this.
It is not unusual in the visual and performing arts for students to copy the works of masters. Several times throughout my training as a visual artist there were assignments we had to try and copy the work of a master. Some of them involved copying the work as closely as possible, in the same medium. Some involved making a copy and then an interpretation. One of my favorites was for Freshman Foundation at RISD where we copied only a section of a master (mine was Van Gogh's "Cafe Terrace at Night"), but we had to do it entirely in gouache (a type of opaque watercolor paint that is designed for the masochistic), and crop the section in such a way that it was still interesting and meaningful. What these exercises teach us is not to paint or draw exactly like the masters, but to teach us about the technique used, how color was applied and balance, how texture was created, how a focal point was achieved. Essentially, it teaches us the skills involved in how to put together a viable work of art. But once the skills are established, the artist is expected to use them to develop their own work, their own voice - not to use those skills to turn out more copies of another artist's work. And it's important to note, the copied "practice" artwork is NOT exhibited at a professional level.*
So what does that have to do with bellydance? Simply put, if you wish to put yourself out there as an artist and specifically a professional**, you need to have your own voice. Yes, you are going to learn styles and moves from your teachers, but you are NOT your teacher. You do not have her (or his) experiences, life, inspirations. You are YOU. You have your own experiences and life to live, and inspirations to find. Those moves and those songs need to be told in your voice. This is the only way to really develop your own style. And if you wish to teach workshops and get out there, it's best to do it with your own material. Likewise, if you're going to dance in big shows and put yourself out there, why not be known for your own dancing? You're not going to find the answers all at once, but if you set your sights beyond that dancer you idolize, you'll find a much more satisfying experience. You'll find you.
And it's not going to happen overnight either, it's an ongoing journey. Who I was as a dancer and a person 10 years, 5 years, or even 2 years ago is not the same person and dancer writing this blog at this moment, and I expect to continue to grow and change in 2, 5, 10, 30 years.
*there are artists out there using the methods of masters or copies of masters paintings to make a name for themselves, but these works are often created with a twist on the original, or some sort of modern commentary - again, the artist is adding their own voice to the piece.
**now if someone has no plans whatsoever to become a professional dancer, but rather just want to learn dance, do it as a hobby for fun, etc - then they would be on a different path. Not everyone needs (or should be) to be a professional dancer or an artist.
One good point that was brought up is that we learn by copying. This is very true. We start out mimicking our teachers, often trying to get the look of the moves down, their expression, their costuming. We learn by doing what they're doing. We see great bellydancers and we wish to also capture that essence of them, to look and be like them. This is not an uncommon desire in the least. But we'll come back to this.
It is not unusual in the visual and performing arts for students to copy the works of masters. Several times throughout my training as a visual artist there were assignments we had to try and copy the work of a master. Some of them involved copying the work as closely as possible, in the same medium. Some involved making a copy and then an interpretation. One of my favorites was for Freshman Foundation at RISD where we copied only a section of a master (mine was Van Gogh's "Cafe Terrace at Night"), but we had to do it entirely in gouache (a type of opaque watercolor paint that is designed for the masochistic), and crop the section in such a way that it was still interesting and meaningful. What these exercises teach us is not to paint or draw exactly like the masters, but to teach us about the technique used, how color was applied and balance, how texture was created, how a focal point was achieved. Essentially, it teaches us the skills involved in how to put together a viable work of art. But once the skills are established, the artist is expected to use them to develop their own work, their own voice - not to use those skills to turn out more copies of another artist's work. And it's important to note, the copied "practice" artwork is NOT exhibited at a professional level.*
So what does that have to do with bellydance? Simply put, if you wish to put yourself out there as an artist and specifically a professional**, you need to have your own voice. Yes, you are going to learn styles and moves from your teachers, but you are NOT your teacher. You do not have her (or his) experiences, life, inspirations. You are YOU. You have your own experiences and life to live, and inspirations to find. Those moves and those songs need to be told in your voice. This is the only way to really develop your own style. And if you wish to teach workshops and get out there, it's best to do it with your own material. Likewise, if you're going to dance in big shows and put yourself out there, why not be known for your own dancing? You're not going to find the answers all at once, but if you set your sights beyond that dancer you idolize, you'll find a much more satisfying experience. You'll find you.
And it's not going to happen overnight either, it's an ongoing journey. Who I was as a dancer and a person 10 years, 5 years, or even 2 years ago is not the same person and dancer writing this blog at this moment, and I expect to continue to grow and change in 2, 5, 10, 30 years.
*there are artists out there using the methods of masters or copies of masters paintings to make a name for themselves, but these works are often created with a twist on the original, or some sort of modern commentary - again, the artist is adding their own voice to the piece.
**now if someone has no plans whatsoever to become a professional dancer, but rather just want to learn dance, do it as a hobby for fun, etc - then they would be on a different path. Not everyone needs (or should be) to be a professional dancer or an artist.
Tuesday, August 24, 2010
Essence of Bellydance - so I remember... (reposted from 2/10/09)
(another entry originally posted on tribe.net, February 10th, 2009)
Ah, that nearly decade-old question of is GBD bellydance? Wrote this up as a response, and I think some parts are especially worth keeping around for later, so I save it here:
Before I ever took my first lessons in bellydance, I spent months studying it online and in books. Reading about the do's and don'ts, about the folkloric dances, reading interviews with Morocco, Carolena, Artemis, and more. And I distinctly remembering at some point coming across Dalia Carella and her "Dunyavi Gypsy" and thinking - wow, she has her OWN style of bellydance, how cool is that? I would love to do that!
That all went out the window once I started taking lessons, I couldn't even imagine how it would be possible, not for years and years and even then! So I never created my performances with that in mind, rather I just had ideas I wanted to express in my dancing, through my costuming, music, and presentation. I didn't consider it a specific type of bellydance - just bellydance, as that was the only dance form I had ever studied. Rather, it was after doing bellydance for a couple of years that other people remarked about how my dancing had a different feel. It seemed somewhat more "dark", more theatrical, perhaps Gothic? ( All this without the aid of fangs, fake blood, giant rosaries, and graveyards! This was even before boots and fishnets were applied!) So ironically, it was the bellydance community itself, its veteran crew, that dubbed what I was doing as "gothic bellydance", long before it became a common name.
What was so "dark" about those early performances? The costuming could be best described as tribaret, the movements were bellydance, the music was mostly bellydance. The stories in my head to remember the moves and to express something through my moves were about avenging angels, silent film stars, lost love, folkloric/ethnic myths and fairytales, metamorphosis, tongue-in-cheek wickedness, hidden beauty, and the merging of cultures. If you consider all of that "dark", then there you have it.
To me, "darkness" is about revelation, uncovering and exploring mysteries, weaving stories that are often hidden, enchantment, and particles of memory. It's about the ability to express your soul fully, even if that leaves you exposed. I believe that bellydance, in it's myriad forms, celebrates life, and that a celebration of life takes hold of all of its aspects - that includes joy, passion, love, pain, and sadness. Love can be light and it can be dark. You really can't have one without the other. So perhaps Goth can be defined as the obsession to find balance between the light and the dark, and appreciate the differences between them. There is beauty to be found in all things, if you know how to look for it. And frankly, I'm a hopeless optimist in most things.
No, I'm not a "stereotypical" Goth, but frankly, none of the people I know who have identified themselves as Goth for years fit the stereotype either. The folks who focus only on the fashion don't have a clue. Same goes for the folks who think if they latch on to a cliche (heh, wanna start a thread on the cliches of GBD?), that means they're doing it right. There's doing something because it would be terribly cliche and a lot of fun and silliness, and then there's doing a cliche seriously because you don't understand what's behind it. There's a wealth of art, literature, and music produced by this subculture, which within itself is quite diverse, full of different minds. That's why I love it.
Now that years have gone by, I think I have been able to develop my own style, because I let go of the idea of trying to do it. I just focused on expressing what inspires me. And I'm excited to go back and re-do some of those early pieces, because I've also realized I traveled far as a dancer (and continue so). One of the greatest frustrations of being an artist is having an idea and not being fully capable of expressing that idea - whether it's because of your skill level, money or depth of exploration. But that doesn't mean you cease to try, or that those early attempts were wrong. Rather, it's the process of trying again and again, building better technique, stronger awareness, getting all of those skills together...and while I feel I'm much better now than I was 6 years or even 6 months ago, I'll still continue to strive to improve. I continue to study the older forms of this dance and find inspiration. I feel what I do is bellydance, and I believe the essence of what is bellydance is still there, depending on the project. Whether others consider a piece bellydance or not, I suppose that all depends on their own journey to it.
Ah, that nearly decade-old question of is GBD bellydance? Wrote this up as a response, and I think some parts are especially worth keeping around for later, so I save it here:
Before I ever took my first lessons in bellydance, I spent months studying it online and in books. Reading about the do's and don'ts, about the folkloric dances, reading interviews with Morocco, Carolena, Artemis, and more. And I distinctly remembering at some point coming across Dalia Carella and her "Dunyavi Gypsy" and thinking - wow, she has her OWN style of bellydance, how cool is that? I would love to do that!
That all went out the window once I started taking lessons, I couldn't even imagine how it would be possible, not for years and years and even then! So I never created my performances with that in mind, rather I just had ideas I wanted to express in my dancing, through my costuming, music, and presentation. I didn't consider it a specific type of bellydance - just bellydance, as that was the only dance form I had ever studied. Rather, it was after doing bellydance for a couple of years that other people remarked about how my dancing had a different feel. It seemed somewhat more "dark", more theatrical, perhaps Gothic? ( All this without the aid of fangs, fake blood, giant rosaries, and graveyards! This was even before boots and fishnets were applied!) So ironically, it was the bellydance community itself, its veteran crew, that dubbed what I was doing as "gothic bellydance", long before it became a common name.
What was so "dark" about those early performances? The costuming could be best described as tribaret, the movements were bellydance, the music was mostly bellydance. The stories in my head to remember the moves and to express something through my moves were about avenging angels, silent film stars, lost love, folkloric/ethnic myths and fairytales, metamorphosis, tongue-in-cheek wickedness, hidden beauty, and the merging of cultures. If you consider all of that "dark", then there you have it.
To me, "darkness" is about revelation, uncovering and exploring mysteries, weaving stories that are often hidden, enchantment, and particles of memory. It's about the ability to express your soul fully, even if that leaves you exposed. I believe that bellydance, in it's myriad forms, celebrates life, and that a celebration of life takes hold of all of its aspects - that includes joy, passion, love, pain, and sadness. Love can be light and it can be dark. You really can't have one without the other. So perhaps Goth can be defined as the obsession to find balance between the light and the dark, and appreciate the differences between them. There is beauty to be found in all things, if you know how to look for it. And frankly, I'm a hopeless optimist in most things.
No, I'm not a "stereotypical" Goth, but frankly, none of the people I know who have identified themselves as Goth for years fit the stereotype either. The folks who focus only on the fashion don't have a clue. Same goes for the folks who think if they latch on to a cliche (heh, wanna start a thread on the cliches of GBD?), that means they're doing it right. There's doing something because it would be terribly cliche and a lot of fun and silliness, and then there's doing a cliche seriously because you don't understand what's behind it. There's a wealth of art, literature, and music produced by this subculture, which within itself is quite diverse, full of different minds. That's why I love it.
Now that years have gone by, I think I have been able to develop my own style, because I let go of the idea of trying to do it. I just focused on expressing what inspires me. And I'm excited to go back and re-do some of those early pieces, because I've also realized I traveled far as a dancer (and continue so). One of the greatest frustrations of being an artist is having an idea and not being fully capable of expressing that idea - whether it's because of your skill level, money or depth of exploration. But that doesn't mean you cease to try, or that those early attempts were wrong. Rather, it's the process of trying again and again, building better technique, stronger awareness, getting all of those skills together...and while I feel I'm much better now than I was 6 years or even 6 months ago, I'll still continue to strive to improve. I continue to study the older forms of this dance and find inspiration. I feel what I do is bellydance, and I believe the essence of what is bellydance is still there, depending on the project. Whether others consider a piece bellydance or not, I suppose that all depends on their own journey to it.
Under the Eyeliner (originally posted 1/20/09)
(originally posted on January 20th 2009, in my tribe.net blog)
Some dancers want to create a romantic aura about themselves, veiled in mystery and illusions of grandeur. Only ever to be seen in full make-up, dressed to the nines to their adoring fans. Everything is a performance, and rarely do you see what’s underneath the mask. I’ve seen people create the most amazing opinions of people without ever knowing what’s actually going on.
Me? I want you to know that I am a dork. And a geek. And a class-A klutz. I just like to think I clean up well. And I’m totally cool with people knowing that. Because that’s who I am, miss-wiring and all, why try to hide it? Of course, not everything is on the surface for all to see, and I often forget that not everyone lives in my head.
Some people think I have some sort of complex, trying to create rules for Gothic Bellydance. (Technically, they’re more like guidelines). Other people don’t think I stand up enough for what I’ve done. (I’m really a bit shy.)
Essentially, the reason for my writings comes down to this: I’m a Gemini. I’m ruled by Mercury, planet/god of communication, with my moon in Virgo (lists! details!) and Sagittarius rising (enthusiasm!). Which essentially means: I’m obsessed with learning, sharing, and exchanging knowledge and information. Bonus points if it comes with shiny bits. I don’t do it to be a know-it-all, to claim to be an authority of everything, or to make it seem I think I’m perfect. Far from it. I do it because I’ve done stupid things. A lot of them. And I’d like to think I know better now, but I’m pretty sure there are more stupid things to come. I’m actually at peace with that. It truly is inevitable. But I want to do what I can to help out my students and anyone else who wants to read/listen. To share my experiences, and help forge a better path with less pitfalls, better habits, and hopefully make things easier for other dancers, while bettering our art in the long run.
I think in discussing etiquette for Gothic Bellydancers, there’s something everyone can take away. Professionals, hobbyists, students, artists, everyone. Meaning, whether you do this with the intention of presenting yourself as a professional, or whether you’re just jamming in class or your bedroom – there’s no reason why you shouldn’t have the best experience possible. Some people will be oblivious, regardless of their intent, but I have to believe that whether someone considers themselves a pro or a hobbyist, they want to contribute to the art in the best way they can – not only for the art, but for themselves.
The secret to being a good dancer is not an illusive mystery, wrapped up and hidden. It’s about being direct, forward, and honest with yourself and others. It’s about being truthful to ourselves, mindful of our mistakes, and still willing to challenge ourselves and make changes as needed. Dance isn’t just about movement and music, it takes thought, it takes the whole body and mind to create art. Don’t be afraid to make a mess, but also don’t be afraid to lay down a tarp and have some paper towels handy before you start.
Some dancers want to create a romantic aura about themselves, veiled in mystery and illusions of grandeur. Only ever to be seen in full make-up, dressed to the nines to their adoring fans. Everything is a performance, and rarely do you see what’s underneath the mask. I’ve seen people create the most amazing opinions of people without ever knowing what’s actually going on.
Me? I want you to know that I am a dork. And a geek. And a class-A klutz. I just like to think I clean up well. And I’m totally cool with people knowing that. Because that’s who I am, miss-wiring and all, why try to hide it? Of course, not everything is on the surface for all to see, and I often forget that not everyone lives in my head.
Some people think I have some sort of complex, trying to create rules for Gothic Bellydance. (Technically, they’re more like guidelines). Other people don’t think I stand up enough for what I’ve done. (I’m really a bit shy.)
Essentially, the reason for my writings comes down to this: I’m a Gemini. I’m ruled by Mercury, planet/god of communication, with my moon in Virgo (lists! details!) and Sagittarius rising (enthusiasm!). Which essentially means: I’m obsessed with learning, sharing, and exchanging knowledge and information. Bonus points if it comes with shiny bits. I don’t do it to be a know-it-all, to claim to be an authority of everything, or to make it seem I think I’m perfect. Far from it. I do it because I’ve done stupid things. A lot of them. And I’d like to think I know better now, but I’m pretty sure there are more stupid things to come. I’m actually at peace with that. It truly is inevitable. But I want to do what I can to help out my students and anyone else who wants to read/listen. To share my experiences, and help forge a better path with less pitfalls, better habits, and hopefully make things easier for other dancers, while bettering our art in the long run.
I think in discussing etiquette for Gothic Bellydancers, there’s something everyone can take away. Professionals, hobbyists, students, artists, everyone. Meaning, whether you do this with the intention of presenting yourself as a professional, or whether you’re just jamming in class or your bedroom – there’s no reason why you shouldn’t have the best experience possible. Some people will be oblivious, regardless of their intent, but I have to believe that whether someone considers themselves a pro or a hobbyist, they want to contribute to the art in the best way they can – not only for the art, but for themselves.
The secret to being a good dancer is not an illusive mystery, wrapped up and hidden. It’s about being direct, forward, and honest with yourself and others. It’s about being truthful to ourselves, mindful of our mistakes, and still willing to challenge ourselves and make changes as needed. Dance isn’t just about movement and music, it takes thought, it takes the whole body and mind to create art. Don’t be afraid to make a mess, but also don’t be afraid to lay down a tarp and have some paper towels handy before you start.
Monday, August 23, 2010
Roots & Shoots: The Almighty Tree of Style
I see a lot of people - students as well as pro's, struggling with their identity and classification as dancers regarding style. They feel that they must choose one specific path, that they can only be this or that. And if they're this now, then they must revoke all associations with that. Almost like becoming a new religion - finding Jesus, Buddha, or Bob, and all other paths are wrong.
But I'm here to say, it doesn't have to be that way. Today I bring you the good news from the Gospel of the Almighty Tree of Style!
What is the Almighty Tree of Style? Well, it's the concept (theory, belief, idea) that a tree starts as a seed. And when that seed lands in a spot that's right for it, it puts down roots, and sends up shoots - because it needs both to live. The roots provide stability, strength, they collect sustenance from the earth, and support the shoots above. The shoots expand to help collect water, sunlight, and create power for the tree. They create fertile spots where the essence of this tree can merge with the essence of another tree, and create seeds for more trees. And both the roots and the shoots grow in tandem, in balance with each other, sometimes paralleling growth patterns, sometimes counter-balancing them. If one exceeds the other, the tree is in jeopardy of failing - too many shoots vs. roots and it will fall and too many roots vs. shoots, it can't grow and thrive and produce.
So what does it mean and especially what the heck does it have to do with bellydance? Bellydance has roots - the traditions that originated "over there" - folkloric traditions, performance traditions - Turkey, Egypt, Syria, Lebanon, Persia, Morocco, etc. And both "over there" and elsewhere around the world, it has sent up shoots: American Cabaret/Vintage Oriental, Modern Egyptian, American Tribal Style, and other "Fusion" styles, as well as shoots working in earnest to pattern the roots. The roots are the traditions, the shoots are the innovations, growing from the traditions and creating new life, yet also bringing energy back to the traditions. And in some cases a shoot merges with the fruit of another tree, and they make a new seed that may grow into a new tree, but the fact is, it still comes from the original trees. They all exist in the same forest, and tradition and innovation need each other to thrive.
You still following me?
Now, let's consider YOU as a tree. Your roots are where you come from, your shoots are where you are going. You can pay homage to your roots at any time, and you can expand your shoots in new directions if you wish. Your experiences will sculpt how you grow and change over time, which is what really identifies you as a dancer - as a whole.
So if you dearly love a traditional style and you love a fusion style, there's no reason why you can't perform both. You want to do Classic Egyptian and you want to do Gothic too? Go for it! Tunisian this week, and Tribal Fusion next week? Sure! Just as long as you take the time to honor both (or several) directions (i.e, study them, practice them, and understand them - aka watering, feeding, and processing in our tree metaphor), then you can do it! And to be perfectly clear, I'm not saying you have to go and fuse them, I'm saying there's no reason why, if you have done your work, why you can't perform several styles individually. What's that? People expect you to only do X or Y? Why are you wasting time worrying about other people's expectations of what you should or shouldn't be. This is YOUR dance journey! You're allowed to grow and change, and you're allowed to be out of the box if you want to, and being as close to tradition as you can possibly get. (Just as long as you don't belt out something unexpected like if you were HIRED to perform X, and then you bring out Y instead - that's a whole other issue...)
Just take the time to grow properly and nurture yourself, keeping balance with your roots and shoots. Enjoy the journey.
But I'm here to say, it doesn't have to be that way. Today I bring you the good news from the Gospel of the Almighty Tree of Style!
What is the Almighty Tree of Style? Well, it's the concept (theory, belief, idea) that a tree starts as a seed. And when that seed lands in a spot that's right for it, it puts down roots, and sends up shoots - because it needs both to live. The roots provide stability, strength, they collect sustenance from the earth, and support the shoots above. The shoots expand to help collect water, sunlight, and create power for the tree. They create fertile spots where the essence of this tree can merge with the essence of another tree, and create seeds for more trees. And both the roots and the shoots grow in tandem, in balance with each other, sometimes paralleling growth patterns, sometimes counter-balancing them. If one exceeds the other, the tree is in jeopardy of failing - too many shoots vs. roots and it will fall and too many roots vs. shoots, it can't grow and thrive and produce.
So what does it mean and especially what the heck does it have to do with bellydance? Bellydance has roots - the traditions that originated "over there" - folkloric traditions, performance traditions - Turkey, Egypt, Syria, Lebanon, Persia, Morocco, etc. And both "over there" and elsewhere around the world, it has sent up shoots: American Cabaret/Vintage Oriental, Modern Egyptian, American Tribal Style, and other "Fusion" styles, as well as shoots working in earnest to pattern the roots. The roots are the traditions, the shoots are the innovations, growing from the traditions and creating new life, yet also bringing energy back to the traditions. And in some cases a shoot merges with the fruit of another tree, and they make a new seed that may grow into a new tree, but the fact is, it still comes from the original trees. They all exist in the same forest, and tradition and innovation need each other to thrive.
You still following me?
Now, let's consider YOU as a tree. Your roots are where you come from, your shoots are where you are going. You can pay homage to your roots at any time, and you can expand your shoots in new directions if you wish. Your experiences will sculpt how you grow and change over time, which is what really identifies you as a dancer - as a whole.
So if you dearly love a traditional style and you love a fusion style, there's no reason why you can't perform both. You want to do Classic Egyptian and you want to do Gothic too? Go for it! Tunisian this week, and Tribal Fusion next week? Sure! Just as long as you take the time to honor both (or several) directions (i.e, study them, practice them, and understand them - aka watering, feeding, and processing in our tree metaphor), then you can do it! And to be perfectly clear, I'm not saying you have to go and fuse them, I'm saying there's no reason why, if you have done your work, why you can't perform several styles individually. What's that? People expect you to only do X or Y? Why are you wasting time worrying about other people's expectations of what you should or shouldn't be. This is YOUR dance journey! You're allowed to grow and change, and you're allowed to be out of the box if you want to, and being as close to tradition as you can possibly get. (Just as long as you don't belt out something unexpected like if you were HIRED to perform X, and then you bring out Y instead - that's a whole other issue...)
Just take the time to grow properly and nurture yourself, keeping balance with your roots and shoots. Enjoy the journey.
Thursday, August 12, 2010
From Spring Caravan 2010: Metropolis & Live Music
Had tried to upload this shortly after the event, but it was just a little over the youtube time limit, and I never got around to editing it into two pieces, but now they changed their limits!
It's such a pleasure to dance to live music, and I especially enjoyed doing live improv with Nathaniel again. Nathaniel is an extremely talented musician and a really great guy, and if you're familiar with Abney Park, you've heard him! The first time we performed together was at Gothla US, and that was a very magical evening as well:
Both videos were shot by Rob of Candlelight Productions - you can also find the first part of that performance under my meddevi account. Music for the "Metropolis" piece is by Kozai Resonance, mixed a bit by my husband Keith.
It's such a pleasure to dance to live music, and I especially enjoyed doing live improv with Nathaniel again. Nathaniel is an extremely talented musician and a really great guy, and if you're familiar with Abney Park, you've heard him! The first time we performed together was at Gothla US, and that was a very magical evening as well:
Both videos were shot by Rob of Candlelight Productions - you can also find the first part of that performance under my meddevi account. Music for the "Metropolis" piece is by Kozai Resonance, mixed a bit by my husband Keith.
Monday, August 9, 2010
Elvis Has Left The Building. So Get Your Own Dance.
Today's thought: "Being a clone dancer is like being an Elvis impersonator. Yeap, they're popular by association/familiarity, but they're not going to be known for performing their own work."
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