The Real Safe Haven

“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, Letters on Cézanne

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 this sound.

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.

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. (Everyone's a critic right?) 

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.

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 and 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.

What I try to do to make my classroom a safe place, in no particular order:
-Cut back on negative talk: 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.
-Address students and others respectfully: 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.
-Balance general and specific feedback: 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."
-Communication: 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.
-Body/Age/Gender Positivity: 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.
-We all Mess Up: 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.

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.

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 is 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.

What Lies Beneath

Now that another successful Waking Persephone 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. 

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.

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.

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 each other 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."

So what can we do?

It all comes down to communication.

Communication is the cornerstone of community. Good communication fosters growth, stability, and solidarity.  Poor communication drives wedges, feeds negativity, and brews distrust.

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 all build a better community:

READ. 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.

ASK.  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?

BE DIRECT & OPEN. 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.

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?

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."

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.

(Yes I'm ending this on a food metaphor when I started out with a construction one.  Because cake.)


*(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...)

It'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.

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.

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.

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.

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.

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.

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.

How Do We Heal? Looking for solutions when our hearts hurt.

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.

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.

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...everyone. No one, it doesn't matter how many or how few, should be treated in the manners that were expressed.

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.

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.

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.

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. 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?

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.

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.


Blessed be.

Tempest

Core Concern: Why I Don't Film My Classes

My home studio - photo by Geisha Moth

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.

But I just can't do it. Why is that?

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.

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.

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.

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.

So what's the deal?

It's about respect.

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. (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 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.

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 DVDs.  Which happens to be what my students use to keep in practice when I'm on the road and unable to offer weekly classes.

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 Bellydance Artistry and DecoDance 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 private lesson.  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 offering any intensives near you or if I am offering workshops at an event near you. 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. (Well, this turned into the shameless self-promotion paragraph...)

Lastly, I don't offer online classes because our cats can't sign release forms.

Manifesting Dreams: Custom Orders - Part 1 - Being A Client

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.

(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.)

First, why choose custom work?
-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.

What to know as client: 

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.

-Choosing a Designer: Look for someone whose work/portfolio both appeals to you and 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.

-Are you compatible? 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.

-Pricing: 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.

-Time: 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.

Here I would like to take a moment to talk about the almighty triangle of cost, quality, and time.  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:

Time + Cost = A project done quickly and inexpensively, but the Quality will be lackluster.

Quality + Time = A fantastic project delivered quickly, but it will Cost you more. 

Cost + Quality = Great work at a reasonable cost, but will take a longer Time to finish.

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:

-Follow directions carefully.  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!

-If you need help with determining size, color, etc - then get it.  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.

-Get ALL the requested information to your designer in a timely manner, in order to meet your deadline. 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.

-Be sure to get all of the details in writing.  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!

-Material Girls....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.

-Expect to pay a deposit UP FRONT. 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.

-Lastly, remember that poor planning on your part does not constitute an emergency on the part of the designer.  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!

The Cure For The Common Clone

It's one of the truths of evolution: diverse roots make for a stronger gene pool.

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.

But wait! All artists must learn from the masters, and they learn by copying! 

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.

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.

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?

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.

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.

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.

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.

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.

(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.) 

So what am I doing about it?

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!

I produce bellydance events designed to introduce them to concepts beyond what I offer - particularly Waking Persephone. 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." (insert maniacal laughing) As if hiring a famous dancer was some big elusive mystery (it's not) 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 am and I do).  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.

(Yeah, that was some shameless self-promo, but this is my blog.)

So worried that your dance feels like something from the Bellydance Borg? Here are some things to consider:

• When was the last time you took a weekly class?  If that's not available, how about a workshop?  How about a private lesson?

• 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.
• If you're coming from a TS/TF background, be sure to study some Oriental/Cabaret, and in particular, learn more about Arabic music.

• Add to your practice some free-flow taqsim (no combos), for 1-3 songs.
• Costume for your own body and for your own personal tastes.
• Want to see someone different at your local event? Let the producer know!
• Consider what it is you want to say with your dance - because you should be saying something, in your own voice. 

Raq on folks!