My Talhakimt Story

Being a huge fan of adornment, I have long been fascinated by talhakimt (check out The Red Camel's lovely blog post on them).  My attention was more intently directed to them thanks to a workshop I took on the Guedra given by Kajira Djoumahna.  Kajira brought actual pieces as well as photographs showing how the women who do the Guedra wear these objects in their hair. It was clear to me that there were several magical aspects to these wondrous objects.

Looking at the symbol, on the most simple of terms, it's a balance between the concepts of male (the long point) and female (the opening).  I have heard interpretations that the lines represent the directions and/or the elements, that they ground as well as direct energy, that they protect the wearer. This pairing of the circle and the triangle show up repeatedly in body adornment throughout Africa, the Mediterranean, and Asia.

Back in 2010, I decided to design one made out of metal, as they're most often found made out of glass or stone (particularly carnelian/agate/etc). The easiest thing to do would have been to simply "sink" an existing piece.  "Sinking" is a jewelry industry term for casting/making a mold out of an existing object.

glass and carnelian
 from my collection

I chose not to do this for three reasons:
1) It felt disrespectful to do that (my own gut take on it, and I feel similarly about the animal pieces as well - all of my "skulls" are sculpted by me, not taken from actual animals)
2) I wanted to do my own take on the design (the artist demands it)
3) The result of such a metal piece, as-is, would create sharp edges/points of irritation not found in the cast glass or carved stone pieces. (practicality and safety are good things)

So in my design, I chose to make my talhakimt similar to the shape of the glass pieces, but closer in texture to the stone pieces. The side prongs were made slightly softer, the back part of the piece is completely smooth (both for comfort/safety).  Lastly, there are "reservoirs" that can hold color/enamel - meaning not only can one enjoy the finish of the metal, but the piece can easily have color added to it.  I then took this design and made another version, about 75% smaller - as a pairing.

The end result for both is a well-weighted pendant that is comfortable to wear, virtually unbreakable, and can be modified by the wearer to suit their own desires - AND they're made entirely here in the United States, out of lead-free, nickel-free metal, cast and plated in small quantities by skilled, dedicated craftsmen/women - not mass-produced in a factory in China. Having worked in the fashion jewelry industry for years (where nearly everything is made overseas), it's VERY important to me to have my work duplicated on a small scale here by people I know, ensuring high quality results and supporting their small businesses at the same time.  It may cost a little more, but it's worth it.

I love that the talhakimt appeals to folks of all genders and persuasions, rather than just those "in the know."  I believe that's part of the magic of the piece.

Women-owned businesses who have helped fuel my obsession are reliable resources for purchasing the actual glass and stone pieces:
The Red Camel
Silk Road Tribal

If you're interested in purchasing pieces from me, check out my website - and contact me before ordering, as my stock is always moving, and I often have more metal finishes than are listed.  I can also custom make a batch for you in certain colors/shapes.

Costume Design: The Mucha-Klimt Lovechild

"Gothic White Assuit"
photo by Michael Baxter

I have always loved the artwork of Alphonse Mucha - the artist largely responsible for the Art Nouveau movement. I remember eagerly anticipating when we would cover it in Art History at RISD, and then being bitterly disappointed when it was briefly lumped in with several other "minor movements" and maybe discussed for about 15 minutes total. (Yet it seemed like we spent 6 hours on Bauhaus. Maybe longer - I don't know, because I fell asleep. Nothing holds my attention like the discussion of concrete minimalistic architecture and its social implications...zzzzz)

"Salomatra" Costume

I made up for the slight by hoarding Mucha and Art Nouveau books, and though I have made several BIG moves over the last 20 years and sold large portions of my library off, I have always held on to those books. They have been a major source of inspiration for my costuming since I started dancing, some just as a starting point, and others very directly, such as the "Gothic White" assuit costume from 2005 and my "Salomatra" costume, from 2006. Both of those costumes, I had a very specific idea in mind, and I gathered the materials accordingly to make them.

Other costumes were birthed simply out of what materials I happened to have on hand collide with a random crazy inspiration. This is definitely the case with what I'm now calling the "Mucha-Klimt Lovechild."

At Tribal Fest 2013, I purchased some pieces of Indian tapestry - two small strips that had been fashioned for use as a headband and for a belt, and a larger wall piece. I had a vague idea that I would make a costume for myself and a matching vest for Nathan, but the pieces sat in my closet untouched. I would pull them out to look at them, and then put them back.

Then at Clockwork Alchemy, I bought a body-chain piece that was very Art Nouveau in design and coloring. I had no idea what I was going to do with it, but it was only $10, and I figured I would think of something.

Then in July, I bought an obscene amount of two-tone yellow and peach chiffon at MedFest from a neighbor vendor who was going out of business. I'm not sure what came over me, but I eyed it for two days and bought it all as we packed up, thinking that somehow it would work with the body-chain, even though it was so untypical of a color choice for me.

It all sat in my studio closet, waiting within a pile of other costumes-to-be. And the thought wiggled into the back of my brain that I hadn't made a big theatrical costume since the Klimt costume (see cover of my website).  I had made/altered several versatile costumes in the past year, but nothing EPIC. How could this be? But what to make?

As fate would have it, I was trying to re-organize my closet after a small avalanche had happened. I wondered about the pile of chiffon I had bought, as I hadn't seen it in a long time. The bag with the Indian fabric fell on top of me, so it got pulled out.  Then a strapless nude bra I bought for a base became unearthed. I hunted down the chiffon and pulled out other bits and pieces from my fabric and jewelry pile, some pieces that I've had for several years.  I remembered the body-chain and luckily also found it.  I pulled out my worn and well-loved Mucha books, leafed through them all, and made sketches of various parts that caught my eye. I considered the pile of random objects on my floor, and wondered if it would work.

The tapestry pieces had been lined with a dull brown cotton, then finished off with white seed beads.  I got to work ripping off all of the fabric and white beads, and was astounded at how well the colors of the remnants now worked with the chiffon.  I covered the base of the bra with a vintage warm-gold brocade, and topped the bra off with the smaller strip of tapestry.  I took the "belt" piece, and relined it with the same brocade, edged with gold seed beads, and set it perpendicular to the bra. I took 3 yards of each color of chiffon and attached the center of each underneath the front panel. The body-chain was disassembled, broken, and reshaped to fit with the curve of the bra cups, and a vintage-style necklace/belt I had rescued from my last job served as a centerpiece and anchor. I found the brass belt that I had bought as a teenager at Lerner, had used minimally in other costumes, and hand-painted it to match the rest. Next I constructed a matching headdress, set off with an old brooch that my friend Tinah had sent me, with unused flowers from my wedding constructions, and other flower, ribbon, and jewelry bits I'd collected over the years.  Under it all, went a pair of gold and salmon-striped pantaloons Anaar had made (also scored at Tribal Fest 13), and on top, an emerald chiffon veil that Azar (one of my early teachers) had gifted me.  I devised a knot system for the peach and yellow chiffon to balance the bra in the back, similar to how I made my wedding dress - but this got taken up a notch by Geisha Moth right before I performed, where she did it even better! Hair by Diva Dreads (the set I had commissioned for myself and my girls in Providence for our "Sirens" performance several years ago), and necklace by my friend Shakira.

The visual result, with the intricate patterns of the Indian tapestry, and the colors and lines of the overall costume, truly makes it a lovechild of Alphonse Mucha and Gustav Klimt!

photos by Corinne De La Coeur, taken at MedFest 2014

 There are still some details I'd like to add to this costume that I didn't have time to put on yet, but I'm thrilled with how it came out.  It truly captures the feel of Mucha's work, and is very sensual, while interestingly enough, covering a great deal of my body.  Which wasn't any part of my intent - I was very much focused on the artwork that was my inspiration, versus making this a "sexy" costume. I don't think it would have had the same effect as a typical bra and belt set.

5 Golden Keys to Help Unlock Success

Being both a well-known instructor/performer and event producer, I often get asked how up-and-coming dancers can get themselves "out there." It's particularly my job as an event producer that has helped me develop a list - usually as a result of experiencing "what not to do."

Being a professional dancer isn't just about how many hours you put in at the studio - it's about putting your best foot forward in a business sense as well: creating a brand, having your promo materials ready, and being involved.  If you think being a professional dancer means being awesome artist who just dances in her/his studio all day long, devoting every waking moment to dance, and the clients come a-knocking without ever having to do anything else - well, that is just an ADORABLE fantasy.  The reality of being professional means taking care of business - in and out of the studio.

The harder it is for you to be identified, and for a promoter to get succinct, reliable, and professional information from you, the more difficult your journey will be. So, besides obviously doing the work to advance your dance skills, I have put together a list of 5 key things to address that will aid you on your way.

Use The Google
When considering a professional name for yourself or your troupe - ALWAYS GOOGLE IT FIRST. There's been a growing trend to use given names vs. stage names, but even then, you should google it. Why? There may be a well-known person/troupe already using that name (whether it's a dancer, or a lawyer).  They may be local to you, or not at all, but that means little in consideration of searches and global context.  That name you're just starting out with, and some big name dancer has too? Don't tell yourself there's no way you'll be confused with them. You want to be easy to find and clearly identifiable as YOU - and not get incorrectly identified as being someone else, for better or for worse. (You have no idea what their reputation is really like, if you don't know them - and/or if someone hires you by mistake, that can create a really ugly situation on multiple levels.) If you're set on a certain name, and there are 3 other dancers using that name in other states/countries, you will want to brand yourself "Sparklepants of Cat City" instead of just "Sparklepants" to help define you and your market. Also, if it's a name originating from a foreign language or a fantasy invention, you may discover it means something different than you think it means out on the web. Like, it may sound beautiful but actually means "owl droppings" in Persian.  Lastly, read more than the first page of hits to get a complete idea for whatever you are googling. (Side note: be sure to say it aloud and consider how it can be mispronounced/misread. The worst I get is "Temptress"...which well, kinda works.)

Lean & Mean Biography
Your "fast and quick" biography should address who you are, where you are from, what you do/why you are awesome, and how to contact you - all in about 3-5 sentences.  This is the ideal format for websites, show programs, and introductions.  Don't list every teacher you have ever had, that you took ballet at age 3, that you once won an award in high school, are the best dancer in your area, or count that vacation cruise to Bermuda as "international performing".  Make it short, sweet, and to the point: "Tasselbottom is an award-winning Whovanese-style dancer based in Yourtown, Country.  She is well-known for her amazing lamp-balancing skills, which she presents for us this evening! She teaches weekly classes at X Studio, and performs throughout the Greater Jingly Area with her troupe FabulousShimmy.  For more info, go to tasselbottom.com." You can always have an extended biography on your website if you want to include more background. Also, use the same voice throughout, typically the third person: "Bunnyhop loves performing drum solos" versus "I love performing drum solos."

A Picture is Worth...A LOT
Professional photos are essential. Whether they are posed studio shots or active performance shots, your photos should be clear, eye-catching, and flattering. And sell what you're offering! Yes, that sexy implied "no bra" backshot with a pretty scarf draped on you is alluring - but does it sell "American Tribal Style Classes for Children"?  Are you trying to sell a Gothic Workshop when the only photo you sent is you in a bright pink Egyptian costume? Selfies are not proper headshots.  Promoters and event producers also often want high resolution images for printing, so be sure to have your photos ready for both "web" and "print" to ensure that you don't end up being that dancer with a poorly pixelated image in the program.  Also, does your photo work well in both color and black and white? It's so worth it to invest in a proper photoshoot with a professional photographer whose work you admire. And update your photos regularly! If you're still using the same shot from 10 years ago, it's time to get some new work done.

It's also important to consider the moving picture - video! As a producer, I want to see clean footage of an uncut performance - meaning, while it may have been edited for switching camera angles, I am able to see you dance in a properly lit setting to the actual music you're performing to, for the length of the piece. I despise "best moments" videos with background music laid on top, and unless I have seen you perform in person, it's a one-way ticket to my "nope" pile.  Why? Your "greatest hits" with a soundtrack and pieces that change every 5-10 seconds tells me nothing about how you put together a performance, your musicality, and overall technique. It may wow the general public and inexperienced dancers, but it tells me nothing about what you can really offer outside of a few sparkling moments.

Your Home on the Web
Do you have a website? If so, is it easy to find, navigate, and holds relevant current info? Is the URL easy to spell? Is it attractive and visually appealing/easy to look at, or does it look like it was built in 1998? There are many affordable and easy DIY - including free options for creating a web presence - even if it's just a professional page on facebook. Your website should include your quick bio + an extended biography/resume, class/workshop schedule (if you offer them), performance schedule, contact info, gallery (video/photos). Be sure to include your website when someone asks for your bio! I used to hunt them down and add them for my instructors - but I don't have the time or patience to do that anymore.  If you have multiple URLs and websites, indicate which one/s you want to use.

Be Prompt, Get Involved, Be Gracious
When you're dealing with promoters and producers, be prompt in getting information to them when asked.  Always re-read and double-check that you have included (and attached) all of the information that was requested.  If you're traveling/out of town - even just a quick reply with a date of when they can expect the material is appreciated.

Get involved in the event - if you're teaching and/or performing at an event, be sure to promote it on your social media platforms, post flyers/postcards, and share it with your students, friends, family, newsletters, etc. If it's an event you would LIKE to teach/perform it, and it's within your means to attend - then do so - and see about volunteering, introduce yourself to the producers, etc.  Take workshops. Event producers are often thinking about the next event, before the current event is even done.  However, contacting a festival two weeks before the event and asking to be added to the current year's teaching roster because you happen to be in town or think you're the next hot thang isn't going to fly. It will get you a fast ticket to the NOPE list, even if it does make us laugh.

And ALWAYS be gracious! When you're at an event, if your schedule allows, take the time to watch the show - the pros and the students! EVERYONE IS IMPORTANT. Understand that the best events rotate some or most of their teachers/performers regularly - so don't pitch a fit publicy if you're not asked back for the next one.  Event producers work hard to bring back favorites while offering new/fresh/up-and-coming teachers/performers to keep things from getting stale.  Consider feedback when it's offered (or ask if there's something you're unsure about).  And it sure doesn't hurt to say please and thank you :)

So there you have it - 5 keys that will help you get through some very important doors. There are always more things to consider, but these are an excellent start that will help get your name out there, build a solid reputation, and signify that you're an active participant who is great to work with.

April - May - June (& Beyond!) News, Tidbits, & Assorted Parts

Greetings everyone!

Have so much in the works that I've not been great about sending out newsletters, so going to try and remedy that now. SO many great things to share about upcoming workshops, events, projects, and other happenings!

First news about upcoming shows and workshops in April & May:

Happening tomorrow (Saturday, April 26^th) – Nathaniel and I will be performing at Hexenfest in Oakland, CA – starting things off with an opening ritual live music/dance performance, and then we will join Ego Likeness later on stage as well! Hexenfest is a music and arts festival dedicated to myth, magic, folklore, fairytale, and the numenous. Hexenfest has a flair for the darkly exotic. Gothic, Pagan, and Tribal belly dance themes are featured prominently, evoking the forbidden forest more than than the enchanted wood. If you feel at home in dark fairytales, join us in the realm! Tickets & info at http://www.uptownnightclub.com/events/hexenfest-2014-pandemonaeon-unwoman-tempest-and-nathaniel-johnstone/

Then we are off to New Jersey for Rakkasah Spring Caravan for May 2nd-4th! I will be teaching 3 exciting workshops over the weekend, and The Nathaniel Johnstone Band will be playing music live for dancers on Saturday and Sunday. We'll also be vending! Details at http://www.rakkasah.com/spring/

Then the band is on tour on the East Coast from May 6th-14^th:
May 6th: Bellefonte Cafe - Bellefonte, DE
May 7th: Red Maple with Stoneburner - Baltimore, MD
May 8th: BSP Lounge w/ Frenchy & The Punk - Kingston, NY
May 10th: Pete's Candy Store with Not Waving But Drowning - NYC, NY
May 11th: Loose Stalkings Salon - Boston, MA*
May 13th: Dusk with Frenchy & The Punk - Providence, RI
May 14th: Le Grand Fromage - Atlantic City, NJ 
Links & Details at http://www.nathanieljohnstone.com/shows.html

*On May 11^th, Nathaniel and I will be offering our “Applying Artistry” workshop in the Boston Area - details https://www.facebook.com/events/273490039479705/

Then we are headlining at Steampunk World's Fair in Piscataway, NJ May 16th-18^th!
http://steampunkworldsfair.com/

And then we're off to Clockwork Alchemy in San Jose, CA – where the band will be officially releasing our brand new album “The Antikythera Mechanism” - there will be multiple live music and dance performances throughout the weekend, and I will be offering a workshop as well on integrating bellydance with Steampunk with integrity. Details: http://www.clockworkalchemy.com/ - check out their website for a special FREE download of one of the new songs + samples of other ones!

Then we're back home in Washington, and I will be offering a “Bellydance Decopunk” workshop in the Olympia, WA area on May 31^st – followed by a hafla! Details at http://oly-wa.us/masuda/

Now, in other news, especially for or related to June!!!

DVD News!
This past weekend, we re-filmed a large portion of the DecoDance DVD – I am VERY happy with the results, and we're expecting to be able to release it in mid to late June. More details on that in May!

Artemis in Seattle!
June 13th-15^th – Seattle – WA! It's my birthday and I am bringing to town one of my “dance mama's” and mentors, Artemis E. Mourat! There are 4 workshops throughout the weekend, and it all kicks off with a fabulous live music show featuring the Nathaniel Johnstone Band & House of Tarab at the Columbia City Theater in Seattle. Details on all of this at: http://www.darklydramatic.com/artemis.html

Tribal Revolution - Workshop Change!

Also in big news – we have altered one of our offerings at Tribal Revolution in Chicago, IL (June 26th-29^th) – we're replacing the “Dancing with Live Musicians” to “No Fear Bellydance! The Epic Quest for Artistry & Improvisation” - Saturday, 6/28
When we look at dance as art, we open ourselves up to being able to say more through our movement, while making a conscious effort to connect more deeply with our audience. Herein lies the secret to more beautiful, expressive performances! Art is not an abstract concept to be used as an excuse for poor planning. Nor is it an elusive esoteric experience for the elite. (Say that 3 times fast!) Art-making DOES involve concrete technique and critical thought. Yet it also requires the ability to let go, and be open to chance and exploration. Coincidentally, working with live music brings in similar challenges. How can you be prepared and be in the moment at the same time? What does it take to push beyond dancing to the music, and giving a dynamic performance that appears polished and planned? (Answer me these questions three!) In this workshop, dancers will learn to set aside their fears about improvising, effectively incorporate artistry into their dance, improve their communication skills (for working both with an audience as well as live musicians) and push their own boundaries and style - while working with both recorded and live music. Students will be challenged to build their creative thinking processes, apply them directly to their dance, and exercise new critique skills in class. All the while surprisingly themselves AND having fun! The quest is ON, who will find the grail?!
Register for it, as well as find out other details at http://www.tribalrevolution.com/

Lastly – we are offering THREE kinds of Museum Quality Intensives this year – each is limited to 15 students or less and are filling up!:
* July 5th-6^th – Sturbridge, MA – Summer Salon Mini MQ (2 days): http://museumqualitydance.com/summersalon.html
* August 22nd-24th - Indianapolis, Indiana (3 days) - Hosted by Celeste: http://www.celestebellydance.com/

* November 13th-16th, 2014 - Lancaster, PA (4 days!)- Hosted by Luna Ketta - https://www.facebook.com/events/168673243334443/?ref=br_tf
Find out all about how Museum Quality can change your dance experience! http://museumqualitydance.com/

Whew! Yeap, that's a whole lot, and there's so much more, but I'll contain it to this for now. Just want to add that right now in Seattle, there is a solo exhibition of my artwork up at the Pioneer Square Saloon for a few more days – but if you're not local, you can see the newest paintings at http://www.owlkeyme.com/art.html

Be sure to follow my pages on facebook for regular updates – and stay tuned for more exciting news in the future!


Thanks so much!
Blessings,
Tempest

Nouveau Noir Dance

http://www.darklydramatic.com

Tempest's Teapot - A Bellydance Blog
http://darklydramatic.blogspot.com/

OwlKeyMe Arts
http://www.owlkeyme.com

Waking Persephone: Dancing Through the Dark & Unusual
http://www.wakingpersephone.com 

Nobody's Right If Everybody's Wrong.

The blog title this week is from a song I grew up hearing, and that one line especially came to mind when I considered a lot of what I saw online recently. (see bottom of post for video of the song and link to a discussion about it). 

Last week, the bellydance community (as well as some overlapping sub-cultural communities) was in an uproar about an opinion piece that was posted on Salon.com.  Many things have been said in response, ranging from really beautiful, articulate responses to visceral, raw rants and raves. Followed in hot pursuit by another wide range of successive responses to those responses.

I am pretty sure I have now seen where every single opinion, thought, and nuance has been both lauded and attacked in turn.  Essentially culminating in: it doesn't matter who you are/where you come from/what you say/how you say it: you are wrong, so shut up. Which doesn't empower or help anyone.  Solutions don't come from shutting people down, they come from understanding, respect, and acceptance of differences. In particular, the acceptance and understanding that your neighbor's opinion and experience can be different from your own, and respecting that opinion doesn't negate yours or validate theirs.

Many people have asked me for my opinion on the original piece.  Here it is: I can appreciate the author's point of view and issues raised and even agree with them on several levels.  I am not a fan of the delivery, as there was a lot of misinformation mixed with a clear intent to inflame.  I can indeed respect work where the major intent is to incite, as it can certainly bring about change (though not my own preferred method, as I don't go "ok, how do I piss the most amount of people off" before I make any of my work - art, dance, writing, etc), but I expect the presenter to have their ducks in a row, and be prepared to open a dialogue, versus shutting it down.

I wasn't offended by the article, nor did I think it brought up anything new.  It is also somewhat hard for me not talk about my own experiences growing up in a home of mixed religion and as many would also think, mixed race - in an area that's seen more than its fair share of conflict between "marginal" communities over the last century. Yet I feel that if I do talk about my history, it opens up a counter-response that says I should shut up - invalidating my own experiences, and feeding into an ouroboros of ineffectual discourse.  But it is my experience, and my voice - so regardless of what you think about me because of my apparent racial background, gender, or religion, it has just as much right to exist as anyone else's. ANYONE.  We are all human, plain and simple. Which brings me to one of my frustrations that I have had with some of the  "social justice movement" over the last 5-6 years: there is a whole lot of "you're doing it wrong"  mixed with "you are X, so you aren't allowed to have a say" - neither of which fosters change or brings about positive solutions.  And by saying I think that mentality sucks, I am NOT negating the fact that there are real issues or invalidating their right to be heard. Nor am I attacking that person, their community, etc.  We need to get down the the bare roots of "I'm a human, you're a human. There's a problem here - how do we talk about solving it?"

It is especially because of my background that I have been hypersensitive about cultural exchange for most of my life.  I remember in 4th grade, our teacher separated us into "ethnic" groups to make a point about stereotypes and racism.  Over here were the Irish kids, there the Italian kids, Indian ones over here, Polish ones over there, etc - and she dictated what each group could or couldn't do, such as go to the movies, or an amusement park, or certain restaurant. Oddly, what I remember most about that exercise was out of two dozen kids, there were only about 2 or 3 of us (including myself) that couldn't be placed in one of those "all-X" groups, and that was frustrating for the teacher.  So ironically, during an exercise about overcoming racism, we felt even more singled out than everybody else.  But I think more importantly, this was the beginning of my journey to understand where I came from, what did that mean, and who does that make me now.  What does it mean to be a creature of many backgrounds, living in America today? Not only for myself, but how I interact with others?

It also meant to me that whatever art I was interested in, that I would learn everything and anything about it that I could before I explored it. It is natural for me to be an adamant researcher into whatever I explore, so it is a bit startling to realize that not everyone approaches life that way.  See something cool/different? Find out about it before you wear it/do it/sing it/play it.  That's what you do.  Emphasized again and again throughout all of my art school training - know what you're using before you use it. If you screw up - admit it, then go remedy it.

See or encounter somebody who doesn't know what they're doing? Then reach out to them and help them discover what they're missing, versus berating them.  Educational honey vs. vinegar.  Which is the same point I have been arguing about fusion and traditional bellydance for the last dozen years.  Know where it all comes from - and be willing to teach those who may have missed out, versus bashing them. Yes, I am sure that perhaps being scolded works better for some individuals than reaching out to them, but I prefer to give people the benefit of the doubt - that they do also want to learn, but they just didn't know or realize it.

In the last century, humanity has made a fair amount of progress in moving forward - about understanding our differences AND similarities in race, gender, sexuality, religion.  It was slow at first, but now, with the help of the internet, we're moving along at a hyper speed, much faster than anything else we've ever experienced.  Borders are being blurred and erased - more and more cultures are intermarrying, new paradigms of family units being created. We are becoming even more culturally blended, a truly global community, yet are still extra sensitive and cautious.  We are somewhat stepping all over each other trying to point out what's wrong.

We can't solve all of the problems out there in a day. But we can take each day as an opportunity to understand ourselves, where we come from, and reach out to our neighbors and friends to do the same.  We can learn from history - our ancestors and their actions, without saddling ourselves or others with the transgressions of those long-deceased, or the currently ignorant. We can listen to each other and share our experiences respectfully and be willing to open up dialogue for change, rather than discourse for chaos.

It is within our human nature to be wary, even fearful of "the other", but it also within our nature to share and to create.  One of the most powerful aspects of the arts is their ability to cross borders and revel in what it truly means to be human.  In learning about the arts - be it a dance of your own culture, or the theater of another, we expand upon the human spirit and emphasize our connectivity. And that is something we can all be right about. 



(more on the story behind this song here...)

Cultural Exchange

"Spirit I" - original painting by the author

Back at the dawn of civilization, a tribe of people from one area met a tribe of people from another - and didn't set out to obliterate each other. Instead, they oogled over each other's crafts/skills - special to each tribe because of its natural surroundings, resources, and developed abilities.  

It is human nature to find interest in things that are different from our normal existence.  And through this mutual appreciation, trade happened.  Whole villages, towns, cities and routes were built on the concept of trade and cultural exchange.  Humanity advanced as a whole because of it when the exchange was respected - and inversely failed when it turned to greed and war instead. 

We are of the age now where the tribes aren't just a small region, country, or continent - we are becoming a global community, where the lines of origin are often blurred at the individual level, roots far-reaching and tangled.  We are all interconnected, regardless of the color of our skin, shape of our bodies, gender, sexuality, or age. Our continued goal as humanity is to foster respect and understanding across a multicultural world - for in respecting and honoring others, we do the same for ourselves.

-Laura Tempest Zakroff, 3-5-2014

Dance Naked!

Photo by Becky Plexco, at the NOLA Witches Ball 2013

Recently, I had the lovely opportunity to meet with a group of high school students who are involved with the SEEDS program here in Seattle.  My task was to share with them a little bit about my experiences as a business woman in the arts (dancer, designer, artist) - and to answer any questions they may have about me, what I do, etc. It was a lot of fun!

At one point during the session, I talked about how being Goth merged rather naturally with my bellydance performance inspirations - it made perfect sense (to me) that my aesthetic and personality would influence how the dance came through me.  And I found myself, probably out of years of habit, noting that being of the Gothic subculture did not mean I was depressed, obsessed with death, hurting myself, satanic, or any of the other typical incorrect stereotypes that can pop up.  Rather, that to me, Goth is about seeing the beauty in all things, finding the balance of light and shadow, thinking outside the lines, and expanding our understanding of myth, mystery, and the unknown.  Therefore, this view of the world influences everything I do - my art, my dance, my design, and how I interact with the rest of the world.

They got it.  I dare say they even thought it was really cool. (Considering I'm old enough to be in the "mom zone,"  I'll take it!)

On the drive back home, I got to thinking about what makes a "dark" bellydance performance successful - and well, what makes it dark?  What does it mean, that considering in my earliest days of performing, when I wasn't doing anything intentional other than being myself, that others identified that there was something else going on there, indicative of silent film, film noir, and dark imagery?  What does that say about all the other elements and ephemera that people may feel are necessary to bring into it now?

If you strip away the make-up, costuming, and props - would the piece still read as dark? If there wasn't a gravemarker there to show you're in a cemetery or mourning, if there's no fangs or fake blood to show you're a vampire, if there's no daggers, whips, or other types of weaponry to look menacing with - can you still get the point (hah) across? If there's no leather or corseting, no spikes or chains, shredded or netted attire, does it still look dark?

Well, for some people, it IS all about the look, and it will always be - so all of those things are deemed necessary. It's not that different than demanding that the classic bellydancer must have a certain look - hair, costuming, body-type, etc.  Some people feel much more comfortable with markers they can easily recognize and label.  In the larger picture, those theatrical elements do count in adding to the experience - personally for the dancer (to aid in any transformation) as well as visually for the audience.

But we know the right "look" doesn't mean everything else is there.  Nor does just having the moves down do it. The dancer must be one with the music AND translate it to the audience, being in command of their body while performing.  And that is something that will be present in a successful dancer - whether they are wearing a top of the line costume, or a bathrobe.  Whether it's expressing the core emotional quality of song, or sharing in the sensation of human existence, the dancer is truly communicating content beyond a series of moves and gestures.

Gothic or  dark fusion takes that intense level of expression, and blends it with theatrical, mythical, and/or sacred content - adding another layer of storytelling. For me, it all started because I was taking my visual artist brain - already deeply focused on telling stories and exploring myth- and applying it to dance. I told myself a story to remember how I wanted to move through the dance through various parts of the music, and then subsequently discovered that the audience picked up on that.  As I grew in my dance and performance ability (and will continue to do so - until I die!), my communication skills as a dancer increased even more dramatically.

So while I love creating new costuming for my dances, I'm also fascinated with how simple I can make things - how much can I get across without needing to spell out all of the details visually through props, make-up, and costuming? And I love to challenge my students with the same task, making them stretch their skills, push their own boundaries, and find their voices within.  Essentially - if you were to dance "naked" - that is, without any additional special aids, can you still get your point across to the audience?

Regardless of what style you dance, have a go at dancing naked, and see what happens!