Shimmy in The Spirit of Bellydance Issue 01 June 2010

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I n t h e S p i r i t o f B e l ly d a n c e

NEW!

in The Spirit of Belly Dance A New Style of Dance Magazine

Featured Sections include: Travel, Prosperity, Health, Fitness, Food and Products Q&A: A fun look at Ava Fleming Bellydancing for Pregnancy & Birth Excerpt from new book The Belly Dancer

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Publisher Holly Luky

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I n t h e S p i r i t o f B e l ly d a n c e

Graphic Design Yvonne Stepanow

table of contents

Copy Editor Brad Luky Advertising Holly Luky Brad Luky Contributing Writers Amaya Robert G. Bauval DeAnna Cameron Corinne L. Casazza Jesse Dylan Hilary Giovale Kim Hollenback Michael Keberlein Holly Luky Claire Lynch (Faaria) Annette Mason (Jeela) Henry Seltzer

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Shimmy In The Spirit of Bellydance Magazine™ does not endorse or guarantee information included in either written material or advertisements. All rights are reserved. ©2009 No part of this magazine may be reproduced without written permission by the Publisher.

On the Cover: Image of Ava Fleming

by John Running

Shimmy In The Spirit of Bellydance Shimmy Magazine LLC Po Box 3910 Sedona, Az 86340 928.272.7755 shimmy@esedona.net www.shimmyspiritofdance.com

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Articles:

37 Teaching Movement to the Absolute Beginners

03 Excerpt from The Belly Dancer

41 Tradition and Innovation in Dance Music

by DeAnna Cameron

11 Cairo- Mother of the World

by Robert G. Bauval

14 Belly Dancing for Pregnancy and Birth

by Corinne L. Casazza

22 Weight Training for Belly Dancers

by Jeela

24 Top 10 Tips for Living the Good Life

by Jesse Dylan

27 Question & Answer

with Ava Fleming

30 The Time Has Come For Foods that Nourish and Empower

by Chrissy & Joel Gala

32 Feng Shui for your Space

by Michael Keberlein

44 Bellydancer’s Checklist for Travel

by Amaya

Sections:

by Kim Hollenback

23 Tuck & Push

by Claire Lynch (Faaria)

by Holly Luky

19 Transformational Astrology

by Henry Seltzer

20 Product Marketplace 22 Fitness 24 Thrive 30 Feast 32 Prosperity 33 Tribal Corner 37 Teacher’s Corner 41 Musician’s Corner

33 Tribal Style 101

43 Experience

44 Wise Woman’s Corner

by Hilary Giovale

46 Dancer’s Resources

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Letter from the puplisher

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Welcome...

To the premier issue of Shimmy In The Spirit of Bellydance!

I want to thank you immediately for supporting my new adventure with this publication. The inspiration for this magazine came awhile back, but as many things do in life, Photo by Joel Gilgoff it took time, patience and a giant leap of faith before I could really start working on it. While many aspects of our society have changed in the past few years, one thing I have noticed that has remained strong is the desire for many to continue dancing. Dancing can act as an escape from everyday stress. It can nurture our bodies as well as our minds and it can be the one stable force that keeps us moving gracefully through each day.

My goal with Shimmy In The Spirit of Bellydance, is to provide you, my valued readers, with a magazine that bridges together two facets of knowledge: lifestyles and the beautiful art of bellydance. I have met some of the most extraordinary people through this art form and know there is so much out there that interests these creative, powerful minds, I’m here as a resource for all of the information to facilitate this creativity. I sincerely hope that you will enjoy the magazine as much as I will enjoy putting it together, and that the print publication and website begin to form a “Shimmy Community” that unites fellow dancers, hobbyists, admirers etc. on a global scale.

This journey I begin on, I hope to be an adventurous one! On this journey I will seek to bring you articles on topics that inspire and educate, taking a step just outside the box to bring you a fresh perspective, and at the same time familiar enough that you feel ‘at home.’ I’m going to embark on this journey the same way I would with a performance: take a deep breath, recite my inner mantra, and smile as I head out to face an audience, one that I know and love.

With Grace & Gratitude, Holly Luky

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feature

Excerpt from

The Belly Dancer

by DeAnna Cameron, Chicago 1893

d

ora Chambers entered the Egyptian Theatre behind the crowd of gritty laborers and pale office clerks, the older gentlemen and boys barely of an age to shave. The masculine scents of their hair pomade and Ivory-soaped skin mingled with the fragrance of the tendrils of smoke curling from brass burners set along the stage. She raised her handkerchief to her nose.

“Are you sure you’re up to this, dear?” Agnes Richmond placed a grandmotherly hand on Dora’s shoulder and leaned closer to be heard over the high- pitched whine of a horn.

“Of course she’s up to it,” muttered Geraldine Forrest as the three settled along the back of the standing room gallery behind the rows of filled seats. She brushed at the sleeves of her tailored wool jacket and adjusted the wide-brimmed hat

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sitting atop her sweep of golden hair for the third time since they’d arrived. “I’m sure she’d do anything to keep her new husband happy.”

“Yes, of course,” the older woman said. “You must have felt exactly the same about Mr. Forrest, God rest his soul.”

She took Dora’s gloved hands in her own.

“It doesn’t appear those women intend to follow through with their threat after all. It’s quite a relief, really. I understand their concern, but frankly, the Columbian Exposition hardly needs the trouble.”

A commotion at the entrance interrupted her, and the shoulder-to- shoulder crowd in the cavernous hall pressed back, nearly sweeping Dora off her feet. When she righted herself, a stream of women in black wool frocks and simple hats had cleaved its way down the main aisle and toward the stage. Each held a sign in her grip with letters still dripping with wet paint: “Send the foreign filth home,” “Propriety before profits,” and “Close the belly dance theater now.”

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Their shouting drowned out the music until it stopped altogether. “Move back, dear, out of the way now.” Mrs. Richmond urged Dora toward the rear of the gallery, though everyone around them pushed toward the door.

Dora followed instructions, and huddled with Mrs. Richmond and Mrs. Forrest at the back of the emptying theater. Perspiration dampened Dora’s forehead and two droplets slid down the crevice of her back where the corset was pulled the tightest. She dabbed at the trickle but couldn’t reach it through the layers of linen and whalebone, cotton and wool. On the stage, she saw several dancers huddled together as well. “That’s enough, that’s enough now. Clear out.” A uniformed man pushed his way inside and was waving his hands over his head in a call for order. Behind him stood another dozen uniformed men, poised to act. “We won’t leave until this den of vice is closed down,” cried a dour, elderly woman who emerged from the pack to stare down the officer. “We will not allow it to defile our city any longer!” “You’ve been warned, madam. We’ll arrest anyone who disrupts this theater’s lawful operation.” “Is it lawful for these women to flaunt themselves in this vulgar manner? Is it lawful for these men to witness this obscene display?” The woman adjusted the glasses on her nose in a way that made her look down on the officer though he towered over her. “Not for me to say, ma’am. Grievances should be taken up with the Fair directors. Now, you and your sisters here have two minutes to disperse.” He made a show of pulling out his pocket watch and checking its face.

The grim- faced woman turned to the stage, where the dancers still stood against the back wall.

“You have not heard the last of this,” she hollered. “We will rid this Fair of your filth.” Then she turned and with a swipe of her hand signaled her fellow protesters to follow her out.

The officers followed behind, leaving only the performers, Dora, Mrs. Richmond, and Mrs. Forrest. “That was the Society for the Suppression of Vice?” Dora asked, tucking a stray strand of her black hair behind her ear beneath her straw boater and gripping her parasol more tightly, still unaccustomed to its constant presence.

“It’s just a group of ladies. What harm could they possibly do?”

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“Never underestimate a group of ladies, my theater. “That must be the manager,” she said, dear,” Mrs. Richmond admonished. “Take our pointing to a man walking toward them from Board of Lady Managers. The directors them- the door. selves put their trust in us to sort out this mess, He was tall, with broad shoulders, a lean and I for one am proud to say it is our Lady waist, and blue-black hair that fell in thick Managers’ privilege to contribute to the Fair’s waves to his shoulders like a soft shroud against success. Remember, if this World’s Fair succeeds, the hard angles of his cheeks. Dora guessed he Chicago succeeds. The opportunities will be was Egyptian, for he wore the typical white tuendless.” nic over narrow pants and had the same bronze “Chicago is full of opportunities, isn’t it?” skin as the performers on the stage. He regarded Dora liked the sound of it. It’s what Charles had her with eyes like polished obsidian stones. “You said on their wedding day two months ago in must be Mr. Hossam Farouk, the man in charge New Orleans, when she’d packed her dresses here?” and twenty years of memories into a steamer Mrs. Richmond stiffly extended her hand in trunk, ready to start a new life eight hundred greeting and introduced herself, emphasizing miles away. “The past is irrelevant in Chicago,” her title as vice president of the Board of Lady he’d whispered in her ear as they stood at the Managers. steamship bow, waving to strangers and feeling “I am Hossam Farouk,” he replied. He took the the rumble of the engine choke smoke into the proffered hand and lifted it to his lips. “But I sky as it prepared to leave the only home she’d would hesitate to say I am in charge.” ever known.

His accent made the words sound like a song.

Mrs. Forrest craned her neck to see out the “Surely you’re being modest. Mr. Sol Bloom himopen door. “I’m sure I just saw Mrs. Sheffield self has told me you’re the man to see. I’m sure and Mrs. Loomis.” “Where, dear?” Mrs. Rich- you’re familiar with Mr. Bloom?” mond searched in the same direction. “I should “By reputation.” He crossed his strong arms say hello.” “I’m sure that isn’t necessary.” Mrs. over his chest and stretched his six- foot frame Forrest smiled demurely.

“Let me convey your tidings for you. You and Mrs. Chambers don’t “We won’t leave until this den of vice really require my asis closed down,” cried a dour, elderly sistance here, do you?” woman who emerged from the pack to “Of course not. I’m sure Mrs. Chambers and I can stare down the officer. “We will not manage; there’s no reaallow it to defile our city any longer!” son we all must endure this dreadful business.”

“I knew you’d understand.” The woman airkissed Mrs. Richmond, ignored Dora, and made to its full height. Who in Chicago didn’t know her way down the crowded aisle.

Sol Bloom by reputation? Even Dora had read Dora noted the snub as she watched the stories of the young entrepreneur from San woman leave. She leaned in to Mrs. Richmond. Francisco.

“Have I offended her?”

He’d been recruited by the Fair’s directors to “Don’t mind Mrs. Forrest. It takes her a while turn the Midway Plaisance from what had been to warm up to new people. I was surprised she conceived as a collection of anthropological exasked to join us. It really isn’t like her.” She pulled hibits into a carnival of profitable amusements up the timepiece that hung from a chain around to help recoup the Fair’s staggering building her neck. “The next performance will be getting costs. The games, the rides, the animals, the aleunder way soon, but I want to have a few words houses, even the dancers were added largely by with the Egyptians first.” She looked around the his orchestration. Some claimed he even coined

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the name “belly dancers” to titillate the public and sell more tickets. “In light of today’s events, we were hoping we might have a word with the dancers, if that’s convenient,” Mrs. Richmond said.

He bowed. “We are always willing to accommodate Lady Managers.” His chin lifted to a proud angle. “Please, excuse me, and I will see what I can do.”

He went to the stage and the dancers, who had been watching the conference, and they quickly gathered around him. They exchanged words and flashed quick glances at Dora and Mrs. Richmond. The one who had been performing just before the interruption took a step back and folded her arms over her chest. She was the smallest of the troupe, but carried herself with a confidence that contradicted her size. She shook her head and the other dancers did the

taut across her bosom and left her abdomen uncovered, except by a blouse that fit snug as a stocking and exposed her collarbone and too much of her upper limbs. She clearly wore no corset, which alone could cause a scandal. Her skirt lacked proper length, revealing far more of her bow- tipped slippers than the rules of modesty should allow. The other adornments— a belt of tassel- tipped ribbons dangling to her knees, a profusion of beads and stringed coins roped about her chest, coils of metal bracelets wrapped around her wrists, even the loose dark hair hanging down her back— hardly concealed any more of her form. The other dancers wore similar costumes of varying colors— cobalt, marigold, persimmon, and plum.

And like Mr. Farouk, this little dancer spoke English with an accent that gave her speech a rhythm nearly as exotic as their desert music.

Mrs. Richmond jutted her chin. “If it is convenient.” The dancer “And like Mr. Farouk, this little dancer shrugged. Dora gaped.

These dancers surely had spoke English with an accent that gave no idea who the Lady her speech a rhythm nearly as exotic as Managers were. “We their desert music.” won’t keep you long, Miss . . . ” Mrs. Richmond said. A swollen blood vessel cut an angry path along her temple. “My same. The man rubbed his face with his palm, name is Amina Mahomet,” the dancer replied. shot another glance at Dora and Mrs. Richmond, “Shall we sit?” and continued his speech. “I’d say Mr. Farouk Mrs. Richmond scanned the uneven rows might be right; that little one looks like the boss of empty wooden chairs. In the haste to leave, around here,” Mrs. Richmond said under her the audience had left behind discarded tickets, breath. “A spitfire, for sure.” The small dancer crumpled programs, and stray kernels of molasinclined her head and relaxed her stance. She ses- covered popcorn that no one seemed inturned to the others, said something, and they all clined to retrieve. “This will not take long.” nodded. Then all those dark eyes turned toward The dancer went to a chair she turned to face Dora and Mrs. Richmond. When they neared, it Mrs. Richmond, stepped out of her low- heeled was the little dancer who spoke first. “You have slippers, and sat. A handful of the others did the something to say to us?” These performers were same; the rest moved to stand behind them. Mr. known by so many names: belly dancers, muscle Farouk receded to the background, watching dancers, posture dancers, dancing girls. Dora but no longer taking part. He stood by, more like had seen them in newspaper etchings alongside a guard than a manager. stories about the shows, but the images hardly Dora couldn’t help but stare at him— and captured the exotic women in front of her. when she noticed that he was watching her, she The one who spoke— she couldn’t have been glanced away and forced herself not to look in any older than Dora’s own twenty years— was his direction again. outfitted in a short crimson vest that stretched Mrs. Richmond, however, paid no attention

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to the man. She focused on the unladylike display in front of her. The seated women hunched forward or propped their feet on adjacent chairs.

Those who stood thrust out their hips to the side or leaned on the backs of chairs.

“It pains me to be the bearer of bad news,” Mrs. Richmond said at last, when it was clear no one else would begin the conversation, “but the Fair directors have requested the Lady Managers’ assistance with this matter of the protesters. They find it quite disturbing.”

Amina pulled a foot up to her lap and massaged the arch. “When you arrived,” Mrs. Rich-

mond continued, “we discussed expectations.

Do you recall that conversation?”

Nothing but blank stares on the dancers’ faces.

“Any of you?” The strain in Mrs. Richmond’s voice raised it an octave, maybe two. “The others speak almost no English,” Amina said. “You may direct your questions to me.” “Then do you recall that conversation?”

Amina lifted her shoulders in assent. Mrs. Richmond touched the bulging blood vessel at her temple. Her lips twitched. “We discussed proper conduct and attire. So I am disappointed to learn our guidelines have been ignored.”

She met Amina’s gaze squarely. “This cannot continue. The directors have instructed us to resolve the situation, as we are best suited to deal

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with such sensitive, feminine issues.” “What of the other dancers?” Amina took one of the ribbons hanging from her waist and ran her finger down its length.

“There are many along the Midway: the handkerchief dancers at the Algerian Theatre,

“Then you deny the existence of any impropriety?” The older woman’s voice sounded shrill and thin.

“What impropriety could there be? It is only a dance.”

“It is a matter of common decency,” Mrs. Richmond stammered.

“Are you referring to your decency or mine?”

Mrs. Richmond igMrs. Richmond’s fists clenched at her nored the challenge. “As sides. Dora studied a bare wall. you do not even see fit to wear proper under“Then you deny the existence of any garments, I must insist impropriety?” that you choose your outer clothing more wisely.”

Amina glanced down at her stomach and to the Jerusalem woman who dances with a dagger the folds of her crimson skirt. “Now you want to in the Moorish Palace, the Ouled Nail women in punish us because we do not wear corsets?” all their veils and silver jewelry who stand and Mrs. Richmond pressed her temple again. tremble on the Turkish Village stage.”

“Young lady, please consider this a warning. From A new bloom of rage spread over Mrs. Rich- this point forward, you and the other dancers mond’s face. “The protesters cite the Egyptian must cover yourselves more appropridancers as their concern.” Amina crossed her ately. Veils and something arms. “It is my hope,” Mrs. Richmond continued, more substantial “and I hope it is yours as well, that we can remedy this situation ourselves.

If we cannot, I will be forced to tell the directors you will not cooperate.”

Amina’s glance slid from Mrs. Richmond to Dora, and made Dora shift uneasily.

“I do not presume to know the directors’ minds,” Mrs. Richmond added, “but I would expect the consequences to be severe. Perhaps a fine, but I’m sure a complete forfeiture of the troupe’s wages might also be considered.”

Amina’s jaw twitched. She studied the floor beneath her as if reading a secret language in the swirls and knots of the wood’s grain.

“At our last meeting, you said we should not allow our virtue to be compromised. I can assure you, we have not.”

Mrs. Richmond’s fists clenched at her sides. Dora studied a bare wall.

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than what you are wearing today would be a good start. Lewd and salacious movements also will constitute a breach. And to be sure these rules are enforced, Mrs. Chambers”— she glanced at Dora— “is, as of this moment, appointed board liaison to this establishment. If there are any violations, she will report them directly to me.”

Dora stared in horror at Amina and the other dancers. A liaison? She couldn’t return to this wretched theater. It was no place for a proper lady, and especially not one trying to establish her place on the Board of Lady Managers. Her cheeks burned and her heart raced.

“Mrs. Chambers?” Mrs. Richmond turned to her, a pleading look in her eyes. “You can begin your duties promptly?”

Dora choked out a “Yes, of course.”

Mrs. Richmond turned a steely gaze on Amina. “Please be sure to share with your colleagues what we have discussed and what has been agreed. And just so we are clear, the Board of Lady Managers has assured the Fair directors

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that this nonsense will stop. One way or another.” Then, in a swish of skirts and petticoats, she turned and marched toward the door.

Dora stood paralyzed. This wasn’t happening.

Surely there must be someone else for the job.

And why was this little dancer looking at her that way?

Amina had risen when Mrs. Richmond departed and was now staring at Dora. She cocked her head to the side. “You’re not like the other Lady Manager, are you?” Her voice was calm, far too calm for someone who had just argued with one of the most powerful women in Chicago.

Dora clutched the lace at her throat. “I am a Lady Manager,” she stammered, and hurried to the door.

Read Part 2 of The Belly Dancer in the next issue of Shimmy!

Reprinted from The Belly Dancer by DeAnna Cameron by arrangement with Berkley, a member of Penguin Group (USA), Inc., Copyright (c) 2009 by DeAnna Cameron.

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wanderlust

Cairo is the oldest capital city of the world.

It can be said to have existed even before the pyramids were built. In c.3000 BC the first pharaoh of a united Egypt (known as “The Two Lands” i.e. Upper and Lower Egypt), king Narmer (also called Menes) founded Egypt’s first capital at a location 15 kilometers south of today’s modern city of Cairo. He called this city “Ineb Hedj”, the White Wall, but better known to history as Memphis.

Mother of the world

Cairo

By Robert G. Bauval

Today ancient Memphis has nearly completely disappeared under the thick layer of silt brought by the Nile flood every year through the centuries and also, perhaps mostly, from its destruction and vandalizing by Christian mobs after the decree of the Byzantine pope Theodosius I (379-95 AD) who ordered the closure of all ‘pagan’ temples in Egypt.

In ancient times the city of Memphis was associated with the great necropolis of Saqqara, home of the famous Step Pyramid of king Djoser (c. 2700 BC) and the many other 5th and 6th dynasties pyramids (c. 2300-2100 BC) and the various New Kingdom and Late Period tombs. At Saqqara is also the mysterious Serapeum, a huge labyrinth which houses 64 massive sarcophagi of the sacred Apis Bulls of Memphis. Also to be found at Saqqara are the many Mastaba (low, bunker-shaped tombs) of the very first kings of ancient Egypt from the 1st and 2nd dynasties (c.3000-2800 BC). Memphis was also closely associated with the sacred city of Innu (city of pillars), better known under its Greek name of Heliopolis, the City of the Sun. Heliopolis is about 8 kilometers northeast of modern

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Cairo and, since earliest times, was the seat of the priesthood of the sun cult and the stellar religion of the pharaohs. It is these priests that planned the pyramids and also composed the Pyramid Texts. Heliopolis was the very first ‘university’ of the ancient world where sciences such as astronomy, geometry, medicine, architecture, the arts and writing were taught to the selected neophytes. Until the arrival of the Romans in Egypt in 30 BC Heliopolis had hosted illustrious students such as Plato, Pythagoras and Eudoxus, who were taught by the Egyptian priests. Legend also has it that the child Jesus was educated at Heliopolis during his years in Egypt. Next to Heliopolis is the town of Matareya where the Holy Family is said to have taken refuge after they escaped from the massacre of the infants in Judea. Today a beautiful church dedicated to the Virgin Mary stands at the location where the Holy Family is believed to have lived.

The story of modern Cairo, however, begin in 641 AD with the Arab Invasion. The Arab general Amr Ibn el Ass, who conquered the Romans in Egypt, set the boundaries of a new town he called Fustat which today known as ‘Old Cairo’.

Fustat prospered from the heavy taxes levied on Nile transportation and on the trade from the caravans of goods coming from the east. But in the 10th century when the Fatimids from Tunisia arrived in Egypt and became its rulers, they

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rejected Fustat and set up a new city nearby.

Legend goes that the astrologers who cast the horoscope for the new city noted the rising of the planet Mars, Al Kahir in Arabic (“The Victorious”) and thus the city was called Al Kahira. The name Al Kahira is still used by the modern Egyptians but was corrupted by the early Europeans to “Cairo”. Modern Cairo is now a huge metropolis claiming a population of over 18 millions and boasting hundreds of mosques and churches, as well oriental palaces and the world’s greatest museum of antiquities as well as the largest oriental bazaars.

Modern Cairo is a city you can either love and hate… at the same time. Hate it because of its high pollution, its maddening noise, its crazy traffic, its general chaos, but then also love it because of its vibrant humanity, its multicoloured streets, its exotic smells, its amazingly generous and extrovert people, its madding cheerful crowds and its pulsating life. Living near the Giza pyramids, however, has its obvious advantages but also some disadvantages. Being where the highway towards Alexandria and the Fayoum, the traffic jams in the early morning and evenings can be seen horrendous, and the accompanying cacophony of hooting and police sirens like some weird orchestra gone mad. But when this traffic dwindles (but never completely stops!) during the day and in the late evenings,

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the view from our balcony becomes magical, almost mystical, revealing a landscape of pyramids to our left and fairytale palaces (the Mena House buildings) to our right, and the cream coloured dunes of the Sahara just beyond. One of the great pleasures of living in this this part of the world is the weather, always warm and sunny, although it does get quite hot in the summer months. The evenings are truly magnificent, with amazing golden and red sunsets over the pyramids, and pastel pink dawns filled with the songs of larks and the faraway screech of falcons that inhabit the surrounding gardens.

In medieval times Cairo was a walled city with several gates. Bab Zawayla in the oldest of these gates, and provides one of the most spectacular view in the Middle East. Right in the very heart of Old Cairo, to get there one has to walk from the Khan Khalili bazaar through crowded alleys vibrant with the merchants, the street sellers and the beggars to reach the ancient gate that is flanked by two very tall minarets. For a nominal entrance fee of 2 Euros you can climb to the top of the minarets and witness the best view that any Arab city can offer. It is like being on a flying carpet gliding over the many hundreds of minarets and palaces of a fairylike landscape reminiscent of images from Omar Khayam’s A Thousand and One Nights. After such a visit, then a stroll in the huge Khan Khalili bazaar

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must follow, and finally a stop at the worldfamous Fishawi cafeteria to sip mint-tea and smoke a Shisha (waterpipe) amidst the well-todo Egyptians that frequent this very picturesque oriental place. On one special occasion I took a friend walking through the so-called City of the Dead which is nearby. This is a sprawling area full of medieval tombs (mausoleums actually) which have been converted into living quarters by the poor population of Cairo.

I could go on and on about my experiences in Cairo that could fill not just one article but a whole book. I could talk about the amazing Antiquities Museum with its endless treasures and artifacts; I could talk about the chaotic yet colorful and vibrant bazaars and the thousands of street café where on can sip Turkish coffee and oriental tea, smoke the Shisha or play domino and trictrac (Egyptian backgammon) with the locals. I could also speak of the splendid and luxurious palaces you can visit and even sleep in or the many restaurants serving tasty Egyptian food and rosewater flavored cakes. I could talk about all that, but I won’t. I will leave you discovered all this by yourself and leave you tell the stories yourself to your friends and family back home.

As we say in Egypt: Itfadal fi Masr. Welcome to Egypt!

shimmy 13

for Pregnancy and Birth

by Corinne L. Casazza

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feature

Imagine yourself abundant with child, you look down upon the swell that is your belly and know this new life is ready to make its debut. You are surrounded by all your female relatives, friends, and, of course, your own mother. As you feel the first contractions, all the women create a circle around you and begin chanting, singing, and undulating their abdomens.

You join them. These undulations along with hip circles and shimmies lessen the pain of your contractions. You sway along with your sisters, aunts and cousins allowing the sibilants of their voices to mesmerize you; relax you and open you to the surrendering necessary for birthing. This trance-like state, the trust and love of your sisters, and the gentle movement of the dance come together to allow your child to be birthed naturally, easily and with sanctity.

In her book, Grandmother’s Secrets The Ancient Rituals and Healing Power of Belly Dancing, Rosina-Fawzia Al-Rawi states “to this date, belly dancing has retained its ritual aspects in many Arab countries.

It accompanies a woman throughout the phases of her life: menstruation, wedding, birth, death, taking on a different face according to each event.”

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Here in the west, the idea that belly dancing is healthy and beneficial for pregnant women and the labor process is a relatively new idea. In the last few years, the mainstream media including ABC’s Good Morning America, Time Magazine, Medical News Today and The Wall Street Journal have all reported on the benefits of this ancient dance with members of the medical profession advocating its safety for the mother-to-be and the baby.

Cathy Moore is one such professional.

Moore is a mid-wife at Boston’s Brigham and Women’s hospital who has been introducing pregnant women and birth specialists to belly dancing in her business, In the Belly of the Goddess.

Moore was belly dancing at the same time she became a mid-wife. Her dance instructors at The Goddess Dancing told her that belly dance had its origins as a birth dance, but her own inner knowingness about the connection between belly dance and birth came from learning to shimmy.

“When I really learned how to get a good hip shimmy going and felt how loose the pelvic floor is, it just clicked that the movement would let babies out.”

On a physical level, women who belly dance understand that it exercises the core muscles and all of the muscles used in giving birth – the abdominals and all the muscles in the hips and pelvic floor.

“What I really like about belly dance as a fitness routine is that in terms of musculature, you get a nice lengthening and strengthening of the muscle as opposed to tightening of the muscle. A lot of exercise we do in our culture is all about tightening and shortening muscle which produces an aesthetic that we have come to think is beautiful in our culture — really flat strong abs, and so on. In order to let a baby out and grow a baby, your muscles have to lengthen and expand,” says Moore.

Her experience in the delivery room showed Moore that most women needed some training to prepare for labor.

“One of the things I had seen in birthing was that women would really clench all the muscles of the pelvic floor and be counterproductive. To get a baby out, you really need to let go and expand and release. That was an aha moment. I could see that a good hip shimmy would allow things to loosen and allow the baby into the birth canal and out of the body.”

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Sara Supernova – a friend of Shimmy and her new baby girl Isabella.

Sarah bellydanced throughout her pregnancy and used hip circles to assist her in her home pregnancy.

A curious fact about Moore is that she doesn’t have children, so she didn’t personally experience birth. She has a lot of experience witnessing birth – what she refers to as “catching babies.”

Since each woman is unique, women’s experiences of birthing using dance techniques vary. “Some women have said belly dancing has made a world of difference. Usually a woman’s first is her longest and hardest labor, so it’s difficult to tell if success is just due to this being a subsequent labor. I had a student who gave birth to her second child and used hip circles in early labor.

She found it incredibly helpful and was excited she had actually used what she learned in labor.”

In her pre-natal dance classes, Moore’s students report that many of the movements have benefits in mitigating some of the normal discomforts that women experience, especially dur-

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ing the end of pregnancy such as constipation, heart burn and lower back pain.

In these pre-natal classes, Moore teaches belly dance movements that coincide with each of the three stages of labor. The first stage of labor is everything up to the 10 cm mark and deals with contractions.

“I recommend all the slower isolations such as hip circles and figure eights for the first stage. I believe these movements help to disperse the pain. It gives women something else to focus on and by moving; the pain is not localized in one area, and tends to lessen in intensity.”

Hip movements can be very helpful in positioning the baby’s head correctly into the pelvis. “Any hip movement where the hip is moving up and down vertically like in a shimmy or a vertical figure eight where you’re getting those diagonals –helps

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with the baby’s positioning because they move the bones of the pelvis and cause the pelvis to flex and open a little, giving the baby the millimeter or two it needs to find a better fit.”

The second stage of labor is the actual birthing process — 10 cm until the baby is born. “I really love shimmies for the second stage. Shimmies are my absolute favorite movement for pregnancy and birth. I recommend that in between pushes women do a vertical hip shimmy (an earthquake shimmy) nice and loose and at a very relaxed tempo. It’s good because it really loosens the pelvic floor. In between bearing down, I want women to be really loose and relaxed because that really helps with the descent of the baby into the birth canal.”

In stage 3, the placenta is passed out of the body.

“The placenta has to detach from the uterus, then move down into birth canal. In stages 2 and 3, belly rolls and undulations move the abdominal muscles in a sequential way which is very helpful in pushing. The abdominal movements really mimic what happens with the contractions. Muscles undulate when the uterus contracts pushing out the baby and the placenta.”

Besides the movement, another important physical aspect of labor is breathing. “If women really practice breathing, they can get into a self-hypnotic state; just trancing out into the movement can be beneficial,” says Moore.

Laura LeRoy agrees. LeRoy is a licensed Dancing Thru Pregnancy® Instructor with over 28 years experience as a professional belly dancer and choreographer. She is the Director of Birthdancing at Zohar Birthdancing in Arizona.

LeRoy put her own spin on the Dancing Thru Pregnancy program and calls it Birthdancing. “Belly dance is really a healing body/mind/spirit holistic form of self-expression, health and healing. I felt bringing this into the pre-natal modern world would be of great benefit,” she says.

Breathing is a key piece of the equation for LeRoy. “When you’re able to become aware of your breath and you are in a relaxed and meditative state, the breath enhances that state. You’re in a heightened awareness and not in fear. You’re allowing the moment to unfold as it should, trusting in the moment, instead of being in fear about the future or what’s going to happen next. I don’t know any better way to get to that place than slow, hypnotic belly dance movements.”

Leroy believes being relaxed, focused and present is the best way to have natural child birth. One way to induce this is through trance-like music; very inwardly focused, very slow and snaky – a taqsim.

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Stage of Labor

Belly Dance Movements

Stage1 Contraction and up to 10 cm

Hip circles, figure eights, slower isolations

Stage 2 10 cm to birth

Shimmies, belly rolls, undulations

Stage 3 Delivery of the placenta

Shimmies, belly rolls, undulations

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Dance movements combined with the right music can induce a trance-like state, very relaxed, very focused, very centered.

“In labor a woman is in a moving meditation and as she goes into transition, she enters into a different type of mental state. It becomes very inward. If you’re in the movement, breathing, and have the right soothing music, it’s very powerful and beneficial. I think of teaching Birthdancing as giving something of special value to women for the most significant experience of their life.”

Interestingly, LeRoy didn’t have the benefits of belly dance when she gave birth, she used Lamaze. “It didn’t work for me at all. It didn’t give me the preparation or training that I needed. That doesn’t mean some people can’t benefit from it. I do think Birthdancing offers a great deal more help to woman in the birthing process. It has such far-reaching benefits. In general the whole vocabulary of movements is beneficial because it teaches the woman how to isolate the different areas of the torso. Most women don’t realize they have so many parts in their torso versus one big pregnant belly, but there’s the pelvis, diaphragm, rib cage, and all these areas can be isolated to facilitate birthing.”

LeRoy began dancing in 1980 and has done extensive research into belly dance, discovering the dance about 10 years after giving birth to her son. “When I learned about this ancient tradition of

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fertility and birthing dance which we call belly dance (that name is about 100 years old, that’s not what it was called in ancient times), I took the liberty of calling it birthdancing, because in my research it was very much connected to birth. That was the original intent of it.”

LeRoy studied the books of anthropologist Marija Gimbutas and found The Language of the Goddess to be particularly interesting. In various archeological digs, Gimbutas discovered a nature focal society where woman were the center of the society and owned all the property.

Fertility and childbirth were paramount to the survival of their community. Artifacts from this society included many fertility symbols and drawings of dances that marked transition points in the lives of women, like birth and death.

“I also noticed there were certain symbols that kept appearing on the pottery and artwork of the time. I found that circles, crescents, helixes, spirals, and chevrons were the primary symbols. They appeared on the largest structures they created, the megaliths, to the smallest handheld fertility symbols.”

LeRoy started seeing the connection between these symbols and the basics of nature – earth, air, water and fire. The way she presents birthdancing is based on these basic shapes and patterns; the movements integrate them all. Figure eights and circles are earthy movements that open the pelvis and position the

baby. Water is represented by the rippling and waves of undulations which control and strengthen the abdominal muscles.

The pulsing vibrations of shimmies call to mind fire and relax and stimulate the pelvis. Air is represented by the spiraling which pushes and pulls with healing life force energy. The umbilical cord of the baby is a spiral and the movement out of the birth canal is a spiral. These basic shapes and patterns are present in belly dance movements and it’s all in alignment with the natural order of things.

To be aligned with nature during childbirth, a woman must be relaxed, present and in the moment, able to listen to her body and open and surrender to the birthing process. The ancient ritual of belly dancing allows for all of this and the sanctity of new life. What could be more natural, than a group of women encircling a mother-to-be, enfolding mother and child with their love and encouraging an easy, graceful entrance into the world?

For more information on Cathy Moore’s belly dance for pregnancy and birth, visit her website at www.inthebellyofthegoddess.com To learn more about Laura LeRoy’s Birthdancing program, visit her site at www.zoharbirthdancing.com

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astrology

Transformational Astrology

By Henry Seltzer

ARIES (March 20-April 19)

LIBRA (Sept. 22-Oct. 22)

You are feeling the fires of transformation, as the evolutionary pressure mounts. Home and family matter, and the power of right relationship. You are fantastically idealistic but also extremely cognizant of the practical limitations of the situation. There is nowhere to go but up.

This is a huge period for accomplishment, all through these two months, but with a twist. Since your inner world is also extremely active right now, real-world achievement is only one part of the story. You are going down in order to come up, and then everything starts to settle smoothly into place.

TAURUS (April 20-May 19)

SCORPIO (Oct. 23-Nov. 21)

This is a time of digging in and getting on with it.

You are deadly serious and also experiencing restrictions regarding your creative self-expression in all its forms. The good news is that lasting benefits will accrue after this period of time has been long gone in terms of lessons learned.

GEMINI (May 20-June 20) You are going over a waterfall in the proverbial barrel, but you will never hit bottom. Emotional insight comes slowly but the miracle is that it comes at all.

The rewards are there for you when it does.

CANCER (June 21-July 20) You are feeling the rush. You are all go-power right now with the urge to get things done, and to show yourself to best advantage. In August you are asking major questions about the important others in your life, perhaps seeking a new way to balance the competing demands of connection and separation.

LEO (July 21-Aug. 21) This is a time of contrasts for you. On one hand you are wandering in the fog, seeking the ideal; on the other, all too practical. Your task is to integrate competing views into a whole that is meaningful for you and for you alone. Then you can move forward gracefully.

VIRGO (Aug. 21-Sept. 21) You are coming to a point of clarity. This first month of July you can see your path forward with extended vision, and you might even have the courage to act on that vision. Idealism in the search for your life’s true path wins out over negative thinking. A smile takes you far.

This is a great time for progress, and of the most intense kind. You are solid in your commitment to a better world for yourself and for everyone around you, and only a few doors need to be broken down in order to get there. The good news and the bad news is that these doors are to be found inside your very own mind and heart.

SAGITTARIUS (Nov. 22-Dec. 20) These two months are a time of hard work that brings recognition in the eyes of the world, and of deeply transforming personal evolution that responds to troubles by taking them as opportunities for growth and letting them bring you closer to an understanding of what your life is about.

CAPRICORN (Dec. 21-Jan. 19) You have been dealing for many weeks now with a developing world view that responds to these troubled times, and along the way morphing in your overall presentation. Now you are being given the opportunity to face yourself in the mirror of relationship, and assess the distance you have come.

AQUARIUS (Jan. 20-Feb. 17) This is a magical time for you. An opening exists right now to find your way through the maze of outer world responsibilities to the core of what is yours and yours alone. On into August, partnership is valuable, and helpful in getting priorities straightened out.

PISCES (Feb. 18-March 19) The affairs of earthly existence are quite active for you now, but the more involved you get, the more you realize that it all depends in an unseen presence that you could call goddess, or your own higher self.

There is new way of seeing societal connection that is starting to settle in, a joyful re-orientation.

Henry Seltzer, transformational astrologer and creator of the TimePassages astrology software, is based in Santa Cruz, California. An extended look at this month’s star signs is available on his website. Holding degrees from MIT and the University of California-San Diego, Henry is a popular speaker and also offers life enhancing private astrological counseling. Call him at 831.425.3686, or visit his website at www.astrograph.com.

www.shimmyspiritofdance.com

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B e l ly DanceCe l e b rating Th e S a c re d Feminine

By Martha Elena Burns with forword by Christiane Northrup, M.D. Author Martha Elena Burns took a ten-year journey to create the beautiful photos that fill this wonderful photographic book of art.

Her goal was to honor and represent all the beautiful women in their “glory and greatness,” which is exactly what she did.

With entire pages dedicated to each dancer’s image, she has captured every essence of this dance, from tribal to oriental, mothers to daughters, pregnant and post-pregnancy- the very essence of what makes us women and what we embody when we slip into our costumes is captured in a very real yet artistic way. Every dancer should own one and every coffee table that displayed one would inspire conversations.

www.bellydancebook.net

Th e Improvi sation Toolkit V olume 1: M ovement Recall- D V D

With Nadira Jamal Many dancers are frustrated by improvisation, and it‘s not wonder: most instructors teach belly dance improvisation by telling their students to ‚just do it‘ in class. Throwing someone in the deep end of the pool may teach them to swim, but it‘ll also teach them to hate swimming! The Improvisation Toolkit DVD series starts off in the shallow end. Practical, step-by-step exercises develop the fundamental (and often neglected) skills needed for belly dance improvisation, so you can gradually let go of the pool wall, and head into deeper and deeper water without fear.

The Improvisation Toolkit Volume 1: Movement Recall helps dancers organize their movement vocabulary, so they can always find the one they need.

• “Noodling” exercises unclog the dancer‘s creative flow and shut up the inner critic.

• The dancer‘s personal “safety moves” are identified and and then ingrained into muscle memory, so she will never have to draw a blank.

• Guided exercises train the dancer to use her safety moves in many different ways and transition smoothly between them. This allows her to perform interesting and beautiful combinations with only a few movements, and with minimal mental effort. This frees up the brainpower needed to let go and think creatively in the moment.

• Simple memory tricks help the dancer access the rest of her movement vocabulary.

D i v e rse Ar t is t r y

By James Walter Free Form: Sterling silver and copper Shimmy: Sterling silver, copper, bronze and malachite Modern Leap: Sterling silver and bronzeI

Nadira Jamal is the hostess of Taktaba, the video podcast on dance composition for belly dancers. In keeping with her training as an engineer, Nadira loves to tackle complex topics and systems, and break them down into logical, understandable concepts. She performs and teaches in the Boston area.

$29.95 • www.nadirajamal.com/improvvol1.html

928.699.9079 • diverseartistry@gmail.com

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product marketplace

Th e M od ern Girl’ s Gui de to L ife- Book

With Guide Jane Buckingham Host of the Style Network’s series

A m e r i c a n B e l ly D a n c e L e g e n ds Vol. 1 American Belly Dance Legends… The dancing pioneers that started the Belly Dance movement in this United States! Featuring the Greats on our dance world. To know your dance history is to know your craft. A must have for all serious students of Oriental Dance, teachers of Raks Sharki, Ethnic Dance Studios and Fans of BellyDance!

Featuring: Adriana • Aida Al Adawi • Aisha Ali Aziz • Dahlena • De Ann • Helena Vlahos • Ibrahim “Bobby” Farrah • Jamila Salimpour • John Compton • Morocco • Roman “Bert” Balladine With bonus scnenes: Ahmed Jarjour and Amir of Boston

$24.95 + S/H www.maria.amaya.com • 505.281.4492

A stylishly smart collection of practical advice for the busy modern woman.

With information on entertaining, etiquette, housekeeping, basic home repair, decorating, sex and beauty, this indispensable book has everything today’s young woman should know- but may not! This book is a collection of all the helpful tips and secrets that get passed on from generation to generation, but many of us have somehow missed. It’s full of practical, definitive advice on the basic necessities like finding a bra that fits, balancing a checkbook, making a decent cup of coffee and hemming a pair of pants. Modern Girl guru Jane Buckingham includes loads of savvy counsel to help us feel more refined, in charge and together as we navigate the rocky terrain that is twenty-first-century womanhood.

www.reganbooks.com

Advertise your products in the Product Marketplace: $75 per issue Includes 1x photo and 100 word description.

Jo dhaa Ak bar- D VD

by Corinne L. Casazza Forget that this movie is 3.5 hours long with subtitles. Forget that it’s about a conqueror in the 15th Century. This is easily the most romantic movie I’ve ever seen. It’s a testament to what true partnership is between a man and a woman. How they come together and learn to love and trust each other in the face of many who wish to keep them apart. Yes, there are those elephant-stomping battle scenes that are difficult to watch, but there is also the pageantry of dance, veiled, gilded costumes and Sufi devotion.

Oh, and a country united with religious freedom for all. What a concept!

www.jodhaaakbar.com

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shimmy 21

Weight Training for Belly Dancers?

By Kim Hollenback

Absolutely!

Weight training can help you increase your lean muscle mass, increase your metabolism AND sculpt your body into a shape that would make a Greek goddess jealous!

Maintaining lean muscle mass should be a crucial element in your overall fitness plan. As we age, we naturally loose lean muscle tissue UNLESS we lift weights to reverse this process.

After the age of 30 we loose 10% of our lean tissue every decade. By the age of 70 most of us will have lost 40%-50% of our muscle mass! Regular training with weights is a must, to keep this from happening.

A wonderful side benefit of keeping our muscles toned is an increased metabolism. A pound of muscle requires at least 50 calories a day to stay alive as opposed to a pound of fat, which requires almost nothing. By Bellydancing is a adding one pound of beautiful & delicate muscle to your body, you will increase your sport for graceful caloric output by at and delicate athletes. least 350 calories per True. Weight lifting is week! Add 5 pounds of muscle to your a crude & sweaty body and it becomes sport for large and at least 1750 calobulky athletes. False. ries per week. This doesn’t mean gaining 5 pounds overall.

Weight training will convert your useless flab into eye-popping FAB without adding overall weight to your body. You will lean down and lose inches as you sculpt your muscles and become a fat-burning machine.

Lastly, let’s talk about sculpting your body. Having lean and graceful arms is a good thing. Adding those subtle shadows where your shoulder meets your biceps, and having the outline of a triceps muscle on the back of your arm… is a great thing! Some belly dancers can be too lean. Having muscles makes you look stronger, healthier and even more sexy. Increasing your core strength will help you be an even better dancer with more control and stamina. Having that

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Kim Hollenback is a Certified Fitness Trainer living in Sedona, AZ. She has over 25 years of experience training people in one-on-one sessions and group fitness classes.

928.301.0209

gorgeous v-taper to your back and toned chest muscles will make you look that much better in your costumes.

In our society, heavy manual labor is almost a thing of the past. But muscles were made to push weight. Adding 2 strength training sessions each week will help you achieve the body of your dreams. It will help you maintain your lean muscle mass. It will help you stay strong and powerful. And it will help you be an efficient metabolizing machine. Consider adding this powerful tool to your fitness regimen.

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fitness

Tuck & Push

by Jeela

We’ve all done it: come out of a traveling combination or one too many spins completely off balance, a frantic voice inside our head yelping “Don’t face plant!”

Feeling off balance is not only frustrating but can lead to injury. To maintain our balance (and our dignity) it is essential that we learn proper posture and alignment and train our bodies to find our center of gravity, or “center”.

This is more easily said than done and becomes even more challenging as we start to move, causing our center of gravity to shift. If we don’t train the body to adjust for this shift, we may find ourselves doing a lot of impromptu floor work!

We can learn to adjust to this shift and maintain balance/ control in two ways: 1) by shifting another body part in the opposite direction or 2) contracting the counter balancing muscle group. Anyone who has taken my class is familiar with the phrase “tuck and push.” Tuck & Push is a verbal cue I use which incorporates these two balance adjustments, helping dancers maintain proper alignment and stay centered.

Practice this standing in front of a mirror at first to see the visual correction in your posture and alignment. Once you get a feel for it, close your eyes and focus on the powerful muscle

contractions as your whole torso becomes engaged.

With dedicated practice of the Tuck & Push, your abdominal and back muscles will become stronger and this new posture will become your new neutral position. You will find that incorporating the Tuck & Push will help maintain balance and control in other movements such as level changes, walking shimmies, veil work and especially spins.

So Tuck & Push dancers and dance, dance, dance!

To assume the Tuck & Push position: tand with feet hip distance apart, weight over S the arches of your feet. “ Tuck”: Engage your lower abdominals, bringing the belly button into your spine. This prevents excessive forward tilting of the pelvis and helps protect and support your lower back. Tuck only so much that you still maintain a natural curve in your lower back. “ Push”: Roll your shoulders up, back, then down.

Engage your upper back muscles to pull shoulder blades together slightly then gently push your chest straight forward (not up) over your hips.

This counter balances the contraction of the abdominals and prevents the chest from sinking inward and rounding the shoulders.

www.shimmyspiritofdance.com

Annette Mason (Jeela) is an Ace Certified Personal Trainer and Group Fitness Instructor. She teaches belly dance technique and conditioning classes in Flagstaff, Az. www.jeelasjoyinmotion.com

shimmy 23

Top 10 Tips for living The Good Life

By Jesse Dylan

Each week on my radio show The Good Life with Jesse Dylan, I talk with the world’s leading experts in health of mind, body and spirit to give listeners the latest insights in health and transformational living. From my new book The Good Life with Jesse Dylan, here are the Top 10 tips to ensure your health of mind, body and spirit.

1. The 35/40 Rule Your risk for diabetes, cancer and heart disease is higher if you carry fat around your belly. Women over 35 inches in the midriff should take notice, as should men over 40 inches.

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thrive

2. Eat for nutrition Avoid food rich in saturated fats, move from processed to whole grains, eat the recommended amount of fruits and vegetables, and cook real food with fresh ingredients.

3. Fitness in 10 minutes California fitness guru Sean Foy has developed the 4-3-2-1 daily exercise program. It’s 4 minutes of aerobics, 3 minutes of resistance exercises, 2 minutes of core, and one minute of stretching and breathing for a complete workout in only 10 minutes.

4. Take your D3 and omega-3 Reduce your cancer risk with 1000 IU vitamin D3 daily, and decrease your risk of heart disease and Alzheimer’s with 600 mg daily of DHA .

5. Discover adaptogenic herbs For enhanced stamina, strength, alert-

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ness, mental function and immunity, take schizandra berry, Rodiola rosea, ashwaghanda, and eleuthero root (a.k.a.

Siberian ginseng).

6. Remember ginger and garlic Make tea with fresh shredded ginger – it’s a powerful healing elixir for indigestion, sinus congestion, and cold prevention.

Eat garlic whenever you can – it lowers bad LDL cholesterol, improves HDL cholesterol, reduces high blood pressure, and helps prevent colds.

7. Stick with green tea Drink a cup or two every night to lower your cholesterol, reduce your cancer risk, and increase protection against UVA and UVB rays.

8. Heal yourself with laughter Laughter improves immune function and accelerates healing. Lighten up, be a kid, and kindle some laughter with harmless

gags and spontaneous fun with family and friends.

9. Live with purpose Awaken each morning determined to “choose life” and live with purposeful thought and action. Parenting, career, charity, spirit – what’s your reason today?

10. Meditate Find a quiet place, sit comfortably, and close your eyes. Start with a few deep breaths, then let your body dictate the pace of your breathing. Watch your thoughts come and go, don’t judge them.

Ten minutes, 30 minutes, 60 minutes – it’s all good.

You owe it to yourself to stay healthy in body, mind and soul regardless of the financial markets or the size of your bank balance. Use these 10 tips to invest in something that’s sure to outlast any recession: You!

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cover girl

Question & Answer with

Ava Fleming

By Shimmy In The Spirit of Bellydance

S: What inspires you in life?

A: Music, vacations, fun, genuine, sincere and quirky people, being in love, discovery, challenging myself and good food.

Shimmy: You have a most unique and beautiful look, what is your heritage?

Ava: Muuhahahahahaa! If I told you that I wouldn’t be mysterious, now would I? When I’m asked that question, I find that people are really debating if I’m Asian and if so, which country. So to answer that question, I am half Chinese. The other half, well now that is top secret.

S: Having been a professional ballroom dancer in the past, what is your opinion of Dancing With the Stars?

A: Honestly, I teach every night of the week, so I’ve never seen it!

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S: What inspires you to dance?

A: I would think of it more as a necessity than an inspiration. My personal being needs to dance and express itself through musical movement. It is as if the soundtrack to my life has been woven into my DNA instead of being used as a backdrop to set the mood for a particular scene.

On a different level, my students inspire me to be a better dancer and teacher. Also, the knowledge that the deeper I delve into the dance, the more I uncover in myself- creating higher personal awareness.

5) S: If you could choose one dance company to accompany you on stage in the entire dance world, who would it be? It could be a modern, jazz, hip hop or ballroom company….

A: Oh my gosh, I would have to say Pilobolous. They are the most amazing Modern dance company I’ve ever experienced, their relationship between mind, body, movement and interactions is one of a kind. On a side note, I have always been fascinated with Mikhail Baryshnikov.

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Things you didn’t know about Ava “ I love Bacon.

My cat, Nico, is crazy. His favorite past time is to hang out on the second floor balcony railing that is about an inch wide.

I tan in 5 seconds and hold it for a year.

My two front teeth are fake! One due to a swimming accident as a child and one just out of bad luck as an adult – it was fun having matching front teeth for the first time in almost 20 years when they were finally ‘replaced’.

I love to eat, eat and eat.

My favorite song to dance to is “Roxanne” from the movie Moulin Rouge.

I love brownies made with coconut oil.

Sleeping and snacking are my favorite hobbies.

I love road trips and eating McDonalds, sour gummi bears, water, and chili lime flaming hot cheetohs.

Even though I grew up in California, I was actually born in Phoenix.

I don’t watch TV because once I start, I can’t stop.

Really, when I’m in hotels I easily get addicted to CSI, Law and Order, Cold Case and end up staying awake until the weeeeeeee hours of the morning.

Tetris will keep me up late at night.

Ava + kitchen almost always = disaster.

I can’t paint, nor can I sing, just trust me on this one.

Did I say I love food yet?

I collect tiny containers, and travel with a pink haired troll named Mr.Babu (bay-boo).”

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S: Do you have a favorite rhythm to dance to? If so, explain...

A: Cha Cha or Samba. Both rhythms make everyone happy, and you can’t help but wiggle.

I’ve seen it in stores when a popular song starts playing over the PA and a few pedestrians start bopping their head or tapping their feet, buckets of wiggles and giggles... I tell you.

S: Do you have a mantra or ritual that you perform I love road trips and before dancing onstage? (IE: eating McDonalds, sour a certain stretch, pep talk, gummi bears, water, and meditation?)

A: Oh yes! Before I moved chili lime flaming hot to Phoenix I learned a specheetohs. cial mantra from one of my best friends. In this mantra I thank my higher power, my teachers, and my audience, because were it not for their guidance I would probably be the scientist I was studying to become before this dance found me. Of course when I’m actually saying it I elaborate a bit more, although I always finish my mantra requesting to dance with an open heart to create a moment for my audience that

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is unique, incomparable, and unforgettable. I desire for each performance to be better than the last and to give more of myself than ever before, as a way to show my appreciation and gratitude for the opportunity to share and to say thank you for that one moment in time.

S: Sweet or Salty?

A: BOTH and at the same time. Add a little spice and sour and I’ll be in food heaven. A perfect example is Trader Joes Chocolate covered Chili spiced mangos; I can eat an entire container in one sitting.

S: Who is your favorite all-time bellydance “Legend?”

A: Just one? I find a quality in each dancer that none other has and to pick just one would be like eating one candy for the rest of my life.

I can’t do it.

S: Inspired by the book “Eat, Pray, Love” what is your word? (this is just one word that describes your essence...)

A: Dessert (I’ll take dessert over dinner any day)

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The time has come…

By Shimmy In The Spirit of Bellydance

f

or foods that nourish and empower; the reign of scientific formulations in our cabinets under the guise of healthy nutrition is in question. With a country whose statistics of illness are at an all time high we can no longer afford to turn a blindeye to the facts. We are a country out of balance, and food science isn’t going to find the answer. Feeding and maintaining this incredible instrument we call our body shouldn’t be a mass of confusion on par with a NASA project.

So, what’s the deal? Why don’t diets work?

Why is obesity at epidemic proportions? Why are diseases crippling our country? The answer may shock you -—the Standard American Diet (SAD) is made up of nearly no authentic foods.

Authentic food is a whole food; intended and created by nature and expected to nourish our bodies. A whole food needs to have five components: 1. Amino acids (the precursors to proteins and enzymes) 2. Fatty acids 3. Glucose 4. Vitamins 5. Minerals These five essential components exist naturally in everything that grows from the earth.

When we’re missing any one of these components our body will work to create a whole food, which often means pulling from other sources in the body. Here is the little secret you haven’t been told: amino acids and enzymes are very fragile and are destroyed in the processing and heating of food. When our food lacks these critical components it pulls from our metabolic enzyme reserve to digest the food. Metabolic enzymes are reserved for emergency repair and function. Often, by the time our body has di-

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gested the food, there is a net deficit of energy; the end result is degeneration. We are seeing the effects of degeneration everywhere, but we just call it by different names depending on the symptoms and outward manifestations.

THE SOLUTION… Getting back to basics --- moving away from consuming ‘bar-code” foods and gaining awareness.

Eating whole foods is a trend that’s in and here to stay; the tastes, textures and versatility will blow you away….

Whole live raw foods are everything nature intended for us to enjoy --- but, before we get deeper into discovery, let’s address the belief that humans need to get their protein through eat-

Live Food Energy An inventively co-creative husband and wife team, Joel & Chrissy Gala incorporate whole live raw foods and formulations into their regenerative seminars and programs. They have certified hundreds of students and teachers in the regenerative lifestyle through their Regenerative Life School ™ which focuses on ancient philosophies. These five thousand year old philosophies or natural laws provide the formulas for balance inherent in nature’s patterning. Joel, an ex-pharmaceutical scientist and Chrissy, a health and wellness teacher, chef and coach provide consultations for incorporating regenerative programs into busy lifestyles. They offer transformational retreats, classes, lectures and demonstrations throughout the world. Discover more about this exciting topic at: www.livefoodenergy.com

ing meat. Our bodies build protein from amino acids which are plentiful in the plant kingdom.

Eating meat creates an acidic condition in the entire body. Research also shows that we have

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feast

Creamy Miso Soup 2 medium ripe tomatoes 1 avocado, pitted 1 cup orange juice, freshly squeezed ¼ cup water 3 T white miso 1 T ginger, minced 1 clove garlic 3 T cilantro or parsley, chopped 2 T scallion, chopped (optional) Sprig of cilantro In a blender combine tomatoes, avocado, orange juice, water, miso, ginger, and garlic and blend until smooth. Add chopped scallion, cilantro or parsley and blend for 5 seconds.

Garnish with sprig of cilantro.

The Basic Smoothie 1 ½ cups water, almond, hemp or rice milk 1 packet Simply Herbs NuPlus (a regenerative food, optional) 3 dates, pitted 1 apple, chopped 2 Tbs chia seeds For a green smoothie: add a handful of greens: (spinach, collard, kale, Swiss chard, dandelion, mustard greens, etc.)

Additional add-ins: reconstituted dried fruit, fresh or frozen fruit, nut butters, hemp powder, green powder or liquid, handful of nuts/seeds, coconut butter or whatever you like.

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more reason to be concerned with consuming too much protein than too little. Additionally little, if any, cooked protein is able to be utilized by the body.

Nourishing our bodies with whole live foods works on a very basic premise. Begin with organic raw, fruits, vegetables, nuts, seeds and sprouts and combine them (without cooking) in so many ways…in combinations you perhaps never thought possible, to create dishes the whole family can enjoy.

The shift of focus from your stove top to chopping block will be one you’ll never regret. The difference in food quality and energy is one you’ll quickly become aware of as your own vibratory state begins to increase. You’ll also discover that outer attracted manifestations of your daily experiences will begin to shift, too.

If something is not convenient or easy to do there’s a slim chance that you’ll “stick” with it --- hence we have the smoothie. The smoothie is an excellent staple, great for breakfast and is generally the most easily absorbed and utilized by the body.

Create a “smoothie station” in your kitchen, keep all your ingredients close at hand and then have fun with it.

Smoothies can be enjoyed as a snack, a meal, on a commute, after yoga or a workout, and kids love them! Smoothies can be dried into a leather using a dehydrator, frozen into ice pops, and made the night before, no excuses!

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thrive

Tips for a more balanced work (or dance) space: 1) Clear your clutter Allowing paperwork, mail and other important items pile up on your desk is unsettling and eventually becomes clutter. It is important to file through paper as it comes in, and organize it in files or folders and shredding or recycling unnecessary documents. This will ensure you do not miss a bill or important note that requires your immediate attention. Clearing space will also allow for new energy to ‘flow’ in, demonstrating you are not holding on to old energy that no longer serves you.

This can also serve true for your greeting station at the front of your studio, as well as closets and coffee tables.

2) Placement of furniture

Prosperity

by Holly Luky

Defining prosperity can be subjective as it can have a unique meaning to each individual. The true definition of the term is “a successful, flourishing or thriving condition, specifically in relation to financial respects, aka: good fortune.”

As dancers, many of you may decide to take your talents to the next level and make a business out of your teaching or performance abilities. In doing so, it is important to evaluate your own skills in the business realm and keep yourself organized so that this area of your dancing career doesn’t become chaotic. In each issue, this section will explore new topics on how to keep your business prosperous and examine new techniques which will help you along the way. In this issue, we’re going to explore the principles of Feng Shui and how utilizing these principles will help you achieve balance and flow in your workplace.

Feng shui, (pronounced “fung-shway”) is an ancient Chinese system of aesthetics believed to use the laws of both Heaven and Earth to help one improve life by receiving positive qi (pronounced “chi”) or energy flow. Oftentimes it is used in relation to how one arranges their environment to enhance certain areas of their life such as love, wealth, health and relationships. Whether or not you believe that these principles can indeed impact your life, it doesn’t hurt to take a fresh look at your living, dance or work space and see how you can become more clean or organized, which will ultimately impact you and your own success.

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The power position for your desk or greeting station is where you are able to see the front door, or left corner of the room. Ideally a wooden desk should be used, since the natural lines in wood represent positive flow. For a more peaceful atmosphere a lighter shade should be chosen and for a more businesslike or professional setting a darker wood should be chosen. If it is not possible to place the desk so you can see the door, put a mirror above it, which still gives you access to see it.

3) Aesthetics Your workspace should reflect your own idea of comfort. Paint the walls a color that inspires you, decorate your desk with items that make you feel uplifted and be sure your chair is comfortable and the height at which you sit keeps your body in nice alignment while you type on the computer or write. Placing a fountain, aquarium or photo of an ocean or waterfall in the left corner of your room is also a nice touch, as this is a universal symbol of abundance. Certain plants can also bring in specific qualities to your space, for details on this visit www.about.com and search up flowers & feng shui. Lucky bamboo, lotus and orchids are popular choices.

4) Keep it clean Keep your space clean with regular cleaning sessions. Allow proper air to flow through the space and change things around to suit your current needs.

Ultimately the space in which you dance, work or reside becomes a reflection of yourself. Why not make it as comfortable, clean and organized as possible so that you can focus on what really matters, such as your dance!?

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tribal corner

Tribal Style 101

by Hilary Giovale

o

ver the last several years, the United States has been experiencing a “bellydance renaissance”, and our art form has become increasingly popular with a variety of women. In this time, relatively new styles of the dance have gained a lot of visibility. One of these is Tribal Style. Most people are familiar with the look of Tribal Style, but I’ve found that not everyone is aware of the ways in which it is fundamentally different from traditional or cabaret-style dance. I have been dancing in the Tribal Style for six years; here are some of the basics I’ve come to understand.

History and Background Like all bellydance, Tribal Style is an interpretation of ancient women’s dances from the Middle East, Northern Africa, India, and Europe.

These dances were done by women since prehistoric times and were used as religious expres-

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sion, fertility rituals, and childbirth support and education. Unlike more culturally traditional forms of dance, Tribal Style pulls movement, music, and costuming from different regions throughout history. It does not try to replicate a dance from any specific culture, but is a new creation based in fusion.

Tribal Style was born in the 1980’s, when a group of women in California began developing a new type of dance inspired by ancient movements. Carolena Nericcio, (the teacher of this group) went on to direct the troupe FatChanceBellyDance of San Francisco, and Paulette ReesDenis (one of Carolena’s first students) eventually went on to direct Gypsy Caravan Dance Company in Portland, Oregon. Both Carolena and Paulette have become world-renowned for their ingenious development and instruction in Tribal Style Bellydance. Carolena uses the term “American Tribal Style” [ATS] to describe her format of dance, while Paulette uses “Tribal Style” to describe her format and the style in general.

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From these origins, as a language that stuthis new phenomenon dents learn over time. became increasingly Going to a beginning popular and many class is like learnother groups being nouns in the new Hilary Giovale has a Masters degree gan, including Kajira language (simple, bain Liberal Studies and for her thesis Djoumahna’s Blacksic movements). As a she did qualitative research with young women and Tribal bellydance.

Sheep BellyDance. Todancer continues, she She teaches in Flagstaff, AZ. day, there are countlearns verbs and how www.bellyroles.com less groups of Tribal to conjugate them Style dancers around (how to apply various the world. It is particularly popular in movements in different sequence within the United States, Europe, Australia, and the correct musical context). In an adsome parts of Asia. While groups will vanced class dancers are creating whole often base their dance style in that of sentences with their movements (more one or more of the original troupes, each complex combinations and improvisagroup develops its own unique style of tional techniques are used). Within a dance, costume, and music choices, de- troupe or longstanding group, fluency veloped by the director and members of of the language is achieved (the new the group. language is so engrained they no longer have to think about it).

Group Improvisation Repetition of basic movements over The Tribal style of dance is unique time is important in this style. I have because it is based in group improvisa- found that the movements must be abtion. Within true Tribal Style, groups of sorbed deeply into the muscle memory 2 or more women dance together with- to create the level of comfort necessary out choreography. Using a shared “lan- for group improvisation. With experiguage” of movement, they take turns ence, a Tribal Style dancer learns to quiet leading and following each other. There her mind and allows her body to take is no such thing as a Tribal Style solo- over when she leads the group, rather ist, although you’ll see short solo per- than frantically searching her brain for formances within a group context, when a movement. With experience, she also part of the group dances in a chorus to becomes better at following the other “frame” a single dancer. members of her group: she becomes so In my opinion, the best way to under- grounded in the movement, the slightstand Tribal Bellydance is to think of it est change of the leader’s wrist or body

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position alerts her that a change is happening and allows her to follow seamlessly.

Improvisation is fun, challenging, and engages the mind and body on many different levels. When improvising, the leader is responsible for being decisive and clear in her movements. The follower’s responsibility is to mimic the leader. Their mutual cooperation enables improvisational dance to happen. When a group is able to spend a good amount of time improvising together, they develop a sense of telepathy that enables them to communicate with each other through their bodies, without words.

A Word on Tribal Fusion Many people are familiar with the beautiful, snaky style of dance that has been pioneered by Rachel Brice. This style is known as Tribal Fusion and has some similarities to Tribal Style in the costuming and musical aesthetic. However, it is fundamentally different from Tribal Style, because it uses choreography and is usually performed by soloists rather than a group.

Costume Another aspect that differentiates Tribal Style from other forms of bellydance is the costume, which tends to cover much of the body. We typically use pants and/or skirts that

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completely cover the legs, tops that cover the arms and chest, and wraps or decorations that cover the head partially or completely. Sometimes tassels are used to accentuate the hips. The jewelry and makeup tend to be heavy. The costume creates an earthy and mysterious aesthetic.

Tribal Style costuming has its roots all over the world: Turkish pantaloons, 1930’s Hollywood-style coin bras, Indian cholis, Flamenco skirts, and jewelry and adornment from Central Asia are a few of the influences you’ll see.

Music This is a fusion-based art form, and the music we use reflects that. We dance to traditional Arabic drum rhythms such as Beledi, Saidi, Chiftatelli, and Masmoodi. We also use music from around the world, featuring a more eclectic world-fusion sound with inspiration from Flamenco, sacred Indian music, Australian didgeridoo, and more. As dancers become experienced they use a variety of zil patterns to accent their music. The music we use is a joyful mixture that finds its inspiration throughout the world, just like Tribal Style itself.

Sources: Tribal Vision, by Paulette Rees-Denis The Tribal Bible, by Kajira Djoumahna

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teacher’s corner

Teaching to the Absolute Beginner Using the Seven Share Your Art Principles

By Faaria (Claire Lynch)

m

Belly Dance is fantastic for fitness and makes women feel great about themselves. We promote our classes by letting women know this and encouraging them to attend class.

Most women, in my experience, take up belly dance for these reasons and fall in love with the dance later. For women who come for fun, fitness, and a sense of well being the teaching strategies outlined here should help get them started learning strong technique.

How do we as instructors teach movement to non dancers?

There are several things to keep in mind when teaching movement.

Think of them as the seven principles which will help you share your art with your students.

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Weight shifts.

Teach all movements by breaking down the weight shifts first (the concept of feet first helps students to have the proper foot or hip free later when combining movements). The rule with my students of any level is FEET FIRST, then HIPS, and finally ARMS. Everyday movements.

Link the movement you are teaching to everyday life movements. For instance, if you are trying to teach a hip, drop relate the movement to bouncing a cranky baby on your hip. Try to use several links for each movement. The basic movements of Middle Eastern dance are movements that most women can do! By making analogies to everyday life women may have an “ah ha!� moment and get it!

Separate movements.

Teach all new movements separately. Teaching them during the technique section of your class will reduce frustration. If a movement is new and taught in combination with other movements, two things can happen. One result is that the student is so caught up learning the new movement that they can not remember the order of the combination and become frustrated. Another result is that students will often have a hard time separating the new movement when used in a different combination. S Repeat Basic movement often.

Plan combinations that repeat the same movement throughout your session. Repetition gives students the valuable practice they need to master the basics. It is tempting to teach many many movements in a beginner class. Avoid temptation!

Instead change the direction, change the arms, encourage students to begin to improvise by giving them a choice of three different arm positions while using the same basic movement. This should give beginners plenty to master. Make a list of the basic movements you wish to teach in each session while keeping in mind what you will move onto in the next session.

Personal corrections.

Give plenty of personal corrections. Corrections should be gentle for beginners but should be given! Going around the room to every student while teaching a new movement is extremely

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important. Yes it takes time, but the effort is well worth the results.

Be Available.

Be available to your students. Every one of your students will appreciate their instructor taking a few moments after (or before) class to answer their questions. If you simply don’t have enough time to break down a movement after class let them know that. Assure them that you will go over it in the next class. When you bring it up in the next class simply say you had an excellent question last week and want to go over movement X again (the student may appreciate that you did not mention their name). This also will help you to improve your teaching skills. For instance, if several students come to you to “show me that again� after class you should rethink how you are teaching it. A modification in your explanation/demonstration may be in order. Organizing a small informal party at holidays is a good way to connect with students informally. They have many questions for you! Taking the time to answer them will show you do value their desire to learn all they can!

Curriculum.

A well thought out curriculum will build from the beginning of the session and add new movements with every class. The basic will build into combinations, the combinations can be linked together to form a very short choreography.

When planning your curriculum, refer back to the principles for sharing your art. While planning think about (and keep notes) on exactly how you will explain and demonstrate each move.

Planning, breaking down all you teach will give students a clear understanding of the basics.

Keeping the same, set curriculum for each beginner session gives all students the same material.

This will avoid some students entering your level two classes with a different skills set because you forgot to teach something.

Yes, belly dance is great for fitness and makes women feel good about themselves. But how do we as an instructor facilitate both?

True self esteem comes from mastering a task and feeling a sense of accomplishment. So help students master the basics and they will look in the mirror and see how beautiful they are!

Women can choose any number of activities to

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help keep themselves fit but these women, your students, chose BELLY DANCE and YOU. Women gain the fitness benefits of belly dance by moving, DANCING! Spending time in every class to carefully demonstrate, and make sure every student grasps the concepts in your well thought out curriculum while enable women to dance, express emotion, and get the fitness benefits belly dance offers.

You teach because you love this dance and want to share your art form. Being a teacher is challenging no matter what you teach. Other types of teachers have written tests to gauge their students’ progress. Your students’ process is marked by how well they move and express basic movements and combinations. One of the indicators that you are an effective teacher is teaching movement so clearly that your students want to return class after class because their instructor breaks it down and makes learning belly dance attainable and enjoyable.

So go forth and share your art!

Faaria is a teacher and performer in Amherst, NY. She currently teaches at Ballet Arts Center for Dance and Ken Ton Community Education.

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musician’s corner

Tradition and Innovation Teaching in Dance Music

By Michael Keberlein

Like all forms of art, music and dance are modes of personal expression and communication. Artistic differences are certainly a common source of tension between performers, but we should perhaps regard these potential conflicts and their resolution as the whole point of collaboration, the essential charm of ensemble work. Our ability to come together and create something beautiful is a potential of tremendous value.

“Let the beauty of what you love be what you do.”

—Jalal ad-Din Rumi

The conflict between tradition and innovation is a recurring motif in our creative process.

Raqs sharqi comes with a very long history, while at the same time its music and movements are very personal. As I write in English to communicate at this very moment, I am using words that have not only been defined by tradition but have also evolved in meaning over centuries of gradual mutation. The individual words them-

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selves are not my invention.

How I combine these words and juxtapose contrasting concepts is my work as an individual, trying to communicate with others, pursuing the challenging goal of mutual understanding.

Artistic innovation itself has a “meta-tradition.” Throughout history, unique individuals have diligently learned verbal and nonverbal symbols from their teachers and their cultural heritage, and then proceeded to use these idioms to express their own personal feelings. By referring to a body of historical common practices, we hope that others will know what we mean.

Mastering traditional vocabularies is also a way of showing respect and gratitude to our teachers. Eventually, of course, we do our own thing. To the extent that we create works of value, we might anticipate our turn in the role of teaching our successors, passing on not only the traditions we have received but also the lessons of our personal experience. Some of us are not inclined to create fusion music prior to paying our dues to tradition and earning the feeling that we are bringing to the venue something specific to fuse.

The issue of gratitude to my teachers is very important to me. Despite spending innumerable hours practicing alone, I am not in any way

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“self-taught.” My debt to my very generous teachers is huge. Omar Faruk Tekbilek recently explained his generosity this way: “My teacher told me… the way you should thank for the knowledge that you have is to share with the one who deserves.” Souhail Kaspar relates that his teachers at the Nadi alFonun al-Arabia in Aleppo made him promise to pass on the tradition with fidelity to authenticity.

Others musicians may indeed be self-taught to a greater degree, and their sense of gratitude would understandably be weaker. It follows that their inclination to innovation, exploration and experimentation would stronger. This group would include some of my best friends and collaborators, so the problem of tension between tradition and innovation is for me not at all abstract. We work things out and frequently forgive each other for our differing tendencies, because the musical product of our friendship makes the effort worthwhile.

When we play for audiences including many members of Middle Eastern descent, we hope that they will appreciate our efforts to learn the specific musical language that comes from the distant lands of their heritage. On those occasions when someone from the audience approaches us to express their appreciation for our taking them back to the music of their youth, we feel a moment of fulfillment, as if we have paid back some of our debt to our teachers and succeeded in reaching out to people.

Coming from a background in jazz, however, where both tradition and innovation are highly valued, I enjoy hearing music that juxtaposes differing traditions or that may even defy dissection and categorization.

Someday I may feel competent to create music like that myself. In the meantime I would plead for dancers and musicians to embrace each others’ tastes and enjoy the contrasts, even when our personal limitations demand that we focus our own performance efforts at least temporarily on a specific style.

A Taoist, perhaps among others, would point out that without tradition there would be no innovation… and without innovation, all humanity would have to share only one tradition. It is sublime when we can expose audiences to both tradition and innovation – it tells a story of where we have been but also foretells of where we might be going.

“Let the beauty of what you love be what you do.”

—Jalal ad-Din Rumi

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events

International Bellydance Congress September 25-27 Set near London, UK, the International Bellydance Congress is Europe’s biggest and most exciting bellydance festival, featuring a galaxy of international megastars from Egypt, the USA and Europe! This year featuring the legendary Fifi Abdou!

An amazing three day weekend of workshops, seminars, shows, shopping, dancing and meeting other bellydancers from around the world! www.bellydancecongress.com

Middle Eastern Music and Dance Camp August 16-23 Mendocino Woodlands, CA Music and Dance of Asia Minor, North Africa & the Middle East. Dance classes, instruction on Classical and Folk Instruments, Parties with Live Music, Ensemble coaching, performances, Ethnic Cuisine, folklore Discussions. www.middleeastcamp.com 310.838.5471

The 7th Annual Las Vegas Bellydance Intensive!

September 10-13 Las Vegas, NV An event which celebrates the exotic art and beauty of belly dancing. This local extravaganza includes 4 full days of workshops, 3 full evenings of entertainment, and features some of the top belly dance artists in the country as well as many talented local dancers and teachers.

Thursday & Friday feature workshops with the worldrenowned Jim Boz, Suzanna Del Vecchio, Sharon Kihara, and Frederique. Following the day of workshops will be „A Night in the City of Riches“ a professional theater production at the Clark County Flamingo Library Theater from 7-9pm on Friday night, Sept. 11.

Saturday & Sunday boasts 4 full level-specific dance tracks with over 30 topics to choose from, including workshops taught by 34 instructors. The Saturday night Vegas-Style Gala starting with a cocktail party, shopping, merriment, and photo opportunities with „The King“. The Saturday night show is a bit more raucous and will feature many of our top level visiting instructors and troupes.

For Information Contact: Samira Tu‘Ala 702-296-9269 Samira@bellydanceintensive.com www.bellydanceintensive.com

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Cool Summer Workshops & Showcase July 25 Sedona, AZ For Tribal & Cabaret!

Beautify your Arms Become Mistress of your Zills Better your Balance Props!

Plus: Get into the flow Salamat-style with All NEW Tribal Combos!

Raqin’ Evening Showcase at Studio Live!

Featuring: Workshop Instructors – Carrie, Mahin, Terri Walden & Jazmine & Workshop Participants – that means YOU!

Register Early- Save & Get your performance spot! www.levantalsonora.com

Wiggles of the West Belly Dance Competition July 23-26 Las Vegas, NV Held at Sam‘s Town Hotel and Gambling Hall.

We have a room rate for participants.

Just tell them you are with „Wiggles of the West“.

Workshops • Shopping • Competition • Hafla Entry Categories Include: Entertainer - FULL - waiting list submissions only Alternative Wiggles - FULL - waiting list entries only Headliner - 19 out of 20 Rising Star - 13 out of 15 Mini Ensemble (Duets) - 7 out of 10 Tribal Fusion Ensemble - 5 Ensemble - 10 Hobbyist - 5

For more information visit: www.wigglesofthewest.com

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Bellydancer’s Checklist for Travel

By Amaya

When it comes to traveling by car or plane, many of us either underpack, or more often over-pack, causing all sorts of grumblings as porters haul your trunks up stairs and sponsor‘s husbands groan. High security, cramped seats on planes, delayed flights, long lines . . . travel today is a daunting experience.

c

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hoose sanity . . . a week before you travel to your show, or seminar, open up your main suitcase and start dropping things into it as you go through your day. This is not the time to be spontaneous. Logical, methodical packing will save you schlepping 50 extra pounds of luggage and minimize the chance of being charged extra money for overweight luggage. Airlines have become more and more strict about extra poundage on their flights.

As for your luggage, make it distinctive. A big red bow or a unique bumper sticker will help find it on the luggage carousel much easier. Avoid highly expensive luggage pieces. They send up a red flag to those that may want to

nightgown, for instance? Will a beaded scarf over your shoulders do for a dinner party?

Be cozy . . . cotton socks and a wooly shawl on a cold plane will make your trip so much more comfortable.

Power Pack . . . Build your street wear over simple, neutral colors and clothes. Try to stay within a three-color scheme in clothes. Be a minimalist. Choose thin wrinkle resistant wear and black, white or beige, so everything works together and can be reused. Add colorful ethnic accessories for accenting. Can your costume cover up also make do as a

Lighten your load . . . as you go along on your trip. Toss newspapers and magazines as you finish reading them. Have heavy items or bulky items such as videos shipped ahead.

I often tear out all advertising pages out of magazines and leave only the articles intact.

I then travel with 2/3 less bulk in my reading materials.

Limit your shoes . . . One pair of pumps, one pair of dance sandals, and comfy airport-walking shoes should be your max.

Really, how often will you really use those hiking boots, furry snow muck-luks, or fancy thigh-high boots on this trip?

Use plastic . . . Use travel size containers for toiletries. No need to carry large bottles of lotions or shampoo. It is worth the time to transfer them to small, plastic bottles. Zip lock bags are fabulous for these liquid items and as a pseudo make up bag.

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wise woman’s corner

checklist of basic items for performing and traveling specific to traveling dancers

IF FLYING TO A WORKSHOP OR PERFORMANCE . . .

PACKING FOR A PERFORMANCE . . .

• Water . . . self-explanatory.

• Costume-all parts. Try on your costume before you pack and put each item directly into your suitcase. You will never forget that bra again!

• Make up . . . don‘t forget eyelash glue, make up remover, tissue, hair clips to tuck hair up while dressing or after a show to cool your neck off.

• Pins, safety pins and more pins.

• Shoes . . . even if you don‘t wear shoes in performance, slippers will offer protection from dirty floors, hot concrete, gravel, etc. before you go on stage.

• Cover up caftan . . . handy for those quick runs down the hall to the bathroom after you dress or to leave the dressing room to check out the show from the sidelines. It is so unprofessional to show the audience your $1000 costume delight before you hit the stage.

• Several music choices . . . you never know. Your first choice of music may end up being defective and a back up necessary. Be ready and flexible to dance to different music if the dancer before you just used the same!

• Magazine or book . . . just in case you end up waiting in a closet or office somewhere behind the scenes in full costume with dead time on your hands.

• CD player with headphones . . . to „practice“ while waiting backstage.

• High energy snack food . . . in case the night has gotten away from you time wise and you find yourself starving backstage.

• Plastic bag . . . for sweaty costume items after the show.

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IF DRIVING TO A PERFORMANCE . . .

• Spare hidden car key . . . who hasn‘t locked themselves out of their car when stressed and in a huge hurry?

(Hope you weren‘t in costume.)

• Spare glasses or contact lenses.

• Jumper cables.

• Electronic patch cords . . . these are those cords that stick out of the back of your stereo system at home. I have a small box of converters, cords, and even a microphone in my car, extra batteries . . . just in case.

• Cell phone. In today‘s world you really should consider a cell phone a safety measure and a must.

• Map or directions to your location.

MapQuest on the Internet is fabulous for exact directions to just about anywhere on the planet.

• Medications . . . . especially aspirin and bandages. A nagging headache or a cut foot can ruin an evening.

The more you travel, the better you will get at this packing/unpacking business. There IS a skill to this. No one is born knowing how to be a wise packer! May our travel paths cross soon. Happy Trails to You!

Amaya- Wise Woman Dancer www.home.comcast.net/~mamaya1/ index.html

• Official ID . . . you will 100% not be allowed on a plane if you forget your driver‘s license or passport.

• Paper Proof of e-ticket . . . not necessary, really, but it is reassuring to have something in your bag to pull out if there are any questions at the ticket counter about your flight or arrangements.

• Cell phone number of sponsor. A home number is useless since about the time you arrive into the airport, she is probably at the hotel setting things up or running last minute errands.

• Water bottle . . . planes can be so dehydrating and service can be skimpy.

• Satchel/bag for onboard items, i.e. reading glasses, magazines, stationery, lap top, your workshop flyer.

• Food! Food! Food! Especially if you have a tight connection. It is not unusual to be flying 8-10 hours with no chance or time to buy food in the airport. Don‘t be shy. Everyone does it. Even the airline attendants in the back are snacking it up on their sandwiches! Be the envy of the passengers around you . . . bring a deluxe picnic!

• Credit Card . . . in case you run out of cash or get stranded in mid-route. A credit card can always get you more cash, a hotel room, or even another airline ticket.

• Flyer of event . . . have you ever arrived into an airport and your contact not shown up? What to do? Who do you call? Where is the event??

• Tip money . . . cabs, porters, food servers, hotel maid, are just some of the service people you will run into on a trip. Be cool. Be quick to pull out appropriate dollar bills.

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dancer’s resources | i n s t r u c t o r s

INSTRUC TORS Australia

www.mindandbodyholly.com Mahin Phoenix, AZ

Amaya Albuquerque, NM maria@amaya.com 505.281.4492

Cinnamon Twist School of Belly Dance Beginners to Advanced. Folkloric & Modern Belly Dance. Prenatal Belly Dance. cdbellydance@gmail.com 612.4226.1861 www.cinnamon-twist.com.au

Beginner through advanced classes and professional coaching in Egyptian cabaret and folkloric styles. Student and professional troupe opportunities available.

480.230.0022 mahin@cox.net www.mahinbellydance.com

Egypt

Yasmina Mesa, AZ

New York

Hassan Elbanna Dance Instructor, Bellydance & Egyptian Folkore, Workshops, Private Classes, Performances hasanelbana@aol.com www.hassanelbannadancemusic.com

yasmina@joyofbellydancing.com www.joyofbellydancing.com

Nagwa Sai’d White Plains, NY & Phila, PA

United States Arizona Ava Fleming Phoenix, AZ All levels, seminars and fitness dance classes!

602.502.6909 raqsava@gmail.com www.avafleming.com Hilary Giovale Flagstaff, AZ Tribal Style Bellydance Classes Gypsy Caravan Certified contact@bellyroles.com www.bellyroles.com Jeela Flagstaff, AZ Bellydance technique and conditioning classes amason@jeelasjoyinmotion.com www.jeelasjoyinmotion.com

California Princess Farhana Workshops and Performances worldwide. princessraqs@gmail.com www.princessfarhana.com 323.460.4890

Beginners through Advanced. Workshops and Seminars! sakti@newmex.com 505.758.9217

Bellydance/Folklore Egyptian Style and Flamenco (Spanish) dance. Beginner to Advanced. Available for shows, master classes & workshops. nagwas@aol.com ww.nagwa.com

Ohio

Rahana Santa Monica, Ca

Nailah Cleveland, OH

Beginning and Intermediate Classes. dancingrahana@aol.com www.dancingrahana.com

WeSnap@sbcglobal.net www.nailahdance.com

Texas Florida Holly Swenson Largo, FL performer and teacher of belly dance (classic Raqs Sharqi, Egyptian and Turkish styles) Beginner to Intermediate / Advanced courses holly@floridabellydance.com 727.239.8751 www.floridabellydance.com

New Mexico

Holly Luky Sedona, AZ

Rozana al Jinan Albuquerque, NM

Beginners, Intermediate & Fitness Classes Student Troupe Performances bodyandmindholly@esedona.net

rozana@jinanbellydancing.com www.jinanbellydancing.com

46 shimmy

Sakti Rinek Taos, NM

Sonya Taft Austin, TX Beginner and Intermediate technique, ITS, and all levels of Zill Instruction eskimointexas@att.net www.tpsygypsys.com

Washington Tamalyn Dallal Sattle, WA Author, dancer, teacher and film maker, Tamalyn Dallal has extensive knowledge gathered from traveling to over 40 countries and dancing since 1976.

206.226.3882 tamalyndallal@yahoo.com www.tamalyndallal.net

www.shimmyspiritofdance.com

studios

| dancer’s resources

St u d i o s

Advertise in our Dancer’s Resources: 3x & 6x only: $25 per issue Call 928.282.7755

Canada BellyUpBellyDance Studio Oakville, Ontario BellyUp is a harem-chic, 2,000 square foot haven for bellydancers located in Oakville, Ontario Canada. We offer classes for all levels as well as ATS and Hawaiian. We have several fabulous dance troupes available for events. info@bellyup.ca www.bellyup.ca

Xanadu Dance Studio Kathryn Ferguson, Owner Tucson, AZ

Haft Vadi Studio Kitchener-Waterloo

520.881.0883

Proudly serving students from Kitchener-Waterloo, Cambridge, and surrounding area. Trained Instructors offer Egyptian Bellydance instruction from Intro to Advanced, as well as Veil dance, Tribal Fusion, and Middle Eastern Drumming. bellydance@haftvadi.com www.haftvadi.com

California

Luscious Belly Studios Hamilton, Ontario Luscious Belly Studios supports the well being of each student. We want your experience to relax the mind, energize the body and enrich the soul. We specialize in Egyptian Bellydancing, Hooping, NIA, and Zumba! lusciousbelly@gmail.com www.lusciousbelly.com

United States

Evolution Dance Studio Jillina, owner North Hollywood, CA

Pomegranate Studios Myra Krien, Director Santa Fe, NM 535 Cerillos Rd 505.986.6164 www.mosaicdance.net North Carolina Three Graces Entertainment Winston-Salem, Wilkesboro, Boone, NC

Studio rentals, dance/fitness classes info@almorostudio.com www.almorostudio.com

Ohio

plaza.de.anaya@gmail.com www.plazadeanaya.com

www.shimmyspiritofdance.com

Nationally certified, Egyptian to tribalfusion style classes.

Shadia@shadia.com www.shadia.com

New Mexico

al Moro Ava Fleming, owner Phoenix, Az

Plaza de Anaya World Fusion Studio 524 W. Broadway Rd., Tempe, AZ

Shadia Dahlal Dance Conservatory Tulsa

evolution@evolutiondancestudios. com www.evolutiondancestudios.com

We are an International Performing Arts Studio consisting of dancers and musicians, offering lessons and performances.

Teresa3graces@aol.com www.threegracesentertainment.com

Arizona

Oklahoma

Eos Whole Fitness & Bellydance Jennifer Neal Youngstown, OH sunrise@thedanceofeos.com www.EosWholeFitness.com

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dancer’s resources | T r o u p e s

troupes Canada

Advertise in our Dancer’s Resources: 3x & 6x only: $25 per issue Call 928.282.7755

The Neighbourhood Strays St. John’s, Newfoundland We are a gypsy style bellydance troupe performing and training in St. John‘s, Newfoundland (the most easterly spot in North America. info@theneighbourhoodstrays.com www.theneighbourhoodstrays.com 709.722.1031

United States Alabama Zuri Middle Eastern Dance Company Mobile, AL Director@zuridance.org www.zuridance.org

Arkansas Traveling Hips Belly Dance Troupe North Little Rock, AR Traveling Hips Belly Dance troupe performs Fusion Style Belly Dance for a versatile combination of Cabaret, Gypsy, Gothic, and Classical styles. Such styles include the use of Veil, Zills, Sword, Cane, and more! troupe@travelinghipsbellydance.com www.travelinghipsbellydance.com 501-993-6727

Arizona The Gypsy Chicks Northern AZ The professional dance troupe with a large slice of fun! www.gypsychicksdance.com

48 shimmy

Iowa Creative Fusion Dance Company Des Moines, IA We are a Belly dance, Bollywood, Hip Hop fusion group that loves our Egyptian roots.

Creativefusion2007@gmail.com 515.710.5505

Michigan Boheme Tribal Belly Dance Kalamazoo, MI Est-ce que je peux avoir cette danse ?

Boheme focuses primarily on Tribal Style Belly Dance, including ITS, Gothic and Fusion. Members are also well versed in the traditional and folk dances of the Middle East. raksanais@gmail.com www.bohemetribal.com Dancers of the Rising Phoenix Traverse City, MI World Dance performance troupe: Traditional, Folkloric, Cabaret and Tribal Bellydance; Indian (Bollywood and Masala Bhangra), Polynesian (Hula and Tahitian), African and Brazilian.

Dancers-of-the-rising-phoenix@ lycos.com 231.313.5577

Mississippi MissiHIPPY Jackson, MS Central MS Premier Bellydance Troupe.

Performing weekly at various local restaurants. www.twitter.com/missihippy www.myspace.com/missihippy www.butterflyyoga.net missihippy@gmail.com 601.955.3160

New York Dance Soul Company New York City, NY Belly dance, bollywood, samba, flamenco dance company dancesoul@gmail.com www.dancesoulcompany.com The Nadia Ibrahim Middle Eastern Dance Company Buffalo, NY Nadia Ibrahim has been teaching Authentic Belly Dance (Raqs Sharqi) in Western New York for over 25 years and directs a Dance Company that performs and educates the public with integrity and accuracy. Nadia is Lebanese and has a great deal of respect for the dance culture of the Middle East. Nadia only teaches the traditional and customary dances in its purest form. nadiaibrahimdance@yahoo.com www.nadiaibrahim.com

Oregon Zephyr Salem, OR Zephyr is a tribal fusion improv troupe from Salem, Oregon. We also teach classes from Hip Trip Studio and sponsor the annual bellydance event, Reigning Down on Oregon. zephyrdancesalem@gmail.com www.freewebs.com/zephyrdance

Pennsylvania Deebah Oxford, PA Offering classes to the Southern Chester County, PA community. Beginner class Level 1 on Mondays 7-8 pm Level 2 Tuesdays 7-8 pm (currently full). Troupe and choreography training available. As well as teaching bellydance, Deebah is certified in Pilates, group fitness and Lating aeobics (Zumba). Come dance with Deebah and her Blue Lapis Troupe !!! diane@deebah.com www.deebah.com 610.563.6510

www.shimmyspiritofdance.com