More Than a Mirage

Glitter Gives Back Update

2011-09-24T22:13:00.003-05:00

With just a few weeks away from belly dance camp, I'm excited to see that donations for our community service project are rolling in. For those of you who are curious what we still need, I've included a couple of tables outlining what we have and what we need. As you can see there are still some spots that we need help with! Whether or not you are coming to camp with us, please consider helping us meet our goal to deliver care packages for women and children at Hill Country Cares, a a shelter for victims of domestic violence. Consider this our way of bringing a little sparkle into their lives!

You can use the PayPal link on the right to make a tax-deductible donation to Aria Dance Foundation. Or, if you live in the Austin area...I'll be happy to pick up any supplies you may be willing to donate! Cash donations will be used to fill in the gaps in our wish list. And, I promise a multitude of glittery karma coming to those of you who can help out!

In addition to the basic supplies we are seeking for our bags, we have some generous donations of extra goodies to add to the bags:

Thanks to everyone who is making this a successful project!

Glitter Gives Back

2011-07-09T17:56:00.000-05:00

Although we are in the heat of the Texas summer, I know that I’m already dreaming of cooler weather and cabaret dance camp this fall. For those of you who don’t attend regularly, this is (in my opinion) a must-attend event for belly dancers. Not only do you have the opportunity to study with amazing and talented instructors, but you also have the chance to bond and share time with other dancers in a beautiful, serene environment. The Texas hill country has always been the perfect setting for our women’s-only retreat and this year I’m pleased to announce that Bahaia and I are teaming up to organize our first community service project for camp, called “Glitter Gives Back”

We will be making and delivering care packages for women and kids who are victims of domestic abuse and battery and are living in a shelter. We have the luxury each year at camp to enjoy the beautiful surroundings and wonderful companionship and love of all the women who attend, and I want to take this same love and support and share it with women who are in need. So, I chose Hill Country Cares, a non-profit association that has been around since 1986 and serves five counties in Central Texas to be the recipients of our service project.

They provide prevention, intervention, and recovery services for women in need, not only for women who live close to our camp, but often for women who travel much further and are sent there to escape their abuser. Our goal is to create 50 care packages containing basic hygiene products for women and 15 care packages for children. These packages will not necessarily be used for women who are currently living at the shelter, but will be handed out to incoming women and kids over the next few months. Originally my plan was for 50 packages (one for each camper), but after talking with the volunteer coordinator about their needs I’m upping the ante a bit and adding some bags for kids.

Blank bags, all ready to decorate. And for you with the wild imaginations, it's a green toothbrush holder ladies!

Our care packages will be delivered in canvas tote bags that can be used to store their supplies. The fun part is that we will decorate all these bags the first night of camp, along with our ritual t-shirt decorating. I already warned the shelter that there may be a plethora of glitter and sparkles in our bags and they were tickled by the idea of having something fun to share with these women and kids.

We will also have cards to sign (and add personal comments if you wish), and we’ll be taking photos share. My hope is that we can bring a smile to someone’s face and let them know that despite their immediate crisis, we are sending them strength and love. I struggle to imagine how someone would feel to flee their home because of violence, and end up at a shelter without their own toothbrush. So, the goal is to make sure women will have some basic products including shampoo, conditioner, deodorant, razors, toothbrush, toothpaste, soap, and body lotion to call their own.

Basic supplies for the womens' bag

For the kids, the shelter asked for kid-friendly products like toothpaste in fun flavors, bubble bath, and kids’ shampoo. A basic bag for women will cost around $25, and for kids $15, but with some smart shopping, and creativity I hope we can do more than just a basic bag for everyone, I’m hoping we can add some extra treats! To see a list of the basic items we’ll be providing, as well as suggestions on additional items to include check out this file.

Basic supplies for kiddos...any ideas on other things we can add?

If you’re a camper, would-be-camper, or just love the idea, here’s what we need you to do! We’ll be putting up a link to a PayPal account very shortly where you can donate, or ask friends, family and co-workers to assist. You can:

Sponsor the cost of an entire package for either a woman or child.
Collect financial donations to help off-set costs. (maybe get creative and do some fundraising)
Collect product donations (for example, ask your dentist for extra toothbrushes), although this may only work for those of us living close by. We wouldn't want you flying in with a case of deodorant…that could cause all sorts of problems during the pat down!
Consider throwing an extra tube of toothpaste, bottle of shampoo, or deodorant into your shopping cart over the new few months.
Check your house for unopened, products that could be added in addition to the basic needs. (Keep in mind we’ll have limited space in our bags). For these little additions, sample sizes will work, we just want to make sure the basic needs are not trial or travel sized.
Consider bringing a small keepsake or memento that you can add to a bag. Think about what would make you smile if you found it among your bag of goodies.
Brainstorm on ideas for kid’s bags, take up donations from other families in the area, or if you have kids involve them in the process of collecting supplies. (I’m not a Mom so my ideas are limited.)

We’ll be posting more information as we go, and sending out updates on what we have and what we still need. I have to say that this project really excites me. I have been blessed in my life because I have never suffered abuse, violence or rape. However, I do know many women who have had to deal with these circumstances, and it breaks my heart to know that this happens to women on a frequent basis. I think that as belly dancers, we understand the strength of our community and our dance and I look forward to sharing that with other women who need that love and support. I have faith that we can all make this project a success and that our Glitter Gives Back program becomes a well-loved tradition at camp and beyond!

30 Days to a Better Belly Dancer?

2011-05-10T00:40:00.000-05:00

...okay, technically May has 31 days and I know that I cannot guarantee how much someone can accomplish in one month but I do know that I posed a challenge to my students to drill and practice each and every day for 5 minutes. I even set up a handy-dandy spreadsheet to help track their progress and mine. Now I know that even if someone completes the minimum of 5 minutes a day, it only adds up to 155 minutes, or 2.58 hours. And yes, I acknowledge that to become a better belly dancer you need to work more than 2-3 hours a week. But my goal was to simply create a regular belly dance practice. Consistent...daily...focused...practice.

I'm certainly guilty of waiting until the last minute to work on performance pieces or to work on technique. I dream of having a schedule and a life that would allow me 1-2 hours a day to dance, to sweat, to learn and continually grow. Although I have the best intention in the world, my schedule and my life seems to supersede those aspirations and goals. I've also learned something about myself over the years. I tend to be an all-or-nothing kind of gal. I can either spend all afternoon working on something...or I can't seem to find a few minutes. This is less about my schedule and more about my timing, my personality and my daily habits.

I trick myself into doing housework by breaking up tasks into 15-20 minute segments. I set a timer, and then head off to the kitchen to wade through dishes. When the timer goes off, I can either continue my work or go do something else. Even if I head off to another task or distraction I still feel good about having 15 minutes less housework looming over my head. So I thought, I should apply this to my dance practice and see what happens.

And here we are...5 minutes a day of drills or focused practice. My goal was not to see who could outlast the challenge and hit every single day, but rather to see who could start carving out time in their schedule to work on a move or a combination or a technique that has been on their mind and not in their body. I chose 5 minutes because it was: (1) the smallest amount of time that seemed reasonable, (2) an attainable goal, and (3) the equivalent of a short performance piece.

One week in, my students seem to report mixed results. Some nearly made it through the entire week, some only managed a couple of days. The only common theme was the dejected look on their faces when they said they didn't hit the goal every day. I myself have danced every day, but certainly not with the focus on drilling or refining technique...I've danced but with a little less than the intended focus. I realize that after one week of the challenge that I too, feel a bit dejected, as if I have failed in the process. Maybe I wasn't really leading by example.. Especially today when I have to admit that I did not dance, did not practice and put off crawling into bed tonight simply because I'm not caught up on my to-do list.

All too often we set our sights on wonderful goals and we feel optimistic and energetic going in, but quickly lose steam. Especially if we feel that we failed early on. I've seen several people advertise various belly dance challenges, and although I didn't join in...I watched from the side, curious to see how far they would go, and quietly cheering from the sidelines. For me, this simple challenge is not about making leaps and bounds in my dance practice, but creating a process...a ritual...a habit, not a rushed frenzy at the last minute. It helps me to think less in terms of what I missed out on, and focus on what was accomplished...the knowledge that every day I focus on my dance is one day more than I did a week ago...a month ago, or a year ago. So, although I'll hit the pillow tonight with fewer shimmies under my belt, I do hit the pillow with renewed faith that tomorrow I can regroup, refocus and keep dancing.

I Dance for My Daughter

2011-03-27T23:03:00.000-05:00

I'm pleased to offer up another guest blog post, from one of my long-time students, Tiffany. And I have to admit I cried at her daughter's first birthday party...off to the side of course, because of how beautiful it is to see her as a Mom. And reading what she wrote left me equally choked up. Ironically, I had asked if she would write a guest post for me because she is a very talented writer. I don't know if she realized that I had shared her story of looking into the mirror with Krysta during a very similar exercise, and I still remember that night and how much I wanted Tiffany to really see how beautiful she is. Besides being smart, talented and funny, Tiffany really is one of the main reasons that I teach, because in the end it is not about how fabulous your hip drop is, but how fabulous you are! So, enjoy.

Dancing with her daughter ;-)

There are a million and one reasons any woman may choose to study dance. And for most dancers, that reason is probably not static. It changes day to day, year to year. You may plunge into a belly dance class hoping to get ripped abs and obliques, but stay for the fun, friends, and sparkles of it all. Honestly, I don't remember why I started dancing. I think it had something to do with the dancers who met in a building I frequented in college - they always looked so happy, I wanted to join but was too timid to approach them. That's all in the past. Today I dance for one reason: my daughter.

I was always the easy target in school. The fat kid, the kid who didn't play any sports, the kid who wore the enormous glasses that I picked out from the old man section of the store and was so excited about that my mother didn't have the heart to tell me they were incredibly unflattering. I was awkward and nerdy and it took nothing to rattle my cage. In eighth grade a boy told me my legs were so disgusting that I should never wear shorts again. And I didn't - I'll be 30 next month and I don't own a pair of pants or skirt that shows anything above my shin. I carried every snicker, every stare, every mean comment in my heart over all those years until I found myself, one cold January evening, in Najla's class. Just by happenstance, nobody else made it that day. It was a class of just me and Najla, and she wanted to a very simple exercise. Walk and look at yourself in the mirror. That's it. Walk. Look yourself in the eyes. And I couldn't do it. I had allowed myself to carry all those heartaches so long that my sense of self, my own confidence was so beaten down that I couldn't bear to look at myself in the mirror. Tears were shed as I realized it wasn't just in this class that I couldn't look at myself. I hadn't really looked at myself for years. I wasn't happy with the woman in the mirror, so I just avoided her. I looked around her, I looked at pieces of her, but I never looked at her.

This may have been her daughter's first performance!

Coincidentally, it was around this time that my husband and I had decided we were ready to start a family. Doing this simple exercise, or failing to do it, in my case, set off some sort of enormous foghorn in my head. I know I open my mouth and hear my mother's voice come out at least once a day. My daughter, if I had one, would be doing the exact same thing. What kind of model was I going to be giving her? Then the horror set in. Would I hear my sweet little 6 year old playing with her dolls and saying "my arms are flabby"? Would she protest going to school in shorts because she didn't want to show her fat thighs? I realized that no matter what kinds of things I told this beautiful, non-existent child, she would mirror what I did, not what I said. And if I wasn't able to look at myself in a mirror, how could I ever be able to raise a daughter who had the self-confidence and assurance needed to take on this world?

That day was a turning point. I realized I have to start loving and accepting myself if I want to teach love and self-acceptance to someone else. So I started dancing for my unconceived child. It's a long journey, one that I'm not nearly close to completing, but I'm making progress. I realize I'm not a natural dancer. I close my eyes and picture my arms gracefully outstretched, beautifully positioned dancer's hands caressing the air. I open my eyes and see my arms akimbo like a windswept scarecrow, with what can only be described as "jazz hands" tense and flailing at the end of my wrists. But that's of little consequence - the point is that I open my eyes and look at myself. Jazz hands and all. I'm learning to shake the self-doubt I carried all these years and realize that I'm fabulous.

Choosing the right hips scarf is always tricky

It took a year and a half, but we finally did conceive that child who was in my thoughts with Najla that evening. And it was a girl. And she is the most beautiful, perfect, amazing little person I've ever had the pleasure to know. As she's entering toddlerhood, I've discovered that she has this incredible inborn sense of confidence. There's not a timid bone in her body. She grabs my fingers and just starts running, fully expecting me to tag along on whatever adventure she's dreamed up. She's never doubted for a moment that she's the most beautiful girl in the room. It's her world and we're all just living in it. So I realize I've been given this clay. This putty that is so perfectly confident and assured from the start. My job is to model that confidence as an adult. As she molds herself into a child and then into a woman, the best thing I can do is to constantly tell her she's beautiful. She already knows that. My best course of action as a mother is to model what it means to be beautiful as a woman moving through this world. To show her that life will lash out at you, but you just have to shake it off, hold your head up, and know you're only accountable to those stunning dark eyes you find looking back at you from the mirror. Every week I get a little refresher course on that subject from Najla. And so I dance.

It's the same look everyone has while learning zils!

Stare deeply into my eyes...

2011-03-20T23:59:00.001-05:00

For many of my students, the leap to a first (or maybe second solo...) is always a tough one. It is rare to find a dancer who runs head first into the challenges without any hesitation. One of my students, Krysta, is getting ready to make that jump on April 9, coincidentally on my birthday at the next Cafe Shimmy. She's popped up in this blog more than once as a guest writer (see here and here), and this week she had sent me the following post, although I just sat down to read it tonight...after class had ended. Call it serendipity, but the fates seemed to align to not only have a chance to work solo with her tonight, but to talk about the very essence of her post...before I even knew it was her post!

I have all sorts of improvisation drills that I run my students through from time to time, and this evening I had Krysta perform her solo just for me, and look into my eyes the entire time. Normally this drill sends dancers into a bit of a tailspin, but in Krysta's case her movements were more fluid, her dancing became less erratic and more focused, determined and soulful than when she just danced without making that same eye contact. When I asked how the exercise was, I was surprised when she told me it made the dancing easier. We both had a light bulb moment as she explained that while dancing with my undivided attention, she no longer worried about being boring, and was able to trust that she was interesting, captivating and deserved the attention the audience. It was a really wonderful moment to share with her.

I then came home and opened up her email, with her suggestion for a blog entry. Warm fuzzy feelings for me, beautiful words for all of you...and serendipity strikes once again, so sit back and enjoy!

Boring. That is the last thing I want to be as a dancer – or as a performer in any regard. I know I’m not alone in the fear of being uninteresting. I doubt that anyone at any point consciously wishes to be bored or boring, especially when engaging in something for which they care deeply.

A common roadblock when tasked with choreographing or improvising is the crippling fear that what you create will be painfully uninteresting. On a personal front, this is the rationale behind my gross procrastination. My college years of movement and physical acting often involved frantically throwing something together around midnight before the next class day. A friend who was doing some reading on the psychology of procrastination years later told me that procrastinators are often perfectionists. [Guilty as charged…and counterproductive, if I might add.] So procrastination is the handy dandy tool we use to excuse poor work. “It was not as good as it could’ve been because I did not have very much time to work on it.”

Four weeks from the day I’ve written this entry, I must perform my first solo as a belly dancer. My shimmies are still a bit tense, my undulations still contain pauses in those hard-to-capture areas of my belly, and hip drops and sways are clearly lopsided. My zil skills are nil. [Yes, I had an amazing time writing that sentence.] And my veil is still on a mission to attack my face at any opportunity. So it’ll just me – and a super shiny costume – and a super shiny song for 3 minutes.

Recently in Najla’s technique class, we were asked to improvise using fluid movement while the rest of the class followed. There was hesitation among us all in the first round – yours truly included. Najla then instructed us to allow breath to inform our movement and not worry about the complexity of the movement, rather than try to generate movement on our own. After this instruction, the movement became compelling; lines were not cut off, inhibition had taken a backseat, and we were interesting to watch, even with the slow, slinky movement. And we were easier to watch…because we were breathing…not fighting for control. It was simply ours.

Internet Etiquette 101 (or how NOT to upset belly dancers in your community)

2011-02-26T18:39:00.001-06:00

I have been feeling a little burned by the Internet lately. Content I have published has been copied without my permission, articles written about me were used as promotion for other dancers, and rumors of non-existing Facebook posts worked their way into my professional life So, I am feeling a bit disappointed, betrayed, and just plain annoyed by it all. I recognize that once you go public in any shape or form on the Internet, you open up a lot of issues about your public and private life, but I think I was in the honeymoon phase up until now. You know the part of the relationship where you trust everything and everyone and life is all roses, chocolate and unicorns. That is, until the first disagreement…the first tiff…or the first betrayal. Well Internet, the roses have wilted, the chocolate has left extra pounds on my hips and the unicorn metaphorically pooped on the carpet.

So what’s a girl to do? I could be catty and vengeful, or I can use this as an educational opportunity. In life I always try to take the high road, and instead of just assuming people are malicious and greedy, I prefer to think they are misinformed or not aware of the issues they may cause. My response is to provide some guidelines for those of you who choose to post/comment/publish on the Internet. I started with a great article called The 5 Rules of Blog Etiquette and worked from there. My first two points are directly taken from her post (see italics...with additional comments from me), but you should read the entire article because she has other wonderful notes on the subject. And, here is another article that has some great tips on the same subject…so go read, and I’ll wait here for you.

If you quote someone, you should link back to the source. If you’re only quoting a small section from another blogger’s post, you don’t need their permission to do so. However, you should link back to their original post.

This is all about giving credit where credit is due, quoting the source correctly, and returning the favor of sending blog traffic to the person who wrote the post originally. If you post everything on their site, what is the incentive for anyone to go visit their website or blog? Be courteous, give credit, and send readers to the original author. I think this is good karma, besides basic etiquette. If the author has multiple pages or social media sources, check to find out what is the most appropriate link. For example, I had someone link a belly dance article I wrote to my personal Facebook page. The problem is, my Facebook page is not public and for the belly dancing side of my life, I have worked hard at setting up a website, Facebook pages, a blog and Twitter feeds. So by using my personal Facebook page, not only were people sent to a site they could not access, but all my hard work at setting up other sources was for naught.

Do not repost information without permission. It is never okay to take someone else’s post and put it on your blog without first getting their permission. Even if you link back to them, it is still unacceptable.

Even though information posted on the Internet seems public, keep in mind that the author owns the content and has a copyright on that information. If you take all of their material off a post or site (even if you credit it) you are at a minimum stealing traffic from them…or stealing business. Beside bad karma, it just isn’t good business sense. That’s like paying money to go to a dance workshop, copying all the material and then teaching it again yourself. You may tell people where you got the material from, but you’ve taken away the incentive for people to go to the source.

On a side note, this applies to real life experiences too, like choreographies. I've had people approach me asking if they could use my choreography and my music selections to teach materials to their students…here in Austin. One individual was very put out when I said no and didn't understand my stance that if someone wants to learn my material, they should take directly from me. They just did not seem to respect the idea that I put the work and effort into it, and I should get the credit and rewards…online or off.

So, remember that the belly dance community is a close-knit group, and if you have the reputation of stealing other people’s content to promote your own business…eventually you won’t have a business. Now, here are a few additional comments of my own on the subject:

Respect a dancer’s name, title or persona

There are multiple opinions on whether or not a dancer should take a “stage name”. I know many dancers who do (including me) and many dancers who do not. What is important is to recognize and respect the dancer’s preference. For example, you may know that their real name is Sheila, but if she never uses that name for business purposes…I would use solely their business name. On the other hand, some dancers are fine using both names depending upon the situation. In that case, the general rule is to use their dance name at dance events and venues and in other social circles (and with their permission), you can use their given name. When in doubt, ask their preference.

Just because someone said it on a Facebook post or online forum does not mean it becomes your property.

There is a certain amount of trust that you give to people who are friends on Facebook. Part of that trust is to not repeat something you may have said in jest, or assume the worst regarding a post. For example, during the last two months I've been tired and stressed because of work, and I posted that I was tired and stressed. It was simply a statement of fact, and not a criticism of anyone or anything. We all have those days. The problem is someone heard through someone else that I posted something work related…and then the grapevine took over to the point that I had to defend and explain myself to upper management.

As a result, it was a horrendous week for me, especially since I would never in a million years do what I was accused of. It was also a big lesson because although I am direct and to the point, not everyone is. And those people may read more into a comment than necessary. Unfortunately it’s not the first time someone took a Facebook post out of context. In another situation, something I said in jest was used as a “quote from Najla” in their newsletter...which led to another mortifying moment for me.

The lesson for everyone is to consider those posts as conversations, not as public fodder or material for your own business purposes. If you want to use the material, ask first…and if there is any potential misunderstanding, ask for clarification. We’ll all rest a little easier if you do this.

Give credit where credit is due

I've never been a pushy salesman, even back in the day when I worked in retail and was paid to sell. So, over the years, my approach to promoting my belly dance business has been less hard-sell, and more dependent on word-of-mouth and positive reviews from students. What has been unsettling is finding out that positive publicity or comments on me have been used for other dancers to promote themselves. And here’s where it gets sticky…because in giving examples, I’m actually giving away the people who did this. For the record, I understand this...and I also think that this is the beauty of karma.

The first example was a really sweet blog post on the experience of attending a Mother-Daughter workshop that I taught. The blogger is actually very well known in the Internet community, and is a bit of an Austin celebrity. She has actually been quite successful in a making a brand name out of her blog and business. She wrote about the class she attended without ever mentioning my name, not an oversight, but when you look at other posts on her site you’ll see that is a business choice she has made regarding most of her posts. But I knew that she had written the post, she sent me a sweet note telling me she would do it (and asking permission…), and although I didn't shout it from the rooftops, I did include a link…to her post (see point 1 from above!) on Facebook.

Well, guess what? Someone else in town who also periodically teaches classes with kids and moms included the link in their newsletter. And although they did not explicitly say that the article was about me, the way it was worded…and the fact that it was in their newsletter implicitly implied that the article was about them. I also know that they did not ask the author for permission to use her post. It would have been one thing for the other dancer to say, here’s a nice article on Najla’s workshop…and then say that they also teach similar classes…but no…no credit whatsoever.

My second example is much more recent. I was contacted by a reporter at the Daily Texan who wanted to do an article about belly dancing, and specifically UT students/staff who were involved. We emailed back and forth several times, I sent her a list of students who were affiliated with UT, and she and I had a phone interview that lasted well over an hour. She was a new reporter, and I was a bit worried about how the story would come out, but I thought she did a lovely job. There were a couple of things that didn't follow what I had said, and the photo is less than flattering (imho)...but all things considered, it was very nice.

Much to my surprise the focus of the article was me…not UT students…not Mirage…and not Informal Classes (although they were mentioned). However, someone took offense at the article and actually posted online publicity for their classes on the page with my article. Again, the article didn't include a link to me or publicize my specific classes, but the absence of promoting me seemed to leave room for someone else to promote themselves. I wasn't asking for great acclaims or publicity, but just credit where credit was due.

So, when other dancers get noticed or attention, don’t take this an opportunity to garner attention for yourself. When someone writes an article, or posts useful information, don’t steal it for yourself. Give appropriate credit, respect an author or dancer’s work, and ask permission. Consider it good publicity for the dance or the community, which in turn can help your business and your karma!

*climbing off my soap box and heading off for dinner now*

Career opportunities for belly dancers

2010-12-18T17:00:00.003-06:00

When asked what we wanted out of the class, all of my fellow beginner belly dance students proclaimed that they wanted to perform on stage, and be a professional belly dancer. It was my very first belly dance class and I was the only one that just took the six-week class for fun, with no thought beyond the end of the session. I never saw any of these ladies again after that series, and I chalk their comments up to youthful enthusiasm (yes they were about a decade younger than me), and just plain excitement about belly dancing. I think that same experience repeats itself on a regular basis around the world, but do women really know what different opportunities and roles there are in this dance form?

In my other life (the one that pays the bills), I have a background in human resources and communication. I periodically have friends who call on me to review their resumes or offer career advice. I’ve even helped some people negotiate their starting salary in a new job because my specialty is compensation. One friend even set me up on a “date” with her husband who had been recently laid off and was contemplating a major career change. Call it career counseling or just a willingness to listen; I’ve have a talent for helping people figure out what to do with what they know.

The conversations start out in the same manner. What do you like to do? What do you find interesting/exciting about your job? What do you NOT like to do? People may not realize it, but the list of things you don’t like is usually the most telling part of the discussion. There are always tedious tasks in every job (even belly dance ones), but knowing what you don’t want is the biggest battle. This approach has also helped me over the years to hone my list of what I want to do as a dancer and instructor and what I don’t want. And when I’m feeling less focused, it helps me figure out where to put my energy and effort and what to pass by. So here’s my list:

I don’t do restaurant gigs, or belly grams, or weddings…or Renaissance fairs.
If I have to compete with your dinner or your expectations of what a belly dancer is…I’ll happily pass.
I do love performing on stages (large and small), dancing to fabulous music (live and recorded), teaching, taking classes and hanging out with fellow dancers.
If I can dance or teach and easily see your face in the audience…that makes me happy. I may even wink at you.
I’m not looking to make a living as a belly dancer, but it’s nice to have extra income to offset the cost of costumes and workshops.
I’m not trying to be a nationally known dancer, but I am looking to be respected for my dance, my knowledge and skills.
If at the end of the day, I help you become a better dancer or woman through my classes, my performances or my online musings…I’m happy.

As we head into that infamous time of the year when people are off making New Year’s resolutions, I’d like to offer a little career counseling. Instead of focusing on what will you do as a dancer in this next year, or what are your goals; I’d like to spend some time talking about what you CAN do as a dancer. Consider this a list of belly dance career opportunities, options to choose from…but not a list of everything you should try and do. Because you simply cannot DO and BE everything in this list, however you can DO some things well and you can BE accomplished with a little dedication and focus.

We’ll start in the next post with the first steps: Student opportunities. So, stay tuned!

Top Ten Reasons to Come to Tribal Belly Dance Camp

2010-12-13T22:59:00.002-06:00

Come to camp! Come to Tramp! We'll be spanking our sparkly junk and toasting marshmallows. And you don't want to miss out on this opportunity.

Tribal camp this year features Kajira Djoumahna with Black Sheep Belly Dance and is hosted by the lovely and talented Bahaia and the ever-adorable Michelle Manx!

Student to Student: Dance on Thru to the Other Side

2010-12-06T23:37:00.006-06:00

(Najla's note: Our guest post for the day is written by one of my lovely students, Krysta. She's talented, witty, charming, uber-cute and quite enraptured by dance of all shapes and sizes...perfect for belly dance, right? She wrote the lovely post below, and I picked the picture below...hee...hee)

Step. Ball-Change. Sache Right. Oh hell. Step. Ball-change. Shimmy, Drop. No. Step. Ball-change. I. Give. Up. I. Need. A. Drink.

Whether you’re a beginner or a veteran dancer, you have probably had a similar thought process while trying to master difficult choreography – or choreography that doesn’t necessarily come naturally to you. Fear not my frustrated comrade, you are not the first or the last to feel the hopelessness of a blank memory when trying desperately to coax your arms and legs into the right formation in the right rhythm while the rest of your company kicks and smacks you while perfectly executing every turn, leap and shimmy across the studio floor.

Below are several helpful things to keep in mind while negotiating your way to the end of this agonizing class or rehearsal.

Look and Listen
I cannot tell you how many times I’ve seen dancers try to dance a new choreography WITH the teacher while s/he is teaching it for the first time. I realize that people learn differently, but there is a lot to be said about watching and observing the moves you are about to spend an hour and a half (or three) working on. Take the physical break while you can get it, sister! It also helps to listen to your instructor, as they often mention small details and nuances of the choreography as they dance the routine (and sometimes even beforehand). If you’re already in the middle of actually learning the routine, it is completely acceptable to stop, step to the side, and watch the movement so that you can process it before jumping back in.

Do not give up, dismiss yourself or berate yourself.
Eleanor Roosevelt once said, “Whether you think can, or you think you can’t, you’re probably right.” You are not Suzie-Q Dance-a-Roo next to, in front of, or behind you. She has a different past, present and future. Do not concern yourself with comparisons or self-deprecation. Those sorts of negative thoughts clutter the mind, and do not allow space for the choreography you should be learning right now. Get out of your own way. (And the way of your neighboring dancer).

Breathe.
I, like many others, forget to breathe – as a dancer and as a human. When you make sure to remember to integrate your breath into your movement, your body can associate the movement with the sequence of the breath. Breathing also increases the quality of your movement.

You are not alone.
Suzie-Q Dance-a-Roo may be dancing circles around you and the teacher, but have you considered the 10 other dancers who are either working through the same section as you are…or perhaps a section you’ve mastered?

Tomorrow is another day.
We all have off-days. Now, off-days are not an excuse for poor work-ethic, but they do happen, and it’s important to be forgiving of yourself if you’re having one. Keep working through it, stop when you need to, and jump in when you’re ready. (This is not a way to allow yourself to give up either, by the way.)

As with most things, at the heart of it all, if you just continue to do your work with positivity and optimism, you’ll surprise yourself one day with the perfect execution of your routine. And, I’m sure you’ve heard this a thousand times before in performance and rehearsal….but don’t forget to smile!

New class format, new website and a New Year!

2010-12-06T21:31:00.000-06:00

We may be winding down the end of 2010, but I am gearing up for an exciting and busy 2011. I'm officially changing the format of my classes beginning in January, I promise to have my new website up and running and what better way to kick off your New Year's than with a shimmy?

What's the big news in classes? I will now be offering three different classes, each with a distinct focus as well as opportunities to combine classes. I made this change so that all my students can continue to work on their technique and skills, in addition to other areas of dance. For my beginner students, this change will help them move to the more challenging classes, combinations and choreographies and for those intermediate level students who don't aspire to perform, this will allow them to get a good work out and learn some great new techniques.

Currently all classes will be held at Tarrytown Dance on Sunday nights. Classes will resume on January 9, 2011. Online class registration is available as well as class gift certificates. New students registering in January will receive the "loyal student" class rate, so take advantage of the discount now!

Fundamentals of belly dance (4:00 to 5:00 p.m.)

This class is designed for students new to the dance, or those that want to work on fundamental movement and technique. Each month a new topic is introduced, with the idea that a new student to belly dance can gain a strong foundation in the dance over the course of six months.
The topic for January is: Pops, Locks and Shimmies: An introduction to belly dance isolations and movement. The four-week class will cover rib and hip work, lifts, drops and shimmies. Perfect for students new to the dance or beginner students who want to drill these movements and increase their stamina.
Class rate is $12 a class. Students who have studied with Najla for at least three consecutive months, pay a "loyal student" rate of $10 a class.

Mixed-level belly dance (5:00 to 6:30 p.m.)

This class is designed for students who want to work on their technique and perfect their belly dance skills. With a mix of drills, combination and improvisation, this class is ideal for a dancer who has a strong understanding of fundamental belly dance movement.
Experience with zils and veil is highly recommended.
This class may be combined at a discounted rate with either the fundamentals or performance class. The cost for the combined class is $22 a night for either combination (mixed+fundamentals or mixed+performance). Students who have studied with Najla for at least three consecutive months, pay a "loyal student" rate of $18 a night for the combined classes.
The topic for January is: Building Strength and Endurance: Work off those holiday calories and start your New Year off right with drills targeted at increasing your strength as a dancer. Class will not only include drills, but also cardio and stamina movements followed by a nice, long stretch at the end. So, how many hip drops can you do in a row? Let’s find out!
Class rate is $15 a class. Students who have studied with Najla for at least three consecutive months, pay a "loyal student" rate of $12 a class.

Performance and choreography (6:45 to 8:00 p.m.)

This class is designed for students who are interested in solo and group performance opportunities. In this class, Najla will explore more advanced and challenging dance technique, including performances with props, improvisation, designing choreography and deepening your understanding of Middle Eastern music, culture and costuming.
Enrollment in this class is subject to the instructor’s approval. Students attending the performance class must be simultaneously registered for the mixed-level technique class. Because the emphasis on this class is performance, students are invited but not required to perform at local dance events.
This class is required for membership in the Baharat Belly Dance Ensemble. Members of the ensemble may be required to purchase troupe costumes for group performances.
In January, we’ll be starting a review of the drum solo choreography, as well as beginning new work that includes veil, floor work and sword.

What to Wear:
Wear comfortable clothing that is easy to move in, but try to avoid loose or baggy clothing. Yoga wear or leggings and tank tops work well in class. Bare feet are recommended, but dance slippers, jazz shoes or dance sneakers will also work (no street/athletic shoes please). Hip scarves are available to borrow in class, and information on purchasing scarves is available in class.

Payment and Attendance Policy:
Students may sign up and pay online, or pay at the door via check or cash. New students are required to sign up for a full month of classes, and classes are non-refundable. Current students may pay on a student account to cover classes. Class payments are non-refundable and expire six months after purchase.

Top Ten Characteristics of an Excellent Belly Dance Teacher (Part 3)

2010-11-29T22:57:00.000-06:00

Okay, here’s the last of my three-part series on the characteristics of a good belly dance teacher. As I’ve been writing them, I’ve also been evaluating myself against the list. Although I’ve been teaching for a decade now, I can see so many areas in which I need more practice, and dedication. So it seems that I have work to do, especially since some of these last ones are really tough questions to ponder. So, if you’re a teacher reading this, how do you rate compared to the list? And, if you’re considering teaching or just started…what are your thoughts now?

7. Can you can graciously accept and give criticism and feedback?

As performers, we are all eager for feedback - the lovely, fluffy, upbeat and feel-good comments that just make your day. If you have been dancing for a while, you probably have also had the not-so-kind comments, back handed compliments or withering criticism that people with the best intentions (or not-so-good intentions) seem to offer. It can be tough to differentiate between the beneficial feedback and the “I’m-jealous/insecure/always negative/know-it-all/crazy” rounds that come your way. However, if you really want to grow as a performer, artist, dancer and teacher can you deal with the not-so-fluffy comments? And are you open to hearing something more meaty and meaningful? Let’s start with you as a dancer and teacher:

Do you regularly seek feedback from other respected dancers on your performances, technique or style? Do you take classes and workshops that keep you challenged or do you stick to the safe ones that you can easily master? Have you ever considered taking private lessons for the sole purpose of getting a dance critique? Seeking feedback can be a scary, humbling experience especially if you consider yourself to be a more advanced dancer or teacher but it can also be invaluable. Think of it as the spinach in your teeth scenario. Would you like someone to be honest with you and tell you there’s green gook in your teeth, or would you prefer to walk around thinking you’re looking lovely (because everyone is staring…right?) and then find out later on the stares had nothing to do with your fabulousness?

I have a good friend and fellow dancer, named Jamie Lynne who has spent a great deal of time and energy in the past couple of years actively seeking critiques from other dancers to help her grow. I admire her ability to put her own ego aside and ask the tough questions. She even recently entered and competed in a belly dance competition for the sole purpose of getting detailed feedback from a group of judges! Where other dancers may have been there to prove how good they were, her approach was to gain more knowledge about her dance style. So, when you take classes or workshops is your plan to show everyone how quickly you can pick up the moves and how talented you are as a dancer…or do you walk into those sessions comfortable with just learning?

I had the opportunity to share a private lesson with Jamie Lynne this last October with Ranya Renee who was teaching at Bahaia’s dance camp. We both decided we wanted feedback on our dance skills and we each did an improvisational dance (with a random song) for Ranya’s critique. If you think about it, the possibility of humiliation increases if you’re sitting there with another dancer who gets to hear every comment. But we thought the benefits were more enticing because we had a second pair of ears, a fellow dancer to take notes while Ranya spoke and a trusted dance friend to help evaluate and break down the comments later on. It was a humbling experience, and I’m still processing parts of it…but it was a valuable experience. So, how comfortable are you with receiving feedback and how willing would you be to share that experience?

In addition to commentary on your dancing, do you seek feedback from your students on your teaching style? When students quit your classes do you have a clear idea of why they didn’t come back? Was it schedules, finances, lack of interest…or could it be you teaching style, organization or class structure that sent them off? Are you willing to find out the answers to those questions? A couple years ago I was asked to do a quick belly dance demonstration and as preparation for that, I needed to describe my teaching style and philosophy. Frankly, I was a little stumped because I had not thought about that…at…all. So, in my next class, I asked some of my long-term students to tell me what they thought it was. And then I held my breath! I was really impressed by their comments and very enlightened by what they took away from my classes. So, how do your students describe you and your style? Do they recommend you to friends and why? If they had to post public feedback on you as a dancer…what would they say?

So, onto the harder part of this topic: What about feedback for your students? Are you able to offer constructive feedback that helps your students perform better? Or are you afraid to say anything because you don’t want them to leave the class? I think there are so many teachers out there that either feel their role is to be the best friend/party organizer or on the opposite side - the constant critic. Can you strike a balance between the two and not only offer positive feedback, but help correct students in gracious way? I had experience with a teacher who felt that giving students positive feedback only made the student get too much of an ego. So I had to wait until she would occasionally parcel out something for me to grab onto. Now, she didn’t give much negative feedback either- so, I spent a great deal of time feeing clueless while dancing.

On the flip side, I’ve also seen cases where the teacher just doesn’t want to say anything bad…ever…and then keeps telling her students how fabulous they are…even if they aren’t. For example, I know a teacher who had students perform at an annual event. In her mind, her group was the best of the best…and when they did not get the acclaim she felt they needed, she stopped having them participate. The truth is, they worked hard, but they weren’t the head of the pack in terms of performances. And instead of evaluating their skills and their performance, and then working to improve them, her response to was just walk away from it. So, what would happen if one of your students (or a group of them) performed in public and the outcome was less than successful? Could you have the tough conversations to help them do the work to improve…or would these setbacks stop you and your students?

And finally, do you understand how to deliver criticism in a supportive and encouraging manner? This isn’t just about telling someone what they did wrong, but about understanding the timing and approach based upon individual personalities. Can you read your students well enough to determine who is ready for more feedback, and who may need more time to develop their confidence? Can you assess your own mood and temperament so that you don’t lash out at students just because you’re having a bad day/week/month? How comfortable are you with students who rate their skills much higher than their technical ability, or those students who have strong technique, but needs more practice or challenges? What about students who are just in class for fun but don’t have plans to perform or solo?

I frequently have my students perform for each other in class and then provide feedback. My rule is that the students can only point out the good things the dancer and/or group did…and I am the only one who can offer constructive feedback. I think this teaches students to focus on what went right, and for the dancer to learn her own strengths. Then, they get to hear me deliver feedback that will help them grow. I also keep my feedback to only one or two things at a time so no one feels overwhelmed. So how would you feel about coaching others in the art of giving feedback? And, can you create a culture in your classroom that encourages and appreciates comments from fellow classmates and the instructor?

8. Do you have a healthy ego?

How does that saying go…if you love something, set it free, and if it doesn’t come back, hunt it down and shoot it…right? For most of us, our dancing is a way to define ourselves, to present an alternative side of our personality or explore a creative outlet in our lives. It is more than just a hobby; it is a fundamental part of our identity. But, do you take too many things personally as a dancer? In my experience, students will travel great distances just to study with a particular teacher. So, what if they choose not to take from you? Can you deal with that type of rejection without being angry or bitter? What happens if a student of yours chooses to take from someone else? Or what happens when a student grows beyond your class and skills? Will you try to trap them…or can you let them move on without you?

I heard a story about a teacher who, after one of her new students didn’t come back to class, began calling the student constantly, trying to convince her to come back. I know this story, because when the same student asked me about classes, her first question was whether or not I was crazy! It is one thing to be concerned if a student doesn’t come back…you can send an email checking on them…but stalking can be a little too much. How do you feel about students taking from other teachers? Do you encourage them to try other classes and attend workshops, or do you keep them isolated from other dancers and styles?

What about those students who want to learn a style or technique that is beyond your skill level? Do you send them out to another teacher, or do you try to fake your way into it? Can you admit to your class that you don’t know it all? My ultimate goal is to have students who succeed well beyond what I can teach. So, can your ego take the success of someone who was once your student?

9. Do you have a unique point of view, or something different to offer the dance community?

I sometimes shake my head when I hear stories of new dancers offering classes (probably before they should), and then complaining they don’t have enough students to make it profitable…and at the same time really qualified, experienced teachers struggle to get more students into their classrooms. I think there are many individuals who rush into performing too soon, becoming a “professional” too soon, and teaching too soon. So, if you are considering teaching, what do have to offer in terms of style, technique and movement that is different than other teachers in town? In other words, why would someone take from you versus another instructor?

Do you have a clear vision of what you want to offer your students? Do you understand your own dance strengths and weaknesses? What can you give students that they cannot get anywhere else? If you are doing a knock-off of another dancer’s teaching methods…why would the student come to you versus going to the source? Think of this in marketing terms…what is your brand and how can you differentiate yourself from other instructors (besides the fact you have room/time at a local studio)? If you don’t know the easy answer to that question, you may need to do some more work!

10. Are you passionate about teaching?

It seems like the standard formula for making a living as a belly dancer is 1 part performances (restaurants, shows, workshops); 1 part private gigs (belly grams, weddings and parties) and 1 part teaching. Some dancers are fortunate to add 1 part DVD or CD sales to this list but for the majority of dancers, financial incentives for belly dancing are slim. So, is your sole interest in teaching financial or do you really feel passionate about teaching? If you did not receive any money, fame or attention for teaching…would you still do it? I know so many dancers that would dance even if there wasn’t an audience…or a stage…but how many of you would still teach for the pure joy of sharing your knowledge?

Don’t get me wrong, I think teachers can make money in this dance form and the dedicated, talented and persistent ones will always find a way to do this. However, I think the ones that are the most resilient are the dancers who are passionate about teaching. Teaching takes an enormous amount of work, effort and time. I’ll admit that there are days when it is hard to get up the energy to go teach. However, I know once I step into the studio and the first student arrives; my mood and spirits will immediately improve! For me teaching is not about getting credit for students learning new skills, but rather seeing those students learn and understand more about themselves as strong, beautiful, graceful women.

So if you are thinking about teaching, or currently teach…do your eyes light up at the idea of teaching? Does the hair on the back of your neck stand up when you see your students perform? Do you get all misty-eyed when they dance? And, most of all, do you teach because you know how to translate all your skills, experience and knowledge into a productive, fulfilling experience for everyone? Think about it…and then get back to me!

Top Ten Characteristics of an Excellent Belly Dance Teacher (Part 2)

2010-11-19T21:10:00.002-06:00

So, I recently started some posts talking about the characteristics of a good belly dance instructor. Here is part two (of three) in that series. Last time we talked logistics, today we’ll talk about technique and movement. Feel free to chime in and add your thoughts to the conversation!

4. Do you know your stuff?

I could write multiple posts on this one point alone, but it boils down to whether or not you understand this dance, the music, the culture, and the history? Can you articulate the differences in the various dance styles or the evolution of belly dance in this country and in the Middle East? Can you work with both choreography and improvisation? Have you performed in a variety of venues, to a variety of music, more than just a handful of times? Do you understand how to break down different moves, to different music, for different body types and levels of dancers? Do you understand when, where and how to use props…appropriately? Have you invested more money in your dance training than your costumes? Do you understand the dance community in which you live and know what type of performance opportunities are available for students? Have you performed in most of those venues? If you attend a workshop or read a blog post or a belly dance history/music/culture article and don’t understand the majority of what is being discussed or taught, then get thee to more workshops and classes, buy some books and do more research to increase your knowledge.

And, if you don’t know what is happening in the community around you…you need to meet other teachers, support other venues and do more networking. Here in Austin we have a strong dance community, and I was at a show once where someone who performed (and supposedly taught as well) didn’t have any idea who the show’s headliner was. That same headliner is a major name here in town and beyond, so I was surprised. That one tidbit showed me that this new dancer really didn’t know her stuff, and did more posturing than studying. If you want to be a reputable teacher, you should know the big dance names and venues in your community.

Knowing your stuff goes beyond dance technique and teaching styles (which could be hundreds of posts right there). Do you know how to costume yourself…and your students in an appropriate manner? (Again, I could write volumes on this one!!!!) I just heard a story of a dancer (and teacher) that performed at an event and well…let’s just say the audience learned more information about the dancer’s private anatomy than necessary. And no, this wasn’t a costume malfunction! So, the event coordinator decided (without telling the dancer/teacher) that she would never invite that teacher back again…all because the costume (and certain dance moves) were inappropriate. I’ve give more details…but I don’t want to call anyone out directly, all I can say is that the dancer/instructor doesn’t see any issue with the costuming…but wonders why it is so hard to get booked in various venues.

When I first started dancing (back in the day!), there were limited costume choices. You didn’t really even consider a professional level cabaret costume until…you had been dancing for a while professionally. Now, beginner dancers can buy costumes with a click of the mouse but it doesn’t mean they are ready to perform at that level. I’ve had students ask me if they are ready to buy a true cabaret costume…if their dancing is up to that level yet…just because they recognize that just like there are levels of dance, there are levels of performance and presentation. So, if you’re in doubt about appropriate (or tasteful) costume choices, find the most respected teacher/dancer in your area and see how they dress, how their students dress, and have a chat with them.

(Photo copied from What Were They Thinking?)

Beyond appropriate costumes is the subject of appropriate fitting costumes. Can you help your students dress in a respectful manner, and in a way that their body type is best showcased? Around here I’m known as the “bra whisperer” because I can help fit bras on all body types. Once I did a bra-making workshop for my students and I literally spent the evening in a bathroom with a parade of topless students getting fitted for bra tops. Not only did they learn how to make the most of their own shape, but also how to take costumes and alter them successfully, which is a win-win in my book. So, if you don’t have the skills to help students yourself are you willing to seek out other dancers to help teach them alterations, sewing and costuming skills?

I personally saw a group of dancers perform in new costumes which simply left me speechless. I can understand the desire for lost-cost costumes for a student troupe but I have never seen so many ill-fitting outfits in one place. There were muffin tops, butt-cracks and cleavage showing, skirts way too short and others way too long. There were breasts hanging 2-3 inches well below normal placement and dancers wearing colors that looked horrible on stage, and with their coloring. Then, after seeing the instructor I could tell that the teacher had no idea on how to fit or alter a costume for a woman’s body properly. It was sad, uncomfortable and really distressing as an audience member. There’s a possibility that the students were good dancers, but I have no memory of the event…and I what I do remember I wish I could wipe from my memory forever! So, can you make sure your students shine not only in technique but also style when they hit the stage?

5. Are you continually learning?

A little over a year ago, I was invited to participate in a student recital night with Bahaia and Stacey-Lizette, two of Austin’s premier dancers…and I’m fortunate to say friends of mine as well. I was so flattered and honored to be included, and although I knew it would mean more work as a dancer and teacher, I was excited about the prospect. After the first show (which we dubbed the Hip Circle Hafla), Stacey-Lizette and I talked about what a successful evening it was. She commented that since she is still a student, it was a wonderful opportunity for her to practice as well. Yes, I did fall in love with her all over again for that remark because it really sets an example to have such a strong dancer admit she still needs to study. I’m hoping that I will always feel that there is so much more to learn, study and practice.

So, are you willing to empty your cup and be open to new ideas? Do you read, study, watch and grow? Are you respectful and curious about all aspects of this dance? Are you are willing to evaluate what works and doesn’t work, and then change it? This next spring I’m completely revising my class format, which means much more work for me, but I hope many new and exciting challenges and opportunities to grow for my students. It’s not the first time I’ve changed my teaching strategy, but each time I make the change I feel that I’m refining my style more which allow myself and my students to grow as well. Think about where you are as a dancer now versus when you first started, and where do you see your dancer career going? Is your goal to travel and tour professionally? Is it just to explore the dance from a recreational aspect? Is it to provide a creative outlet…or a financial one? Will teaching help you with your goals, or sidetrack you?

I know of a dancer who started in the 80’s and is still going (and no, she's not 80...). At a dance workshop that she and I both attended, I noticed a couple of things. First, she either spent all of her time talking with vendors and other dancers or making comments to the side about how she already knew the subject being taught. Or, if she did occasionally participate in the class, she immediately took whatever the instructor was teaching and just did it her own way…not willing to see if there was merit to a different style or breakdown of movement. The most striking part of the weekend was one night when she said this dance form does not respect the teachers who have been teaching the longest. That belly dancers only want to learn from the newest kid on the street. What she failed to tell people is that she never advertises or makes any effort to recruit or retain students or help them grow. Her approach is that of entitlement. She put in the time; therefore she should have the most students. Unfortunately she doesn’t see the correlation between her inability to grow as a dancer and her inability to attract students. Students may initially flock to the “new” kids on the block, but the good ones, the dedicated ones will seek out the strong, experienced teachers.

So, How much time (and money) do you spend on your personal dance training? Do you know who the “big” names in your dance style are…and do you seek them out for classes and workshops? Belly dancers are fortunate because the majority of the great names of this dance are still alive, and teaching. So, if you are serious about the dance are you serious about seeking out training from the best? Do you cross training in other dance forms, or other styles of movement like yoga, Pilates, Nia…even martial arts? Continual training is the key to growing as a dancer and artist, so make sure you are in position to put in that time.

6. Do you understand basic movement principles?

Although you may know belly dance, do you really understand how our bodies move? Do you know what causes different limitations or issues with a student’s form or how to ensure dancers don’t injure themselves? What about basic anatomy…can you name the major muscle groups used for each movement? I like to describe movement in terms of what is happening from a skeletal points (i.e. knees bending) and then from a muscular point (i.e. glutes contracting) so students can start developing a relationship between the movement and their own bodies. So, do you understand how movement is generated and how little things like posture, stance and feet position can alter or change a move? Can you explain why to do or not do certain moves to help prevent injury (i.e. tucking your pelvis so you don’t hyperextend your lower back)? Consider investing in some good anatomy books, or take some basic movement or yoga classes, or consult Dr. Google. But, above all else you should increase your knowledge of the body.

Introducing my office mate, Mr. Muscles

Next: Part three!

Top Ten Characteristics of an Excellent Belly Dance Teacher (Part 1)

2010-11-17T23:06:00.002-06:00

Recently I ~~griped~~ wrote a post on what qualifies as an experienced belly dance teacher. I think there is a natural inclination and curiosity from many dancers to move into the role of teaching. And, depending upon the area in which you live, there may not be many instructors so teaching may be a lucrative move. In other areas, some dancers feel that to help make a name for themselves (and make some money) teaching is a necessary part of that process. Now I love teaching, and would do it even if I didn’t get paid a single penny, but I’ll readily admit it is not for everyone. So, here’s a not-so-short list of the ten questions you should ask yourself before making that transition from dancer to teacher

This isn’t set up as a pass/fail, but rather a list of things you should consider before taking the teaching plunge. Dancers who live in smaller towns with fewer resources will have different challenges than those in larger cities with vibrant dance communities, but I’ve tried to touch on the most common issues, as I see them. I’ll be posting the list in three parts, because yes…I have that much to say on the subject. I’m looking forward to hearing what everyone thinks, and what you would add (or take away) from the list! So today, we’ll start with some logistics:

1. Are you are organized, dedicated, timely and persistent?

Will your classes start and finish on time? Can you keep up with class schedules, rosters, emails and contact information? Can you keep up with music, props, costumes, and other things you’ll need for class or are you they type of person who misplaces most everything? Are you good at communicating with studio owners, students and the belly dance community? I heard a story of a teacher who was consistently late to class or just didn’t show up. She had another teacher come sub for her one week who was shocked to find out that everyone showed up about 20 minutes into the class. As it turns out, the students never came on time because they didn’t want to wait around. It made me think that if the teacher cannot take the class seriously, how can she expect the same of her students? I always try to show up 15-20 minutes before each class to set up my things, and settle in, and many of my students show up early just to spend a few extra minutes talking to me. It doesn’t always happen that way, but I make that a goal…just so I’m not feeling rushed when everyone arrives. I also require any new students to show up early so they can get a feel for the place before class starts. So, ask yourself if you can be dependable for the long haul, and are you a good role model and show respect for your student’s time and energy?

2. Are you willing to put in the time?

It seems like the longer you teach, the less time you would need to spend on planning and organizing classes. Not true! As you grow as an instructor, hopefully your students grow along with you. I started out teaching 6-week beginner classes for about six years before branching about beyond that. Trust me, I can teach a six week beginner class in my sleep, but nowadays I spend more and more time working on the longer classes for more advanced dancers. So, are you willing to put in extra time for lesson planning, or choosing music playlists, or developing drills or warm-ups, or designing choreographies? I just spent an entire week planning one class because I was going to combine three levels of dancers into one session. I can’t do that much prep each week, but I also know that I cannot wait until 30 minutes before class (or at the beginning of class) to decide what we’ll study. Now I’ll admit, sometimes the best laid plans change once class begins; having a game plan going in makes all the difference in the world!

Do you have the time to spend on advertising and marketing or other community outreach? And, in the midst of all of this, do you have time for your individual practice and training as a dancer? It’s rare to find dancers who can afford to do this full-time, so can you juggle your other life…work, family, friends, relationships…along with dancing and teaching? If you are still taking classes from someone on a weekly basis, will your teaching schedule interfere with this? If you take regular workshops, have you thought about what you will do with classes while you’re off training? Do you cancel or do you find substitutes? And, if you’re thinking that once you start teaching you don’t need additional training…how do you expect to grow as a dancer? What about having room in your schedule for coaching, mentoring and developing relationships with students? All of these things take time, and if you’re already short on free time…will teaching really help you out, or hurt you?

3. Do you understand the logistics of teaching?

At some point in time every teacher sits down and does the math just to find out how much they can make while teaching. Usually the hypothetical calculations are based upon the maximum number of students the class can hold, under the assumption those students will be there every week, without fail. (Yes I’m smirking while writing this.) Even skilled dancers and teachers know it takes time and energy to build a student clientele. Experienced teachers know there is an ebb and flow of students, days of high attendance and days of low attendance. So, are you willing to accept the financial risks associated with teaching? This goes beyond the cost of a classroom rental; it includes the cost of teaching insurance, supplies, materials, marketing and publicity. Are you in the position to pay deposits or rentals up front, or if your class attendance is erratic, can you deal with a less-than-steady cash flow?

Beyond fiscal matters, have you had a CPR or first-aid class recently? Do you know what to do if someone injures themselves, or what to do if they show in class with an injury or other physical limitations? Can you revise or adapt your teaching to help those students who struggle with the moves because of different body types or levels of physical skill, strength and flexibility? What about personality types? Can you work with really outgoing, shy or ‘know-it-all-already’ students? Remember that strong belly dance technique doesn’t necessarily transfer to strong teaching skills.

What about location? Have you thought about how to create an environment in which students can learn and develop their skills? If you find a studio, are there any potential conflicts with other teachers or classes? Will you have keys to the studio or do you have to rely on the owner to open and close for you? What kind of sound system, dance floor, parking, and other amenities are available? Can the owner guarantee your scheduled slot? Will you have to sign contracts, liability waivers, pay deposits or follow specific studio rules? My first experiences with studio rental were fraught with anxiety and missteps. I had problems getting keys, having other classes scheduled on top of mine, bad acoustics and carpeting that was a tad suspect for dancing barefoot. At the time, I was grateful to have the space, but I cannot imagine dealing with all of that again. Now I have a studio in a great location that is well-kept and well organized (with my own key) with dedicated parking and all I have to do is show up and turn on the lights!

If you are thinking about teaching out of your home, do you have a separate, dedicated space for classes? Or, would students have to walk through your kitchen, living room, bedroom, garage, patio, etc. to get to class. Could your classes operate uninterrupted or would family members (or pets) be interrupting? Are there any restrictions in your homeowners association or neighborhood regarding home businesses? Is there readily available parking or restrooms? Would your neighbors have any issues with people coming and going for classes? What happens if your student is allergic to pets, or even worse…injures themselves in class? Are you okay with inviting strangers into your home, or advertising your house as a studio location for prospective students? Can you keep the studio and house (if students have to walk through it) clean and organized?

I’ve seen good and bad examples of in-home studios. And, I’ve heard dancers say that they’ll start teaching out of their home just to earn a few extra bucks (I know…yowza!) So, before you invite people in, ask yourself if you can create an environment that is conducive to dance, and whether you are ready to shoulder the personal, property and financial risks involved with teaching at home.

Next: Part two!

Gloats and Gripes

2010-11-10T16:20:00.001-06:00

Last week while heading out to the parking garage in my office, three women in the lobby of a nearby building caught my eye. Or rather, their hip scarves did. It looked like an impromptu belly dance class, but much to my dismay the woman leading the other two clearly did not know how to move. Her movements reminded me of an awkward jazzercise class, with lots of stomping and erratic, frantic steps. I can’t verify that it was a belly dance class; however the addition of hip scarves seemed to lead me that direction. I had to stifle my urge to break into their group, much like the belly dance police or mafia, and instead walked away shaking my head over what qualifies as “teaching” in belly dance.

It wasn’t so much the location, but the quality of movement that bothered me. As a belly dancer I have practiced and trained in a variety of locations from home studios, garages, hotel ballrooms, living rooms and traditional dance studios. I’ve been teaching for about a decade now (yikes!) and I’ve taught in some crazy places under really odd conditions. So, I could imagine a time when I would have jumped on the bandwagon to have a clear dance space and room to teach, regardless of the location. Luckily, I’m past that stage which makes me gloat a bit, along with the griping about who teaches this dance form.

This spring will mark the third anniversary of teaching out of a traditional dance studio. And as an early Christmas present, the studio just moved into a new and larger location. Words cannot express my gratitude for having a dance space, a location whose sole purpose is to teach and train dancers as my home base for belly dance classes. There is something so much more legitimate and dare I say, grown-up about paying rent on a REAL dance studio, scheduling classes and managing what and how I teach. The studio makes me want to be a better dancer and instructor and I know that my students training in this location will benefit from the environment as well…so I gloat, and perhaps giggle a bit as well.

Which now brings me to my big gripe. I normally try to be supportive and encouraging to all women involved in this dance form. But over the last few years I have soooo much less tolerance for those individuals who think that just because they have room in their garage/living room/den/spare bedroom/office they should start a belly dance class…especially just to earn a few bucks on the side. Although I think this dance form is for ALL women, and should be accessible to anyone who chooses to come take classes and participate I do not think teaching is for everyone. Not all dancers should teach. Period.

In all honesty, I started teaching long before I should have. Luckily I taught other subjects and topics so I don’t think I left anyone scarred by the experience. And I learned, and grew as a teacher. But in hindsight I wished I hadn’t started so soon. I think in the rush to feel competent as a dancer so many women try to push past the beginner and intermediate labels too early. And teaching seems like such an easy way to claim expertise, right?

Wrong. Over the years I have seen the results of poor teaching skills, lack of discipline and really bad technique manifested in students who think they can perform at a level beyond their skill set. I’ve spent time with students trying to correct their posture and technique being taught really bad dance habits. I’ve met students who were devastated to learn that they have bad technique because their instructor didn’t want to say anything bad about their dancing. I’ve seen new dancers (really, really new dancers) advertise on web sites that they have classes and are available for private lessons. I’ve had people tell me that they informally showed their friend some belly dance moves and without any formal classes, maybe their “friend” could just move into my intermediate level class. And I can’t tell you how many times I have watched someone dance and thought to myself…she’s got real talent…I hope and pray she finds her way to a qualified teacher…and soon.

So secretly (and today publicly), I gripe about those teachers who don’t seem to appreciate and understand the hard work, dedication and skill necessary for teaching this dance form. And those same teachers then wonder why this dance form isn’t respected…or treated as legitimate as other dance forms. Think about it, if you can show people how to belly dance while standing at the coffee machine in your office, or in some bar while out drinking…why would anyone believe that you have to pay to take classes at a studio with *ahem* a teacher? I know we want this dance to be accessible, but at the same time we should encourage and set the example that belly dancing requires work and dedication and training under a qualified instructor (not just watching DVDs).

I think that every time we tell people, “it’s easy to dance…let me show you”, we belittle our dance training. Really, have you ever seen a ballet teacher jump into first, second or third position just because someone asked them about the dance? I think that when people ask you to show them how to belly dance you should politely decline and either refer them to good teachers in your area, or if you are a teacher invite them to come take a class. I also think we need to tell people that yes, they can learn this dance form, but it requires hard work, dedication and training. And above all else, we should educate people on the difference between a legitimate belly dance teacher and those who are just are just looking for some extra cash.

*climbing down from my soapbox now*

Belly Dance 101

2010-09-18T23:23:00.000-05:00

When I sit down to count, I've been taking classes for 12 years, performing for 11 years and teaching for 10. Whew! The startling part of that sentence is not feeling amazed about how far I have come but rather everything I still have to learn, internalize and master. It is all at once overwhelming and exciting. I hoped that when I first started performing that this dance form would stay with me for decades, but I don't think I thought that much about the structure, history or culture of the dance. I was lucky however because I had amazing teachers, attended workshops with masters in this dance and whether or not I was prepared to learn the scholarly aspects of belly dancing...I was thrust into those lessons and lectures.

Now, as an instructor I really want to actively ensure that my students have all that information at their fingertips. And with the growth of fusion and tribal styles of dance, I still want people to understand the roots...the heart and soul of belly dancing, from a cabaret point of view. So, I've been sneaking in lectures and handouts and video clips for my students and decided to start chronicling those same topics here on my blog. And although this is not the definitive guide to all things Egyptian, Arabic and Raks Sharki...it's a nice overview and starting point.

It took me years to figure out that belly dancing is not just about learning technique...hips drops, isolations and traveling combinations...it is about comprehending the entire belly dance experience, where it started from and the music, dancers and culture that have influenced it. So, I put together this diagram to give my students an idea of life beyond a basic shimmy and to remind me as an instructor not to spend too much time on movement at the expense of everything else. My goal in class is not to just follow one after the other, but rather touch on different elements at different times, but making sure people know each class...lesson...and experience is part of a bigger picture.

In designing this diagram I thought about my own dance journey and what (and where) I learned different aspects along the way. Some things like the movement were taught to me early on. Others, like the influential dancers, musicians, classic songs and even culture I had to learn along the way or research myself. All in all, I like my diagram and I hope you do as well!

Fall 2010 Classes

2010-09-16T16:49:00.000-05:00

Well, I'm getting all geared up for some cooler weather and much warmer, sultry belly dance moves! Come join me this fall for beginner and intermediate level classes at Tarrytown Dance. You can register online and then just show up for the next available class. Please note, the studio is making a move the first of October...and we'll have a larger and more wonderful space to dance out of very soon!

Happy Shimmies
Najla

Name That Tune

2010-09-07T23:36:00.000-05:00

In a bizarre string of bad technological breaks, I have just spent four days of my life sifting and sorting through my music files on iTunes. It all started with the addition of a new computer, and my overly naive belief that transferring my music from the old to the new would be simple, easy, and painless.

Attempt number one resulted in the duplication (and triplication...if that's such a word) of the majority of my files. So, instead of approximately 3,500 music files my folder showed close to 8,000. Two days of sifting, sorting and playing files resulted in a clean organized system. Somewhere along the way I also learned that I could have purchased a $20 program to transfer the files, playlists and CDs in a more civilized manner. Too bad I didn't get that memo sooner.

The most difficult part was sorting through approximately 300 music files that had no name, no album and no home. But, to my amazement and surprise I managed to find all of the files a home and I discovered how well I really do know my belly dance music. I was proud of my ability to 'name that tune' because I had to listen to each snippet and then figure out what album it belonged with. In many cases, it was a duplicate so I could just match up the times and delete the extra copy. In some cases I had to play it over and over again, and even 'dance' the music a bit to figure out when and where I had used that song before.

In a strange twist of fate, the next time I turned on my computer it asked me if I wanted to search for any music files to add to iTunes. Sleep apparently causes a memory loss, so instead of shrugging off that suggestion I told my computer, 'yes' and then watched in horror as my two days of work unraveled before my very eyes. And now, two days further into this misadventure I am finally back to a clean set of files, with all my songs in their proper home, all my CDs with the appropriate artwork and a sense of wonder over my ability to sort through so many songs and know their name without hints.

I think back to when I first started dancing and didn't know anything about the music. Everything ran together, I didn't have an ear for the difference in rhythms, instruments, composers or musicians. Apparently all these years of immersing myself in the music has paid off. I noticed this last week when I watched a show and could name the songs of most every dancer performing. It was nice to sit there and think "ok, that's Ya Mustafa" or "hmmm...such a nice take on Jalilah's version of 1,001 nights" and although I don't want to play "name that tune" with my CDs ever again I'm feeling quite proud of my musical knowledge and acumen.

So Internet, I dare you...could you take 100 songs off your iTunes list and name them all without peeking at the label or artist? It's a daunting challenge but I suspect you're up to it!

Channeling Dalia Carella

2010-08-01T21:19:00.003-05:00

Instead of channeling spirits from the past, apparently I have the capacity to channel live ones. This weekend was Z-Helene and Rick Fink's 6th Annual Middle Eastern Troupe Competition and Dalia Carella was not only a guest judge but also taught several workshops. Now I confess that I know her name and reputation but never took any classes from her and maybe watched a handful of videos of her. I know that she is immensely talented and well respected in the dance community and that I would be foolish to miss a class with her...especially when it was less than five minutes away from my house.

What I was not prepared for, was how much I loved her class and absolutely LOVED the way she moved. She's now on my short list for future workshops and classes. We learned a short choreography to Ghannalli which was not only challenging, but really fun to perform. The most surprising fact is that today, after sleeping...I remember the whole thing! Yes, craziness!!!! I'm great at learning choreographies and pick them up quickly, but rarely do I remember one after a workshop. My mind only retains pieces that I like, and the rest falls away. And since I don't typically perform another dancer's choreography I never think twice about it.

However, for some reason this one stuck. So, on a whim I downloaded the music and decided to teach it to my intermediate class tonight. Since most of them performed in the showcase last night, I knew it would be a small group and I thought this would be a treat for the dedicated ones who showed up. And when I ran through it the first time, they all laughed. Not because I did a bad job, but they said it was a "Najla" choreography if they had ever seen one. And , as I broke down each move I realized that so many of them indeed were already in pieces they had learned. All the way down to certain small kicks and hand flourishes. It was eerie in the similarities. In fact, it was so eerie that my students had the number down in about 45 minutes (the workshop was 2.5 hours)...simply because they already knew the steps!

So, apparently I have been channeling Dalia all along and didn't realize it. Her movements and choreography were so in tune with the way I dance that I was quite giggly tonight over that realization. It's like finding the mother ship without even knowing that I had one. Now, my challenge may be to finish the choreography (we only learned about a third) and then see if anyone can spot the authentic "Dalia" moves versus the "Najla" ones.

Not bad for a white girl

2010-07-29T23:44:00.006-05:00

So what would you do if someone asked you to come teach a class that was an Arabic folkloric class to a group of students in an Arabic language/culture program with the possibility of an Arabic professor either watching or participating in the class? For someone like myself who is uber-Caucasian, I had to take a deep breath and say, 'sure, I can do that'. Although I have taken my share of folkloric dance classes and have studied with some really amazing teachers, I really was worried that I would not be able to represent the culture and dance in an appropriate manner. I got the gig from another dancer who had all the confidence in the world in me…but apparently I didn't get that memo. I've taught debke to my students, have done debke in public settings…but I was still a bit worried. So I did what most people would do in this situation. I crammed!

I went on a three day Google/YouTube rampage and downloaded about twenty new songs. Each night I sat at the computer trying to really immerse myself in the dance steps and movements in a short time. The funny thing is, I wasn't learning anything particularly new. There were some nuances I had not considered, some great combinations, some really amazing dancers, but nothing really new. And somewhere in the midst of my self-imposed panic I realized that I did, indeed, know enough to teach this class. Once I allowed myself to recognize my own skills and ability I was able to think about structuring the class like any other class I teach, which is pretty simple. Start with an overview, breakdown basic movements, teach a short combination or two and then practice. *whew* HUGE sigh of relief when that clicked in.

So why all the angst? Not sure…perhaps it had more to do with my perception of my own skills in relationship to this dance style. A couple of years ago, I took a workshop from Michelle Joyce. Not only is she a great dancer, but a really wonderful teacher. Her style and teaching philosophy really resonate with me. At one point she talks about the four stages of learning. The first one she calls, unconsciously incompetent, where we basically think we're hot shit but have no clue how little we know. Then, we move into the consciously incompetent phase where that self-awareness slips in and suddenly we realize that there are a lot of people much better and more skilled than we are. With any luck we move to the unconsciously competent phase where we're hitting our stride but don't quite realize it. And then, it's off to the consciously competent phase where we understand and can appreciate our abilities.

My angst was due to living in that unconscious incompetence stage. Luckily, I realized that a couple days before I taught the class which helped me feel much more relaxed and excited. As it turns out, the class was a group of students who had very little exposure to debke and several of them were, shall we say, rhythmically challenged. What they lacked in one area, they made up for in enthusiasm and exuberance so I had a blast! My favorite part was dancing to the music and feeling completely at home with the movements and music. Score one for the white girl!

Making Faces

2010-07-23T01:05:00.000-05:00

Last week I had an interesting conversation with a colleague who suggested that I treated her differently than others in our group. Her feeling was that I should be fair in my comments, conversations and discussions and equally share my thoughts and feelings with everyone. What kept running through my mind was the fact that I do, indeed, think of her in a different manner than others. As a rule, she is much more guarded, more self-conscious and at times more superficial in her comments and observations. There are the cursory greetings and inquiries we trade regarding each other lives, but rarely do we have what I consider an 'honest' conversation where we both let our hair down and share our thoughts and feelings. So yes, I agree…my conversations with her are different than with others because her guarded nature does not compel me to drop my guard either. It is not a matter of fairness, but rather in meeting someone where they are at. And, until she is ready to go deeper, relax and open up I have no desire to go below the surface either.

And, just like it is okay with someone to keep their feelings and emotions tucked away from the public eye, there is nothing wrong with a dancer who just moves through a performance by concentrating on technique alone. It works, it gets the job done…and often times the audience can really appreciate and enjoy the skill and expertise shown. It does however get much more interesting when instead of feeling guarded, a dancer lets go and allows the audience to share her feelings, fears, joys and emotions in her dance. Those are the juicy moments, the soul-baring, soul-searching, beautiful moments that may not be technically precise but emotionally compelling.

I like to think that when I dance, I try to let my guard down…relax…and let the audience share my experience as well. However, when I stop to look at photos of my dancing, it is rare that I find shots that seem to capture what I think that I am thinking! I would love to attribute this to some terrible childhood trauma where I was chased by some domineering photographer who scarred me emotionally for life….but…I cannot. The truth is, when I see a camera, there is a part of my mind that immediately tries to come up with what I consider a 'game face' instead of staying in the moment. I go to a much more superficial place versus letting my guard down and honestly feeling the emotion. I would love to take an acting class at some point in time, in the hope of really working on those facial expressions, but in the meantime I think I have discovered a new practice for myself.

As you may know, I just got a new computer with a built in webcam. I christened the webcam with my first video blog, which was fascinating to create because you get to watch yourself (even mirror image) the entire time. So, I decided to start channeling Tyra Banks and her advice to practice in a mirror for photo shoots and decided to play with the still shots just to see how they would come out. The hardest part was fighting the urge to go fix my hair and makeup and then practice a few times before taking some pictures to upload. Tonight's lesson plan?

Instead of trying to force the emotion or feeling for the photo, I simply allowed myself to relax, let my guard down and simply 'experience' an emotion to see what would happen. So, here's a sneak peak at my new training tool…no makeup, ready for bed, lights off (except for the screensaver which changes color)…and just me.

So, now that I have let my guard down, what do all of you do to practice and improve your ability to emote while performing? Do tell!

Crossing Boundaries and Baring it All

2010-07-18T09:26:00.002-05:00

Here's the first of what I hope to be many guest blogs on this site. The honor of the first one goes to a newer student of mine, Krysta, who is passionate and joyful and just lots of fun to be around. Enjoy!

I've been dancing on and off since I was about 4 years old – I've dabble in ballet, contemporary, folklorico, ballroom, latin, hustle, hip hop, west African, afro-haitian, capoeira, contact improvisation, tap, jazz, swing…and I love it all. It was only last year that I built the courage to try belly dancing. Like most women, there was just something terrifying and uncomfortable about letting my soft belly be seen by anyone but me…and my doctor one a year. For years I'd admired the belly dancers I had seen who were not only comfortable, but proud of the fleshiness of their midsection. I also couldn't help but be in sheer awe of the Indian women who let their bellies be…let their bellies rest happily and peek through the crevices of the brightly colored fabric that made their saris. "Yes, this is me – here I am."

I decided it was time to cross over from "traditional" forms of dance, into belly dance – and also cross over the boundary my fears had generated, and dance with my tum tum out. In the past year, I've gained another level of kinesthetic awareness which has profoundly informed the other styles of dance that I love, and I think I'm close to being on par with the Indian women I've admired for so long...this is me. Here I am.

Belly dancing has provided me with something I wasn't fully anticipating – confidence as a performer overall…and as a woman just trying to make it in the world. There is no apologizing in belly dance – you mean for your flesh to jiggle, or not jiggle. Your veil was supposed to get tangled. You were supposed to add that extra clack with your zils. And yes, you did nail that leap into a three-step turn. In performance, you must believe that every single hip sway and snake arm has been executed to perfection. You must know that you are the most interesting creature onstage whenever you enter…up until several lifetimes after you've exited. And in life, you must believe that every sashay in your heels, hair flip, and the building of every new Ikea furniture piece has been executed to perfection. You must know that you are the most interesting creature in the conference room and on the street – with or without your hip scarf.

My first video blog!

2010-07-15T01:26:00.000-05:00

It feels a bit like a confessional, but here is my first video blog on the topic of picking music for your very first solo. It was quite spur of the moment, so enjoy!

It pays to delegate...or lessons in letting go.

2010-06-15T00:23:00.000-05:00

I am a woman of too many ideas, too many inspirations and too much innovation for my own good. If I had a job that required nothing more of me than to listen to some problem/issue/obstacle and then brainstorm for ideas to solve it/resolve it/or move on...I am your gal. The downside of all of this can be a lack of momentum, a lack of focus and too many projects to juggle. I recently met a woman who described herself as "compulsively creative" and that term resonated with me as well. So here I am Internet; confessing to this compulsion. "Hi, I'm Najla and I'm a compulsive creative."

There is a section in The Artist's Way that discusses how you can literally die from boredom because creativity is oxygen for our souls. Julia Cameron, the author, notes that cutting off our creativity makes us savage and we react like we are being choked. I have felt that rage, in my work, in my dance relationships and in my personal life as well. But, recognizing the need to create is just one part of the solution. The next part is paring down, focusing and really nurturing the creative projects that keep you inspired.

So, this last year has been an exercise in paring down, and cutting back on events (and relationships) that either hold me back, drain me of energy or resources or interfere with my need to create. On the one hand, setting those boundaries has been tremendously liberating and on the other hand...quite humbling. Humbling because it has forced me to acknowledge the areas of my life that I cannot possibly manage given other obligations. For some dancers, their 'day-time' job is a placeholder, a way to help pay rent or get insurance or just maintain a steady flow of income. For me, my day job is a major career with responsibilities that require a commitment of my time and energy. And, as much as I love teaching and dancing, this will never be the majority of my livelihood.

Not that I am less serious about the dancing and teaching, I just simply want to acknowledge the hierarchy of my responsibilities. I consider myself a professional dancer and teacher, I keep business records, pay taxes and set lesson plans and business goals. But I cannot do this all myself. What I can do is take inspiration from Kramer on Seinfield and recruit interns. And in an ideal world (probably not Kramer's), both the employer and the intern benefit from the relationship. One person gets their needed assistance and support and the other one has a chance to expand their knowledge base, make new contacts and build their skill set.

I may not be Kramerica Industries, but this year I've expanded my support network. It began by partnering with a local dancer (and friend), Casey, to produce Mother-Daughter belly dance workshops. She is talented, reliable, down to earth and easy to spend time with. And, she just began monthly dance shows in North Austin. So, the workshop serve us both...my need to teach...and her desire to promote and support her shows.

And then this last week, I officially designated a Marketing Director for my classes, my dancing and my troupe. Hmmm...and once again with a talented, reliable, down-to-earth, lovely lady, Krysta who happens to be one of my students as well! Again, I think this is a mutually beneficial relationship. She loves to work on marketing ideas, is so eager to learn more about the dance, and has such an engaging personality. And for me, she can keep me on track!

So, maybe some lessons in life take longer to learn, but I am learning...and growing...and still creating. But, my goal this year is to do it in a meaningful, focused, fashion!

Welcome!

2010-06-12T11:53:00.000-05:00

So, come on in...take your shoes off and get comfy. I've still got some unpacking and tweaking to do on this site but it's my official new blogging home. The move really was about logistics (name change) but not so much a philosophical one. I've been a little lax in my posts recently, not because my life has been boring and uneventful, but quite the opposite. I've got new topics to talk about and I'll be on the writing bandwagon as soon as I get my new website launched. Until then, you can check out some older posts...and walk down memory lane with me!

Room for Extra Practice

2010-05-13T22:03:00.001-05:00

I often get people who ask for additional resources so they can study belly dance at home. I think for some people, this is a great way to review and expand on material used during class. Now I'll the first one to point out that take a class in person is the best way to learn this dance form, but I do agree that a little homework and video watching can really help solidify what you learn in class.

So, I've added a link to some DVDs that you can check out on Amazon on the right hand side of this page (see bottom), so you can see some titles I would recommended for basic belly dance moves. Also, check out these videos on YouTube/Expert Village

Tara Termini has a nice breakdown of basic movements, in an easy to understand format.

http://www.bellydancebytara.com/instructionalvideo.htm

Sahira is a dancer out of Houston, and has great basic belly dance clips that also include explanations on how a movement changes from tribal to cabaret styles.

http://www.sahira.cc/onlineclasses.htm

You can also check out a show on FitTV called Shimmy which shows a variety of movement, although the explanations aren't as detailed as I would prefer.

http://www.shimmy.tv/

So, enjoy watching and shopping and be careful, there may be a quiz later in class!

Happy shimmies.

The Artists Way for Dancers

2010-05-03T00:05:00.000-05:00

So, if you've read any of my previous posts, you'll notice several references to The Artist's Way. Written by Julia Cameron, the book provides a 12 week (or 12 step) program to help you either heal your creative child, or move towards more clarity and direction in your artistic life. As someone who really appreciates a well-written and organized system of thinking, this book is artfully crafted and really does take you down the path to re-thinking what you are doing creatively.

I completed the book with a group last fall, and I'm in the process of finishing it again this next month. The second time around, I had not planned to dive back in but I did! By default, I ended up in charge of a Meet-up group with about 150 members, all focused around this book and artistic philosophy. And, at the urging of the group, I officially started facilitating a study group on the topic.

Facilitation is not a new technique for me. I used to do this in a previous job/life and really enjoyed helping groups move forward. So, although it seems like the members of the group are getting the benefit of my experience, I really am the one who is blessed by their stories, their presence and their ideas and thoughts.

Call me crazy but I want to do this all again but this time with a smaller group of belly dancers. For me, this book came at a crucial time in my dance life and provided me with an outlet to grieve one former dance life and at the same time embrace another one. It has also really helped me look at other areas of my life, my job, my finances, my time and my relationships.

So, I'm looking for people who want to start this process. Yes, it is a commitment (14 weeks total), yes it takes time on a daily basis and yes...it will require some soul searching along the way. But, if you commit to the process you will see changes in your life and in your dance. My goal is to start in June, and the day of the week is flexible. I'm thinking Thursday nights...for two hours. We can meet a library, coffee shop or a home depending upon who is interested in attending. If you're interested and willing, drop me a note and we'll chat more!

I am going to charge for this series ($75) to cover the cost of materials, handouts I've prepared and to cover my facilitation fees. I also believe that if people invest money in a class or event they are far more likely to follow through with attendance. That being said, if you are interested but short on cash...just let me know. We can do a payment plan or work something else out!

P.S. If you want to buy the book I've included links on the bottom of the blog so you can see which one I'm referencing. You'll need the book, the workbook and journal are optional and you don't have to do Amazon, most book stores have it, even Half Price Books!

Amazon.com Widgets

Can you dance without moving?

2010-04-28T14:13:00.000-05:00

I’ve always been the show-and-tell type of instructor. I spend time breaking down movement and illustrating what I am doing on my own body before I have students complete the movement on their own. I carefully explain what their structure (bones and joints) are doing versus what muscles are engaged or relaxed. I can explain most moves 2-3 different ways and can help people understand adjustments to allow their body to successfully complete the movement.

I have never tried however to teach movement without the use of my own body as the illustration or model. That is, until this week. Starting this week, I will have to re-think my entire teaching paradigm for a few weeks. It’s a bit daunting, but at the same time exciting to see how this exercise could change my teaching style.

I was diagnosed with skin cancer a week ago, and yesterday they removed a sizable chunk of skin from my upper chest. If this had happened on another part of my body, or on someone with a smaller chest, I would not have to make accommodations. Unfortunately the location and size of my breasts require me to limit all physical activity that would move, stretch, bounce, jiggle or otherwise affect the incision site while it heals.

Now the scar will heal and life will settle into a new normal for me, but I secretly hope this will help me teach belly dance more effectively. It means that for both my beginner and intermediate classes I will need someone to ‘model’ the movement while I explain it. For my more experienced students this won’t be so hard, but for my beginners…my baby dancers…this could be difficult. So, I’ve recruited an experienced student who is very clean technically to assist in class. My hope is that this will help her in her training as well as serve as a nice illustration for the new dancers.

In my intermediate class, this turn of events allows me to experiment with teaching movement in a different way. I may have one person demonstrate and the others check and review the movement, or use multiple models to illustrate each movement. The fun part will be the work with zils since my students have varying degrees of proficiency in this area and the ‘follow-along’ method has always served me well. It will certainly be a challenging few weeks for me, so wish me luck!

May Classes!

2010-04-21T22:58:00.000-05:00

This year is flying by, but I'm having so much fun in the process. I've got just a few slots left in my beginner and intermediate classes so if you are interested you'll need to put that shimmy in high gear.

Beginner Belly Dance:

This month we'll start working on circles, figure 8's and other patterns with our hip, ribs, and arms. Classes include a 30 minute drill/warm-up, a 15 minute stretch and 45 minutes of technique, combinations or choreography (depending upon the topic).

Classes are held at on Sunday nights from 5 to 6:30 p.m. Please wear comfortable clothing (yoga pants and a top work well), and bring water. Hip scarves are available to borrow in class.
Dates for the May classes include May 2, 9, 16, 23 and 30.
Students must be 18 years or age or older, and please - ladies only.

Intermediate Belly Dance:

In May, we'll be doing a review (and crash course) on zilling, as well as lots of great drills and combinations. We'll also start exploring some of the more common Middle Eastern rhythms that are used in dancing. In addition, we will start on a new choreography for the fall. So, lot's of good stuff!

Classes are held on Sunday nights from 6:30 to 8:00 p.m.
Please bring zils to class. I also have extras you can borrow or purchase.
Advance approval from the instructor is required to take the intermediate series.

Payment and registration:

Registration is available online at http://najla-may2010.eventbrite.com/
New students must register for the entire month. This allows you to gain the full benefit of the beginner series. Tickets are not transferable or refundable.
Established students may purchase class cards that can be used throughout the year. (minimum of two classes at at time)
Advance registration (for new and established students) is required, however payment can be made via cash or check at the door.

Classes are held in central Austin at Tarrytown Dance, which is conveniently located at Windsor and Exposition. (2414 Exposition Blvd., Suite B-110 Austin, Texas 78703).

In which she stops to take a breath...

2010-04-07T21:10:00.000-05:00

I feel like this year has been a whirlwind of activities, and now we're four months in and finally I'm feeling more grounded, rested and able to catch up on life. It seems like I stepped onto an escalator...and found myself in a different spot. I have lots of pictures to post, videos, links and other inspirations but haven't had the time to sit and work through all of that. So, we'll go with a quick summary in my belly dance life.

I started the Artist's Way book once again. Well, I started to help facilitate a group who wanted to do the book and got sucked back in. I have to say that the second round has given me much more clarity, inspiration and joy.
We just finished our second Hip Circle Hafla the last weekend in March, and it was a wonderful success. I am so proud of all my students that I could just burst at any given moment, and I am so happy to have this experience to share with all the wonderful dancers in Austin. Really, I could hug every one of them right now!
I wished for my classes to fill up and sell out...and as of today, I am almost at that point. I really do think I've hit my stride and built up enough momentum to really move forward with my teaching.
Including this week's gig at Mirage, I've been booked three times as the head liner for local shows. Two at new venues (one I did last week), and this week at Mirage...my old stomping ground. (or is that shimmy ground...) Seems fitting that I can finally close the show at the venue where I performed my first solo. It's exciting but a little sad since the venue may be going away this summer :-(
Next weekend I'm teaching my first ever Mother-Daughter belly dance workshop. I was approached with the idea last fall, but got caught up in the 'how'. Then, the lovely Casey stepped in to organize and help promote it. Now, all I have to do is show up!
This June I will be performing with a live Middle Eastern Band at the Austin Belly Dance Convention (Yeah!!!!!). I've danced to live music before, but more of the drum-circle or fusion style shows. Not classic BD music or traditional formats, and I get a 10 minute set. I'm praying for Alf Leyla as my song choice because I love that song so much. Then, I'm praying that I get through the drum solo successfully.
I'm working on a whole new belly dance site, that I hope will be as fabulous on line as I have it drawn out to be. I've really been thinking long and hard of what I need now, and what I want the site to grow into.
I am signed up to take Sahra Saeeda's Journey Through Egypt certification course, starting this month. I love Sahra...love her dancing and when I first saw her I was so new to this dance I could not fully appreciate all the information she had to share. But I'm ready...for a 20 hour workshop at the end of this month to absorb it all.
I have a birthday this week, and although growing older is a little hard to take at times...I could not feel more blessed in my life as I do now. This feeling, this excitement, this joy...I owe entirely to belly dance, the community that comes with it, and the creative outlet it gives me. And no, this is not just some random, drunken rambling where I declare my love of everything and everyone...it's very heartfelt. So, go hug a belly dancer right now!

And...a little warning...some time in the new future I need to change the web address of this site. Since I'm no longer a part of Troupe Mirage, in all good consciousness I can't keep using that in the web address. I will still use "More than a Mirage" as the blog name, since it seems quite apropos for my situation. I'll keep you posted on that move (and of course invite you to the new site!).

So, that's what I've been up to in a nut shell. I promise to post on each and every one of these things soon :-)

April classes set to start

2010-03-23T00:08:00.000-05:00

Each month, we explore a new topic in the beginner belly dance class. This month is a focus on strength and stamina. If you want clean, articulate movements you need a solid foundation and strength in your lower body. Classes include a 30 minute drill/warm-up, a 15 minute stretch and 45 minutes of technique, combinations or choreography (depending upon the topic). Classes are held in central Austin at Tarrytown Dance, which is conveniently located at Windsor and Exposition. (2414 Exposition Blvd., Suite B-110 Austin, Texas 78703). If you're new to belly dance this is a perfect opportunity to get your 'hips wet'.

Classes are held at on Sunday nights from 5 to 6:30 p.m. Please wear comfortable clothing (yoga pants and a top work well), and bring water. Hip scarves are available to borrow in class. For new students, advance payment or registration is required.

Benefits of Belly Dance: A Short but Sweet List

2010-03-15T00:26:00.000-05:00

There are so many benefits of belly dancing. Do a quick Google search and here are some that come up:

I have so many things I could add to those lists, but here are the ones that keep coming back to me these past few weeks when I look at the impact of this dance on their lives.

1. Healthy happy moms with brand new babies! (and little girls as well)

2. Empowered women who learn to express themselves through this dance.

3. A shared community of friends, to support, encourage, push and above all laugh together!

Ten Tips for Beginning Belly Dancers

2010-03-01T21:34:00.000-06:00

It happens time and time again, the idea of taking a belly dance and the reality of actually doing it are not the same. What looks like such an easy move where you just shake your tush and twirl your arms, in fact, requires training, muscles and coordination. So, what do you do as a beginner if you just can’t seem to get past the first shimmy? Well, to begin with, you have to put in the time to practice and come to class.

In my years of dancing and teaching, I have taught dozens of six-week beginner classes. There is such a difference in the skill and confidence level of students between the fourth and sixth class, but more often than not many students don’t return past a first or second class. There are always the situations where life gets in the way, events come up and belly dance classes slip a little lower on the list of priorities. However, I think there are many cases where students get easily frustrated or feel impatient because it is awkward learning new movements and techniques.

As a teacher, it is hard to strike a balance in class between teaching moves that translate for use at a club or with friends that weekend, and creating a strong movement foundation that will help students several weeks or months down the road. But, the hard work will pay off! So, here are my suggestions for ‘surviving’ the first several weeks and months of belly dance class.

Be patient with yourself. I can’t tell you the number of times people seem anxious that they don’t have a move down after 15-20 minutes. When I remind them of this fact, it seems a little silly, but it really does happen. So, remind yourself that this is a new experience and proficiency won’t happen within the first hour!
Don't compare yourself with other students. Each student comes to class with different physical experiences. Some people work out a lot, but skill in those activities does not easily translate to belly dance. Others may be involved in limited physical activity and need time to just get their body used to the movements. So, don’t compare yourself against others in the class and instead compare yourself against where you were an hour ago, a week ago or even longer.
Embrace the awkward. Don't worry if your moves don't look like your teacher's movement after a few classes. The truth is, dancing well takes effort and time, and there are many unglamorous and awkward moments along the way.
Recognize that there is a learning curve. One thing I love about this dance is the fact that it is an equal opportunity activity. Believe it or not, students don’t always struggle with the same moves. Some people understand undulations in a heartbeat but can’t figure out the traveling moves. Others have an innate ability to pick up staccato movements, but the squishy stuff like circles, figure-eights, mayans and sways just elude them.
Acknowledge (and trust) that your body will progress at its own pace. It’s been my experience that you may mentally understand a movement, but your body needs a little more time to either relax, let go or just comprehend what it needs to do.
Dress the part. I know it sounds funny, but if you wear loose fitting, baggy, unattractive work-out gear, the chances of you feeling graceful, sultry and beautiful in class are pretty slim. You may have to work up to it, but over the course of weeks, or months I see students go from baggy to fitted pants, over sized tops to crop tops, and not only do their moves improve but so does their attitude!
Ask questions. A skilled instructor can explain a movement to you half a dozen different ways if you're having troubles with it. So, if you aren't feeling it...or seeing it...ask for clarification. I almost quit belly dancing because I could not do an undulation. Really. So, when I started with a new teacher, that was my first question (or was it last desperate hope?) And guess what, she had me undulating in minutes. So, go ahead...don't be afraid to seek clarification.
Understand that one class does not define an entire teaching series. The reality is each class is a different piece of a puzzle, and just making a decision on dance class based upon one experience may not be prudent. You can certainly figure out if you like the studio, the instructor, the location, the cost, or even the time of the week. But, if you’re serious about learning the dance, give yourself time to see how things unfold.
Keep coming to class. If you miss a class, don’t be afraid to come back. Yes, there is a chance you may not understand everything that was covered in the last week or more, but just being in class on a regular (or semi-regular) basis is much better for you body than not coming at all. It is very common to have a mix of belly dance experience in one class, so don't worry usually know how to adapt a class based upon student skills. Personally, I’d rather see your lovely face in class and help you get back on track than wonder if you just got too discouraged to come back!
Relax and enjoy the process. Really! The benefits of belly dancing go far beyond physical changes. This dance really is transformational and if you stick with it, you'll typically find lots of new friends and experiences along the way. So, keep plugging away at those shimmies, and have fun while you're doing it!

Time for a deep breath

2010-01-25T22:46:00.000-06:00

Preparing for a performance at any level can be tiring, even down right exhausting. Performing with a group of 10, to non-traditional belly dance music, with costumes to make and steps to perfect could, in essence, suck the life out of you. However, if you can find that sweet spot between creative inspiration and group collaboration, the experience is different. It's an exciting, joyful ride that leaves you a little breathless at the end. Such was my feeling after this weekend.

Friday's show marked the debut of my first big performance and choreography since leaving Troupe Mirage, and showcased Baharat Belly Dance Ensemble. I took the name of my student troupe and expanded it a bit. It was the perfect solution for me because right here and now, I need a group over which I have creative control...just to keep me sane. So, I took students from my class and brought in dancers from the community that I respect and enjoy (as dancers and friends) and mixed up a whole new concept. Consider it my version of a belly dance hook-up. Minimal obligations for invited dancers, limited commitments, but maximum rewards!

The wonderful part of this journey was the enthusiasm and professionalism of all the dancers. They showed up early, stayed late to practice as needed, volunteered to help out and kept me posted on their schedules on a regular basis. And the relief I felt in knowing that everyone would follow through on their promises was priceless...really priceless. There were so much time before we performed (we got to close the show) where I had nothing to do...nothing! I just could sit and relax. No stress or worries! In fact, minutes before we went on stage I found myself counting dancers (there were ten of us you know...), not because I was afraid someone would go missing, but because I needed something to think about to occupy my time. And like counting sheep, counting dancers actually had a calming effect on my nervous (actually excited) energy.

And the costumes! Seriously very hot. We chose a take on menswear, but with a girly twist to go with our Michael Buble song. My favorite part of the whole costume making experience (yes we made all of these), was the group effort. I can say that in every costume there is a little piece of each dancer. We picked a couple of days for a sewing marathon and banged out costumes in an assembly line process. One person cut, another stitched, another ironed. Buttons and other bling were carefully added by another person. It was a community effort and such a bonding experience. And just what I needed to give my creative spirits a lift this year. I plan to do more collaborations and involve other dancers in the community. Right now, I need a little sleep, a little rest and nice big breath!

Spring shimmies!

2010-01-20T15:00:00.000-06:00

Whew, holidays are over, January is almost a blur and it's that time of year to brush off your shimmies or start them up for the first time. That's right, it's time for classes to begin again!

My Spring Session I begins on January 31 and runs through March 21, 2010. Just enough time to get everyone prepared for our second Hip Circle Hafla, a student recital, featuring my students as well of those of Bahaia and Stacey Lizette.

Both the Beginner and Intermediate level classes include a 30 minute drill/warm-up, a 15 minute stretch and 45 minutes of technique, combinations or choreography (depending upon the topic). Classes are held in central Austin at Tarrytown Dance, which is conveniently located at Windsor and Exposition. (2414 Exposition Blvd., Suite B-110 Austin, Texas 7703) Class rates are $15 drop-in, or $12 a class if purchasing more than one class at time.

Beginner Classes: A perfect way to start your shimmies, or brush up on fundamental techniques. This spring, in additional to working on basic belly dance moves, we’ll be learning a short choreography. No previous experience required. Sundays, 5:00 p.m. to 6:30 p.m.
Intermediate Classes: Continue to explore this dance form and learn improvisational skills and solo techniques. This spring we’ll be learning more about Middle Eastern culture and dance as well as learning a debke choreography. Sundays, 6:30 p.m. to 8:00 p.m.

Shaking it or faking it?

2010-01-20T12:17:00.000-06:00

It happens over and over again in conversations I have. Women find out that I belly dance and then they either confess that they are belly dancers or know a dancer. Maybe it's just a sign of the time, but upon further prodding I typically find out their definition of "dancer" means classes that consist of 6-8 lessons at a gym or dance school. And that friend who dances? Not much more training there either. It seems that applying the term belly dancer happens all too easily, as if one class, one hip drop or one shimmy with a coin scarf satisfies any needed qualifications.

So just when can you call yourself a true belly dancer? A similar discussion emerged when I first started taking martial arts class. Our Sensei would ask the class , "When do you become a true martial artist?" Did it happen when you achieved black belt status or the rank of Master, was it when you successfully landed your first punch or kick, applied a block or take down correctly. Or, did it happen when you first put on the gi (uniform) or simply make the decision to enter a dojo or training facility?

For me, the first time I felt like a true martial artist was the day I was able to focus my mind and energy, overcome my fears and successfully break a board during class. It wasn't the cliche of the board breaking that did it, it was the culmination of everything I learned converging into a single, well-executed, singular and beautiful action. It was, the sense of mastery over that single moment and obstacle.

I admit in belly dance, you have to get students intrigued and excited about the dance. You 'hook' them with coin scarves and shimmies and fun movements. I try not to throw complex or obscure music and movements on beginners, but try and keep with simple, easy rhythms. My secret hope is that they will be hooked and want to learn and study more, just like I did.

When I first started dancing, I went through the motions, dressed the part, learned to use the props and execute the dance moves. But it took time before I really considered myself a true belly dancer. Unlike my martial arts experience, there was no single defining moment. It was more of a slow spiral and gradual realization that I had evolved into that role. One day I realized that I would hear classic Middle Eastern music and it made sense to me. I got it. And, even better, I understood how to dance to it...the right way. I was no longer thrown off by all the strange rhythms or the blast of a mizmar. It just all flowed, and listening to the music made my heart sing and my hips start to move!

Now I meet so many women who claim they belly dance, but also tell me that they either just don't want to dance to traditional music or simply can't stand it. I think that's a dead giveaway that although they do have belly dance moves, that they haven't really studied how to be a belly dancer. They are hooked on the image or allure of the dance, but seem to shy away from the meat of the matter, the really good juicy part of the dance...the culture, the rhythms, and the emotional connection between dancer and audience.

Princess Farhana posted a wonderful story about the need to honor our past as dancers. Her words struck a chord in me, because over the past few years I've been drawn more to "old-school" dance than fusion styles. Now, I love fusion, but I realize that the older, more traditional, folkloric style has a greater pull. It's a need to 'up' my skill level and challenge myself to truly represent this dance and culture. And although executing a perfect hip drop is important, that one movement only represents a small part of this dance form.

So I've made it my personal goal to work more on studying the culture and music. This year I'm excited to start Sahra Saeeda's Journey through Egypt program and work on passing this information onto my students and fellow dancers. Because I want people to know that some times you may dance and use belly dance moves, but it's not belly dancing. And knowing that difference is important to me...and it lets me know if you really are shaking or faking it!

Jukebox Belly Dance

2010-01-19T15:22:00.000-06:00

Baharat, my student troupe is growing and changing a bit. It's become Baharat Dance Ensemble and includes my intermediate and advanced level students as well as guest dancers. This offers me the opportunity to invite dancers from the community to help me round out a choreography or work on special projects. It's a belly dance hook-up of sorts! Short term commitment, no other strings attached...fun and excitement for everyone.

The debut of the ensemble will be January 22, 2010 at Austin's Belly Dance Association (ABA) Jukebox show. This show features ABA members bellydancing to all non-Middle Eastern music. Think rock, pop, techno, country...whatever they want! The exciting news is, we'll be closing the show and we've worked sooooo hard on a Michael Buble number that will be the perfect ending for a fun and innovative evening.

Want to attend? Well, if you are already an ABA member, you and your invited guest get in free to the "I Survived the Holidays" party in the lobby from 6:30-8:00, where ABA will have snacks, drinks, and the photo albums that have archived our long existence (28 years!) on display. Show starts at 8pm, doors open to the public for ticket sales at 7:30pm, at the Dougherty Arts Center, 1110 Barton Springs Rd.

My new anthem

2010-01-18T16:20:00.000-06:00

So what happens when you're told as a belly dancer that there will be a show coming up but the catch is not using belly dance music. Well, the wheels start turning, you consider all the possibilities and then--wham--inspiration hits.

Last fall when Austin Belly Dance Association announced a "Jukebox" belly dance show in January, I was excited about the possibility. My students were more than eager, and their music suggestions were numerous, varied and frankly a little overwhelming. I was torn between something jazzy and a Janet Jackson song when a little bit of serendipity came into play.

The lovely Naima, who's blog I read on a regular basis, posted a video with this song. Seriously, it was like God speaking to me when I watched it (maybe not in such a serious tone)...but it felt like divine inspiration. I've always loved this song and I've always wanted to perform it, but never had the right venue, or the right group of dancers...until now.

So here we are three months later, the show is this Friday and damn! It's been all-consuming, between the practices and the costumes (wow...the costumes...including fedoras), but it has been , uplifting and so inspirational. And yes, I stole several of Michael's moves for the performance (in particular see minute 2:37 below). We've got ten dancers, we're closing a really big show at the Dougherty Arts Center and we're going to kick butt. I've never seen a group of women so excited about what they are performing, wearing, and the amount of cleavage involved.

I've decided this is my anthem for the new year. So if you see me and wonder how I'm feeling, please refer the clip below.

What I Did on Summer Vacation

2009-09-27T22:08:00.000-05:00

Whew, long...long time in posting. Life's been busy and very tumultuous. So, here's the short list on what I did this summer.

Rushed from the end of Mirage season into workshops, performances and teaching.
Decided spur of the moment to get some professional pics taken, and then decided to make a new costume in less than 10 days.
Realized that my belly dancing rut had more to do with life in general and decided it may be time to make some changes, big changes.
Decided I wanted to take a sabbatical from Mirage in the fall, and re-group.
Discovered the Artist's Way and realized it may just be what I needed to restart my creative juices.
Found an Artist's Way group starting the book in September...and joined them.
Was invited to join Bahaia and Stacey Lizette in a twice a year student recital, that we named "The Hip Circle Hafla" in which performances would be limited to our students.
Joined forces with Jamie Lynn to create a one-day costume workshop to teach people how to make and alter cabaret-style costumes.
Announced to Mirage that I would be taking a sabbatical...interesting and enlightening conversations ensued, then...
Decided to quit the troupe after 8.5 years as a member.

I felt like I ended a long-term relationship when I wasn't quite ready to make that change. I cried, I felt alone...and then I felt inspired and invigorated. When I started this blog I intended to have stories beyond just reviews of the show. How ironic, that now it is really about me finding out who I am as a dancer outside of Mirage.

Mirage was the place I got my 'hips' wet, performed my first solos, directed my first choreographies, was given the opportunity to teach, and above all else, the honor of meeting and dancing with so many wonderful women. Now, I get to learn if I am more than just a member of the troupe. How fitting this blog title now seems!

Fall Classes are Beginning!

2009-09-27T14:18:00.000-05:00

Come discover the art of belly dancing with Najla with beginner or intermediate classes. Najla has been performing Middle Eastern dance for over 12 years, teaching since 2001 and performs regularly in Austin. Both the Beginner and Intermediate level classes include a 30 minute drill/warm-up, a 15 minute stretch and 45 minutes of technique, combinations or choreography (depending upon the topic).

Classes are held in central Austin at Tarrytown Dance, which is conveniently located at Windsor and Exposition. (2414 Exposition Blvd., Suite B-110 Austin, Texas 7703)

Class rates are $15 drop-in, or $12 a class if purchasing more than one class at time. Fall series begins September 27, 2009!

Beginner Classes: A perfect way to start your shimmies, or brush up on fundamental techniques. This fall in additional to working on basic belly dance moves, we’ll be exploring Middle Eastern rhythms and working with zils (finger cymbals). No previous experience required. Sundays, 5:00 p.m. to 6:30 p.m.
Intermediate Classes: Continue to explore this dance form and learn improvisational skills and solo techniques. This fall we’ll be exploring taqsims (instrumental solos), solo improvisation and veil work. Sundays, 6:30 p.m. to 8:00 p.m.

The Art of Costuming

2009-09-27T14:11:00.000-05:00

Ever wonder how to make or alter those fabulous and sparkly cabaret costumes? Or, do you wonder how to get bras and belts to fit and flatter your figure just perfectly? Well, come join myself and the wonderful Jaime Lynn of San Marcos for an afternoon workshop on October 10, 2009.

This interactive, hands-on workshop focuses on the design, construction and history of belly dance costuming. Join us and create your own Bedlah-style bra and belt set, and learn what style looks best on you. The workshop will cover the following topics:

Introduction to the History of Belly dance
Costuming and Styles
Aspects of Basic Design
3 hours of guided construction (you will need to supply your own materials and bra base
One-on-One Technical Help
Trouble Shooting" (bring in your "trouble projects "for a little guidance!)

Taught by:

Austin' s own "Najla" who has been designing and making her own costumes for 12 years. Her attention to detail and style makes her a creative costumer. And in dance circles, she's even known as the 'bra whisperer'!

Jamie Lynn Shelton-With her MFA in Art and Design, she has been designing and creating artworks for over 20 years. From Fine Jewelry to stained glass to custom iron works, she now creates and makes her own belly dance costumes.

Workshop will be held at Tarrytown Dance from 1pm-5pm.2414 Exposition Blvd , Suite B-110 Austin, Texas 78703Price is $45 in advance or $55 at the door. We will happily accept checks or cash. Please email Najla(najladances@gmail.com) or Jamie (zahiraishtari@ yahoo.com) for more details and payment info. Additional information on what to bring will be provided to those who sign up. Space is limited so we can spend qualitytime with everyone, so sign up early!

Problems with Posing

2009-07-21T23:03:00.000-05:00

The last week has been a whirlwind. I completed a costume for a photo shoot I had lined up and that alone seemed like a race to the finish line. The photo shoot was an impulse event spurred on solely by the fact that a really wonderful dance photographer was going to be in Austin for a couple of days only. Pixie is her name, and very cool photos are her game.

I knew I had less than ten days to get everything ready to go. Although I knew I couldn't lose 20 pounds in that time, I wanted to feel completely confident and fabulous. The costume was more work than expected but came out wonderfully. I tried waxing my underarms for the first time (ungodly painful....but actually worth it), did my nails (which means I can't type fast right now), and even practiced eye make up applications several times.

I spent so much time working on the logistics I forgot about the emotional and physical sides of this. I've done shoots before but they were much more posed and choreographed. Imagine my surprise then when she wanted me to move more, but not in the way I was used to dancing. Every little nuance that would work on stage looked really bad on film, which now explains why my dance photos rarely turn out!

Between her barking out instructions and my mind rushing to interpret them, somewhere along the way my self-confidence and ego were just shattered. I felt overwhelmed, stiff, uncomfortable and awkward. Even my hands didn't know how to behave! I'm known for my graceful hand and arm movements but apparently they took the day off. It was an incredibly long hour and I truly felt stripped, exposed and not very joyful.

That one hour taught me more about where I need to improve as a dancer than any workshop I've ever attended. It was such a hard lesson to learn and not at all what my ego was expecting this week. She wanted joy, but I fell short. She wanted smouldering, and I fizzled. She wanted warrior and I wimped out. She wanted confidence and grace and I had none. In the end I felt like I had run a marathon without the endorphin rush.

I did learn that what translates on stage doesn't always translate to photos. You can make grand sweeping gestures, flick your hair or dazzle people with spins, however one on one with a camera those moves don't matter, they don't count and they don't work. I learned yesterday that I hide behind a variety of moves in my dance that may not always serve me well. So, my work is to let go of them, explore different movement and really assess how I want to be perceived as a dancer.

In the meantime, I do have some lovely photos to enjoy. I walked away with over 200 photos taken, about 35 that I'm pondering, and I'll end up with 12-15 that will be edited for publicity purposes. So, there were moments where I triumphed, where I hit the mark, where I was completely in the moment but it sure took a lot of work to get there!

Moving along...

2009-07-15T21:14:00.000-05:00

Well, I have five days left in my quest to make a costume in time for a photo shoot. Although it doesn't seem like I'm very far along, I do believe I'm over the hump. Personally, I think the bra construction is really time consuming in order to get a good fit. Once that is done and it's covered, then the decorating can begin. I really should have starting taking pictures from the beginning, but here are a couple of shots so you can see the behind the curtain. The first one is just the back of the bra strap. This, along with the inside of the bra will be lined with felt (so you can sweat in it) at the very end. I tried to make my corner as neat as possible.

Here's the insider of the bra. I just happened to find a pink bra (maybe that was a sign) but really, it could have been any color you just need to worry about shape and fit. The original straps and elastic on the sides have been replaced by buckram and grosgrain ribbon, covered in fabric and then stitched down. Not so pretty on the inside, but very functional. I've also made numerous adjustments to the fit at this stage of the game because it's much harder to do once you've covered it.

The infamous beading? Well, here it is in this photo. The color is a little wonky on the close up but you can see the trim. This is going around the edges of the bra, belt and arm cuffs. The bra, including all edges and lines was about 120 inches of beading. The beads are in sets of six sitting on top of each other in a semi-herringbone pattern. By my calculations, I used over 5,000 seed beads to complete the bra. The belt won't take nearly as much!

Here's a shot of the trim that will be going on the costume. I'm not beading the entire thing, but I have loads of these chains. They are actually rhinestone belts that I snatched up on sale at Kohl's last year (go figure). My plan was to finish adding them to the bra tonight, but I can't seem to find my pliers so that may be tomorrow's plan.

In the meantime, I got my skirt fixed (thanks D'Anne) and received my L-Rose arm bands and belt I'll use on my base. Those should be easy to get through hopefully. Finally, in the absence of trying to bead, I worked on my technique for drawing leopard spots on myself. There's certainly a plan here (not related to the photos), and it's quite fun. In fact, this is the first time I could really imagine myself with a tattoo...hmmm...

Next posts should have some really cool bra photos and perhaps a semi-finished costume!

Counting to six

2009-07-12T21:27:00.000-05:00

In an over exuberant moment I decided a few days ago to start on a new costume to wear at a photo shoot scheduled for July 20. It's an impulsive decision, and my right arm is stiff from sewing beads. I feel like this a race to the finish line, and I just hope I make it.

I've written about being in a dance funk, but I haven't written much about the happy things in my life. Among them, a shorter, brighter, sassier hair cut, wonderful dance plans for my students (and myself) this fall, and a professional photoshoot with an amazing artist!

I've wanted photos for quite awhile so when I learned this last week that Pixie was coming to Austin I knew it was time. I've never met her personally but I've seen her dance photos of other dancers and I'm just blown away by her work. She seems to really capture the personality and beauty of each woman. Besides, who wouldn't love someone named Pixie????

Although I have several back up cabaret options, I really wanted something different, something new. I did a little online shopping but didn't really see what I wanted (in a price I was willing to spend right now). Then, I thought about the supplies for a fuchsia costume that have been sitting in my closet for over a year now, and now I'm off on this mad frenzy. For a gal who shunned pink most of her life, I'm feeling quite obsessed about it right now.

I ordered upper arm cuffs and base for the belt from L-Rose on Thursday (because they have matching velvet fabric) and had them do a rush shipment. (Which they did...at no extra cost...yeah!). Friday after the Patsy's show I went bra shopping and found a new base for the bra, tore it apart and reconstructed it in one evening. Saturday I covered the bra in charmeuse satin and velvet ribbon and began beading.

Today (Sunday) I'm still beading, and in fact have spent way too many hours counting out tiny glass seed beads in sets of six just to make the correct edging. If I make it through the next week I'll have a fabulous new costume and no feeling in my right arm. Wish me luck.

P.S. Here's a photo of the bra as of Sunday afternoon, around 4ish. If I can move my arm tomorrow, I'll check back in with everyone.

Funk Update

2009-07-10T15:40:00.000-05:00

I've posted off and on this last year about feeling like I'm in a dance funk, and in the recent months I've been working on how to get out of that funk and on to to other things. I've realized several things in the process. First is I've been performing way too much given all the other things going on in my life. I work a full-time job, teach 2-3 classes a week, take 2-3 martial arts classes a week...and oh, then there's the laundry. On top of all of that, I've been performing 20-30 times a year.

Most of the performances haven't been strategically planned, they just get scheduled or rather I get asked to dance, or I think 'how fun' that would be. For many dancers, this would be wonderful and exciting, but I really have moved beyond the phase where I feel that I should dance at every possible opportunity into a phase of selective solos.

That being said, I've got a solo planned tonight at Patsy's Cowgirl Cafe. Yeah, don't laugh...this is Texas. It's a quirky little place that I haven't danced at since last November when I had a really nasty stomach virus (not related to the restaurant) hit me literally less than an hour after dancing. It's a fun venue and you get to eat queso after dancing!

But, here I am still at work trying to get in the mood. And, after deciding this summer I would no longer put myself in this position, I'm actually a little miffed at myself. I've been working so diligently on my 'plan' for this fall to get back in the groove and focus more on my creative energies, my dancing and myself and this one just isn't fitting in.

My biggest dilemma for the evening? What to wear and what to dance to. Here's the TMI portion of the post: I haven't shaved my underarms and don't want to because I want to get them waxed next week (which is big news for a woman who's always shaved). I have a couple of more casual/fusion outfits with sleeves that would be perfect for the venue, but I'm not feeling the fusion-y dance vibe. I've been feeling very cabaret classic lately. So I may just go with the more traditional song and less traditional outfit, 'cause I'm thinking the cowgirls may not know the difference :-)

If Emily Post had learned to belly dance

2009-06-28T22:52:00.000-05:00

I've realized that over the years I've accumulated a great deal of belly dance knowledge and etiquette. Maybe it's a sign of me growing older, but I'm often disappointed or even worse, shocked at some dancer's behavior in and about town. I consider myself the Switzerland of the local belly dance scene. I get along with most everyone, I can be invited to almost any event, and I don't start any wars!

So, in the spirit of neutrality and with the hopes of providing some nuggets of information or resources to newer dancers, I've decided to start my own, "Dear Najla" column. I posted recently some tips about attending a workshop but now I'm the process of working on several posts about dancing at events, getting invitations to perform and being a gracious guest or dancer. Don't even get me started about costuming issues either...we could spend sooo much time talking about how regular bras are not dance bras. (I'll save that one for later).

For you the reader, I hope you enjoy. If you have any topics or suggestions you'd like me to take a stab at or have pet peeves you'd like addressed, leave me a comment. But be nice, be gracious...be like Switzerland.

In honor of Judd's pants

2009-06-24T22:06:00.000-05:00

Cottonwood Heights Elementary---late 70's---Salt Lake City, Utah---Fifth grade---Judd Adams. I know we all have those geeky awkward stages of our lives that we'd like to forget but show up through family scrapbooks or now, Facebook posts. I don't need a photo however to recall Judd Adams' pants. They were made out of that dark navy, fake blue jean stretch fabric that was such a rage in those days. Judd's particular pants had extra wide bell-bottoms with red, white and blue flag fabric inserted into the flair on the side. By themselves the pants would have been quite a sight, but on Judd who was very tall, and gangly at that age they seemed to only accentuate his long, angular lines. Now whether or not Judd loved these pants or just didn't have many wardrobe options we may never know but I do remember he wore them quite often.

Now, when I started belly dancing we didn't wear pants, unless they were the harem style. However, with the influence of tribal, fusion and goth styles and the popularity of Melodia-style pants, belly dancers everywhere traded in their requisite chiffon circle skirt for flared or bell bottom pants. Initially I resisted, especially because of my memories of Judd's pants and the fear of looking ridiculous at my age. But I did give in and became very fond of the way these pants flatter and fit all shapes and sizes. Now, my dance wardrobe is not complete without them.

Some of my all-time favorite flare leg pants come from Brandy Bollin with Tribal Evolution in Dallas. I wear them when teaching, and for some of my fusion performances. I was saddened to hear at the Austin Belly Dance Convention that she was taking a break from making the pants. (Okay, I was sad until I found out they were all on sale for $20 each, woo hoo!!!) So, despite my plans for other purchases that weekend I spent a large majority of the weekend in the bathroom trying on every conceivable pair of pants that may fit me and walked away with a nice new stash.

There was one pair I just could not add to the pile. They were dark, heavy, navy-blue stretch fabric and the only difference between these pants and Judd's was the lack of a flag fabric insert. I tried them on several times, but kept putting them in the reject pile. All I could see looking in the mirror was that tall, awkward kid from my past wearing those goofy pants. On the last day, at the last minute, I gave in. In a spontaneous gesture I picked them up, and purchased them simply because I couldn't let such a good deal pass me by.

I'm happy to say I now love my pants, and they may become my staple while teaching classes. I'd also like to think that somewhere right now Judd is telling his kids or friends about these super-cool pants he had in elementary school but still misses to this day. So Judd, wherever you are...I'm keeping the memory alive...but in a much more attractive form!

Post-Workshop Additions

2009-06-07T21:31:00.000-05:00

Okay, I'm awfully tired and sore...but very happy after a long weekend of dancing, drinking, socializing and classes. All in all, good stuff. However, while it's on my mind I thought of something else should be including on my top ten list. Don't forget to pack the Advil, Ibuprofin or any other related drugs to help you with muscle soreness, headaches or late nights dancing and drinking really cheap booze. If you're really planning ahead you can add an extra toothbrush and jammies to help out that roommate you weren't expecting. Your dance friends will appreciate your generosity!

I'll do my best to post more about the Austin Belly Dance Convention later on...after a little recovery time.

Najla’s Top Ten Tips for Belly Dance Workshops

2009-06-01T18:37:00.000-05:00

Workshops have always been a part of my dance education, and I have been lucky to take from amazing dancers over my career. I originally prepared this list for my students last year, and I’m dusting it off, changing a couple of items and sharing it with the rest of the community in honor of this year’s Austin Belly Dance Convention. If you have any other suggestions to add, please feel free to comment!

1. Clothing:

Wear comfortable work out clothes that you would normally wear to a class, but stay away from anything too “costume-y”. We all know you’re proud of your new skirt/pants/choli top, but a class is for learning. Save the cute outfits and costumes for the shows and performances. Seriously, I’ve seen cabaret style belts worn in class, and there is nothing attractive or exotic about that.
Think in terms of layers. Pack clothing that is easy to take off and on depending upon the intensity of the class, and the temperature of the room. Air conditioning in hotels and conference centers is often too cold. Its fine when you are working and sweating, but not so good if you cool down too fast.
Speaking of sweating, if you sweat a lot consider bringing an extra top or t-shirt to change into as well as a towel to help keep you fresh! Your neighbors will greatly appreciate your thoughtfulness on this one.
Bring something to wear over your work out gear when you go to lunch. Advertising for belly dance shows is good, but dancers with bare and/or sweaty tummies eating lunch…not the same.

2. Footwear:

Consider slipping some dance shoes, ballet slippers or socks into your bag. Hotel ballrooms are not always feet friendly, or the carpets are not fabulous to sit or walk on.
Bring a pair of sandals or flip flops to slip into if you need to run out to the bathroom or hall quickly.
Remember to stretch your calves, hamstrings and feet regularly. If your feet hurt too much, you can’t dance. So take care of them!

3. Accessories:

If you love hip scarves with coins, don’t forget to also bring one that is decorated with fringe or beads and much more quiet. Some instructors may not want everyone in class wearing noisy scarves, and others may be perfectly fine with that. Be prepared for either option. I usually go the quiet route because it takes up less space in my dance bag.
Pack a veil and zils, regardless of what the fliers indicate. It’s the belly dance motto where you should always be prepared, except in our case it’s usually something shiny or silky that we have to pull out!

4. Hydration and Nourishment:

Bring your own water; preferably in a reusable container (let’s not forget the environment!). There is usually water available but the line may be long and it’s just easier to have your own stash.
Think about dropping some Gatorade or Propel/fitness water packets into your bag. I always have a couple in my dance and workout bags if I want something with electrolytes for my water.
Bring snacks or fruit to nibble on during short breaks or if you feel a little lightheaded. Workshops tend to run much longer than regular classes do and unless you’re prepared for three hours of physical activity it can take a toll on your body. But if you do have to stop for a snack, be discrete!

5. Respect:

Workshops are a great opportunity to learn new skills and meet new people. Be open to new ideas and opinions in and out of class. You may be the self-proclaimed expert on all forms of hip drops, but if you’re not teaching that day, let the instructor explain it her own way.
Be on time. Yes, I know that workshops often start late but that does not mean you should presume they will. Show up when and where you’re supposed to out of respect for the instructor and fellow workshop participants.
Be flexible. Schedules change, show line ups may vary, life shifts...so don't be too married to a schedule/date/dancer or topic.
Keep talking and chatting to a minimum. I know, it’s all very exciting and lots of fun especially when you get to hang out with fellow dancers. However, don’t talk during class even with the vendors sitting on the side. Believe me; it’s incredibly distracting and annoying!
Be aware of other dancers during class. This means not hogging the space on the front row or believing that you can use as much dance space as you would like. It may be crowded, and hard to see the instructor at times, so work together, share the space and be gracious.
Pay attention to any signs about taking photos or videos. With all the advances in technology, it's easy to take the shortcut and make your own clips from the weekend. However, it's considered very poor taste professionally and artistically to take videos and photos on your own, when the workshop promoter and instructors have explicitly asked you not to. Believe me, this is a close knit community and we all know how to use Google and YouTube!

6. Shopping:

Bring extra cash for food, and for things that may catch your eye. That being said, most things at belly dance events will catch your eye, that’s the intention, so think of spending budgets!
Think in terms of key items that you really need to help build your dance wardrobe. Then leave room for impulse items. Some of my favorite items were bought on impulse, but I’ve also regretted the times I did not buy the ‘key items’ first. Be strategic, and then you can go wild!
Talk with vendors to learn what they stock on a regular basis. They may not have what you want sitting on a table, but they may have it sitting and home ready to be shipped off to you! One of my favorite veils was acquired this way. I saw someone looking at it, and assumed it was the only one. When I asked the vendor he said he had another one at home and it was shipped to me in days! Yeah!!!
Try on costumes during breaks. Don’t wait until you’re ready to buy to start figuring what styles, shapes and colors work best on you. Vendors are usually happy to let you try things on (be nice though), and you never know when you’ll fall in love with something unexpected.

7. Information Overload:

Everyone gets overwhelmed by all the information, moves and materials. Best advice is to try and take 1-2 things away from a class that resonate with you and you can work on.
Don't stress too much (some people try to write everything down, etc.), and enjoy the opportunity to try some different styles.

8. Learning new moves:

It’s okay to sit out a portion of a class if you’re feeling overwhelmed or exhausted. You can learn things from watching as well, just be respectful of those who are still taking the class.
If you’re struggling with particular moves, don’t worry. Although you can ask clarifying questions during class, keep in mind that the instructors are not there to teach you everything in this dance form.
Let your own individual teacher help you with the more involved technique questions when you get back to class. That is their job!
Give your body a break. It takes months to internalize any new movement. Don’t expect to learn technique in one or two days.

9. Networking:

Talk with other dancers, instructors and vendors during breaks. Workshops are wonderful opportunities to meet people you'll run into time and time again!
Find out what inspires and motivates other women in this dance form. You may find some interesting ideas for yourself.
Exchange numbers and emails. It's wonderful to find new friends in this community.

10. Enjoyment:

Relax and enjoy the weekend.
You can "enjoy"the experience, but be careful of enjoying it a little too much. Hangovers and dehydration don’t look that attractive in a Sunday morning workshop.
That being said, a glass of wine, good friends and a great show are always wonderful ways to spend the weekend!

Start Packing Early

2009-05-06T22:06:00.000-05:00

Okay, for the early birds among all of you dear readers, here is the Fall 2009 Mirage schedule, hot off the presses (or email actually). Now you have no excuse for being absent at any upcoming shows, right?

Sept 10, 2009
Sept 24, 2009
Oct 8, 2009
Oct 22, 2009
Nov 5, 2009
Nov 19, 2009
Dec 3, 2009

Glow versus Sweat

2009-05-03T22:11:00.000-05:00

There's an adage that women don't sweat, we perspire or glow. Well, I hate to ruin the illusion, but we do sweat and this last weekend was a prime example! It all started with a two and a half hour martial arts class in the park Saturday morning. Next I moved onto errands, running around and heading home to rest, shower and get ready for a show that night. My students and I were performing at Desert Passion's monthly show and even at home practicing it took forever for the house and myself to cool off. Unfortunately the trend continued at the show where the combination of a large crowd and air conditioning that wasn't working well created the equivalent of a sauna. Even my veil seemed soaking wet and took extra effort to move.

Thankfully during the group cane number I didn't lose my grip and whack some poor audience member...although the people sitting close to the stage were a little nervous! Here's a picture of me with my beautiful girls who make up my student troupe, Baharat. And no, it's not the shine of a camera lens or extra glitter...we really were past the glowing stage and I, at a minimum was quite drippy. The lovely Tiffany is in turquoise, Alejandra in red (I know, it looks pink here...but it is really red), and Malika in fabulous fuchsia.

Side note, fabulous shiny holographic metalskin costumes look great on stage but don't breathe...at all!

Sunday was no different on the sweat-front as I spent the day on a marathon teaching tour. I left a little after 11:00 a.m. and didn't return until close to 9 p.m. I was subbing for two of Sherry's classes in addition to my two. Between the hip drills, shimmies, veil work and drum solos of the day there was a lot of sweating on my part. The good news is a quick shower will clean me up...bad news is there will be several Austin ladies who wake up quite sore tomorrow (sorry!) and probably cursing the name of Najla!

This week hopefully will be less sweaty, but equally as fun. We have our last Mirage show of the semester, which always feels a little bittersweet. It's like the end of the school year and you're equally excited with the time off from classes but also know you'll miss the class mates. Good thing we still see each other frequently...including a couple of road trips this summer.

Come Discover the Art of Belly Dancing

2009-04-15T20:24:00.000-05:00

Many believe that belly dancing dates back to the dawn of time when sisters, mothers, aunts, daughters and friends celebrated events through music and movement. Although many people believe this dance form is about enticing men, the truth is that belly dancing past and present has always focused on women dancing for women. It is about building community, forging relationships and connecting to yourself in a way that other exercise and dance programs cannot do.

Belly dancing encourages and embraces all sizes, shapes and ages of women. Regardless of who you are, you are in the perfect shape to learn belly dance. This dance incorporates strength, flexibility, grace, and muscle control with beautiful music and rhythms in a fun, supportive environment.

So, if you'd like to learn more about taking belly dance classes in the Austin area, check out my class schedule.

Happy Shimmies!
Najla

Baharat Belly Dance Ensemble

2009-04-11T22:46:00.000-05:00

Baharat is a term used to describe a blend of Arabic spices. When I was looking for a word or phrase to describe my student troupe, the term seemed to fit just perfectly. They are a mixture of sweetness and sass, and their enthusiasm and love of this dance is just contagious. The troupe consists of students in my Intermediate level class which meets on Sunday evenings. Attendance in the class is mandatory for troupe participation, and class time is spent working on choreographies, technique, solo preparation as well as improvisational skills. If you wish to attend the class but don't want to perform, you can certainly do that as well!

In January, 2010 Baharat Dance Ensemble debuted as a collaborative venture that includes my current intermediate students and guest dancers. This mix of dancers from the community allows me to bring in talented dancers to round out performances and allows my students to work with other lovely ladies. So, look for more events this upcoming year!

Will shimmy for shoes

2009-03-31T22:02:00.000-05:00

Tonight in class I had the opportunity to turn back time, and revel in the joy and enthusiasm of being a freshman in college. One of my students brought two friends along...and after I learned they didn't have a ride home (they were going to wait for a cab), I offered them a lift back to campus. Of course, I had to force one of them to sit up front so I didn't feel like their mom, and they were very quiet and well behaved on the way home...but nonetheless I felt that glimmer of giddiness and joy that we all had when we first left home and headed out into the world.

We talked about how hard some of their classes were (okay they talked, I listened) and I became excited to find out they had been taking Italian. Seriously, I dream of going to Italy just to be romanced by hot Italian men who chase me around shouting 'bella, bella'. And amongst, the chasing I get to eat loads of fabulous pasta, drink hedonistic amounts of wine and then shop for shoes.

When I told them how I dream of those shoes but probably couldn't afford all the ones I wanted, the three girls suggested I could belly dance on a street corner to earn extra money. Literally, shimmy for my shoes. One of them even suggested I could use a extra bra as a place for tips. So, now I'm even more distracted as I think of how my 'cups could runneth over' and in exchange score me some hot Italian heels. It's such a lovely thought, wrong in so many ways, but still just as lovely :-)

Connecting to joy

2009-03-13T12:53:00.000-05:00

Sometimes we forget at time how much this dance form touches, uplifts and transforms women of all ages. I certainly cannot imagine who I would be today with the dance and the music. Maybe my closet would be a little less shiny, perhaps I’d have a little less credit card debt but I have no doubt I wouldn’t have as many moments of joy and utter happiness.

Last night at the show, one of the guests performed her first solo on our stage. She’s been dancing for several years and has taken from a variety of instructors in town. However, I was her first instructor through UT’s Informal Class program. Every time I see her at belly dance events I’m tickled that she’s stuck with it so long and works so hard at this art.

We were talking at one point and she confided that this dance has been such a boost in her life. I didn’t know until last night that at the time she first started taking classes from me, she was going through a very difficult time in her life. And, the only time she felt happy was in that class, for those few hours and those few weeks.

I was certainly touched, and very impressed that’s she’s come so far. But, I’m not that surprised at her reaction. I think that as women we can become disconnected to our real spirits, our souls and ourselves. If we’re given the chance to let go of distractions and frustrations and focus on moving our bodies in a safe and supportive environment than we can open ourselves to joy…even if it is fleeting. It’s not a matter of disappearing into the music and movement but rather connecting to it on a deeper level. And, if we’re lucky we can take that experience and bring it into other parts of our lives. So, here’s to joy, happiness and lots of shimmies!

Someone should read her own blog!

2009-03-12T16:29:00.000-05:00

Now I'm laughing, really laughing. I just wrote about feeling moody before the show and then went out to the blog to see the post. The funny thing is the last time I posted I mentioned I was moody as well! And, I'm not all that moody of a person, I'm usually upbeat.

So, grousing and griping aside...I'm officially working myself to the pumped up and excited phase. In fact, I may skip out of work early just to devote extra effort to that endeavor.

I'll blame it on the weather

2009-03-12T16:15:00.000-05:00

After our brief foray in spring and summer temperatures (we're talking 80's here), we're now back to the dreary cold (okay 40's and 50's) and rain. I'm not too excited about the gray skies, but since central Texas is in a drought, I'll take the rain. However, for reasons we could not predict, we're down to half of the troupe for our show tonight. That's right...out of eight dancers we have four that will dance tonight. Thankfully we've got four guests scheduled as well so I'm not scrambling this afternoon trying to find people to dance on short notice. The irony of it all is I thought about not going to the show.

I've been in a little bit of a dance funk lately, and I've been busy and preoccupied with many other things. I rarely miss shows, and the last time I chose not to dance but just come watch I was regretting the decision immediately and dancing in my chair. This week, I couldn't come up with any good reason to sit out the performance so I figured that some time between leaving the house and 7:30 p.m. I would start feeling inspired. And as much as I love dancing, some times it's a bit of drudgery.

However, it probably has less to do with the idea of dancing and is more related to the obligation of being somewhere at a set time. The good news is that with fewer dancers tonight I can do a little longer song. So right now, I'm going a little moody with one of my favorite numbers Bitswanna Beek. It's that odd length, too long for six-minute sets we usually try to stick to, and too short for longer performances in other venues that require 8-10 minutes. And even though I just groused a little about going somewhere to dance, I know I'll really enjoy the show because this music makes me feel a little languid, a little loungy, and more than just a little sultry ;-)

Feeling moody

2009-02-04T18:11:00.000-06:00

Or perhaps just waiting to feel the right mood, or at least a song to match the mood. Although I love having a regular dance venue, I often find myself waiting until the last minute to make a decision on song and costume. Now, I do practice at home and I do think about songs and performances, so I'm not completely unprepared. For me, when I have more than one option from which to choose, I try to wait until the right mood strikes.

For example, I had planned on doing a sword number for quite a while. I have a couple of song options, but still hadn't decided on the costume. Last weekend I danced at Kick Butt Coffee with Z-Helene and Rick Fink. It's a monthly gig they have, with live drummers and completely improv dancing. In fact, the second half of the show consists of audience members calling out a 'theme' for you to interpret with another dancer. Zanjabil (from Mirage) and I had to deal with 1) tigresses in the mist; 2) battle of the redheads; 3) spontaneous combustion; 4)something else I forgot...all at once. We had a running dialogue during the dance that went something like this:

Me: Are we tigresses yet?
Zanj: I think we're dueling
Me: Is it time for spontaneous combustion????
Zanj: Maybe...

It was loads of fun and really makes you think on your feet. For the first half however, I wanted to do sword...it's been on my list for a while, and I really want to explore dancing to sword in a close, tight, space...and all improvisation. I did sword however, and it was all improv and the drumming was much faster than I anticipated. There were several problems with my performance. 1) the drumming was soooo much faster than I anticipated; 2) my hair was way too slippery that night; and 3) I was too stubborn to just give up, put the sword down and move on. I know, one of the first rules of using props is to not fight it...if the prop doesn't want to play, just move on...but, unfortunately I didn't. In fact I tried even harder to do choo-choo shimmies, rib work, and balance the sword...all at once. Can't say that I was very proud in the end!

So hot off the heels of that performance (and I even had students in the audience, yikes!) I planned on doing sword again this week, just to redeem myself. The problem is, I'm not in the mood. I'm feeling quite cabaret today and feel the need for some sparkles and girliness. A little less dangerous, but at times...oh so wonderful!

So come join all of us at Mirage this Thursday (Feb. 5) for our second show of the season. The first one was such a blast...I'll try to get photos again and post them, but I may be distracted by the rhinestones ;-)

Family slide show

2009-01-24T19:07:00.000-06:00

If you think about all the time we spend together as dancers, we really are an extended family, one that grew a lot last year. So, just pretend you came over for dinner, we've finished dessert and I'm bringing out slides of the family vacation. Thanks to Valerie for the lovely shots, and if you missed the show just know that we had wayyy too much fun without you, hah! We were missing Dana Winn this week (sigh), but she'll be back in February after finishing some work related training...remember, we are beautiful and smart and we have to work at both constantly! Without further ado, our first foray into the spring 2009 season:

Part of the troupe performing our opener (and yes, Eva Tennessee was feeling particularly fabulous!). We did this number (half choreo, half improv) last semester and decided to give it one more try. The goal is to look coordinated...at specific times. We're still working on that one though ;-)

The entire gang at the end of the number, and for the astute reader you'll notice that I did lose my veil wrap early on. For the creative ones in the group, just imagine hot pink, four-yard silk. It was stunning...and you should imagine it the same way.

The beautiful Katarina opened the show performing her first official 'duet' (wink, wink). She normally does very percussive, drum-solo pieces but was actually feeling much more lyrical last night. Hmmm...wonder why...could it be that fabulous glow she's sporting these days? We can't wait to meet the new kitten this spring and introduce her to the stage as well.

Zanjabil did a wonderful performance incorporating floor work (intentional this time), veil and some great combinations at the end. I can't believe it's just been one year since she joined the troupe...our baby has grown up (sniff, sniff) and looking so smokin' hot!

Then it was time for me, and I decided at the last minute to perform a cane number. What are some of the rules you shouldn't break when performing? Try dancing to a song you don't know really well, with a prop that is new, in a costume you haven't worn before. Well I 'went rogue' and just broke all of them in one fell swoop! Oddly enough this is the only pic where I'm not laughing out loud. Apparently the whole situation kept me amused while dancing. Can't wait to see this video!

Our first guest of the evening was one of my intermediate students (you'll probably recognize the veil). I was soooo proud of Tiffany because she decided on Sunday (yes, four days before the show) to perform...impromptu...and with veil. Major kudos because this was her second solo ever, and the first one was entirely choreographed. I think she was secretly waiting for the chance to try out her new turquoise holographic costume because that's not something you can pull off at work...or even cocktail parties.

Sherry brought out the sex kitten charm again, wearing one of her (and our) favorite costumes. Funny thing is, I remember when she joined the troupe and we all suggested she accessorize more...now we can't stop the glitz and glam on her (and would not dare!). Who says engineers aren't hot????

Nisaba always charms the crowd with her enthusiasm (and usually zils). I'm loving her new hair style which is a little hard to see in this photo but very sassy and cute in person!

Alana Shea performed as our second guest, and it was appropriate since this was her second solo on our stage. Her style is a wonderful fusion of various dance forms combined with some really beautifully athletic and graceful movements. We'll certainly have to see her on our stage again soon!

The always beautiful Jeanette pulled out the charm and coquettish moves that she has really perfected in this dance form. And of course, no one does purple as well as she does!

Our last Mirage soloist of the evening was Eva Tennessee. She is also celebrating her one year anniversary of joining the troupe. I remember this time last year, she was so worried that her style wouldn't be traditional enough. It's taken a little coaxing (actually...not much) for her to just really do what she does best, which is 'modern belly dance'. This is what happens when someone with a modern dance background moves into belly dance, and it is pure art!

Our last guest of the evening was Rania. It's been quite a while since she joined us as a guest, because up until recently she's been a member of the troupe. It was a little bittersweet because we'll miss having her around. She's just spending more time on her dance practice and performances, and troupe practice was a tough commitment to work in. She'll still be back for more dancing and always has an open invitation to come perform at shows so don't be surprised if she pops up again (soon I hope!).

The final act of the show was a trio consisting of myself, Sherry and Zanjabil. We wanted to perform the same choreography that gave me such grief last year. I love it dearly, but it was a difficult one to work out, and I am entranced by the final result. When we get it posted on YouTube, I'll let you know. This by the way, was the same number we performed in the Middle Eastern Troupe Competition last August and won second place (we barely missed first!). Elena Lentini was one of the judges and she told us "you have found the mystery, fabulous". I could have cried with those words...Elena is so amazing and talented and it was such an honor to hear her compliments.

Parallel worlds

2009-01-23T23:19:00.000-06:00

We started our spring semester last night, and as usual I was more concerned with packing, prepping and loading the car versus dancing. In fact, when one of my co-workers said she was going home, taking a bath, changing into sweats and then eating dinner I thought 'how wonderful' that sounded. A little later in the evening I did wonder how many women that same night were sitting at home, in their sweats, eating dinner wishing that they could be off doing something more exotic...like belly dancing. I guess exotic and exciting is in the eye of the beholder ;-)

Merry Christmas Baby!

2009-01-20T18:50:00.000-06:00

It may be a little late for a holiday greeting, but not too late to watch some of the fun we had last December at our year end show. It's become a little tradition of ours to include a special holiday belly dance number, and to give it all the serious creative energy we can put into one performance. Here's our nod at a truly, 'American Cabaret' number.

Enjoy, and don't forget our Spring season starts this Thursday at 7:30 p.m.!

If I must dance...

2009-01-18T22:34:00.000-06:00

Here we are starting up a new year at Mirage. I think we're considering this the official 34th season. We don't know when in 1975 the first show was held but January seems a good time to turn the page and make it our anniversary. Each semester I'm in charge of booking guests at the show and normally do 2-4 guests in addition to the eight of us who perform regularly. We do about 8 shows each season, and have two official 'seasons' each year. Despite our long standing performance, it always seems that getting the first show booked is like pulling teeth, and despite my plans to have it take care of, I had one cancellation that I just couldn't seem to fill for our show this Thursday.

So tonight, I asked my intermediate students, if anyone was feeling brave enough to jump in and do an impromptu solo. Since they all love to have everything planned and choreographed in advance I wasn't surprised that no one took me up on the offer. It's nice to be prepared, but in my experience the ability to jump in with little or no notice is a great skill, and those who organize shows don't forget you! For example, for my second solo I was given a couple of hours of notice...really...not even time to wash my hair. I jumped at the opportunity because I was dying to be back on stage and it paid off in the end for me. A few months later I was asked to join Mirage and I really think my willingness paid off.

Fast forward to tonight, after I get home and open my emails. One of my students had sent me this (and she's only done one solo in her entire life...). For the record, I agreed with her first three conditions, and compromised on the fourth one. I told her she could have tap water with ice, and BBQ after the show...and she went for it. Now if all the other performers were only that easy to please!

OK, I've thought about it. If you really really really need another dancer on Thursday, I'll do it. It's 2009 - I need to take risks and do new things, right?? BUT! On the following conditions:

You put me at the end of the list so if anybody else wants to do it, they can.

I could dance to Lamma Bada, please? If I'm going to do some sort of improv, I know this song really well and would feel most comfortable with
it.

Maybe I can borrow one of your green or blue veils? Pretty please? OK, this is less of a condition than a request - I only have one veil and it doesn't go with my awesome turquoise outfit. But if you decline this condition, I'll be forced to buy another veil, and really, worse things have happened.

My dressing room be filled with 200 white lilies, white pixie lights, 2 cases of premium champagne (no Korbel or anything like that), and a roasted camel stuffed with a roasted goat stuffed with a roasted pig stuffed with a roasted chicken stuffed with delicious oyster stuffing.

No room for a dance room

2009-01-06T12:00:00.000-06:00

It's such a balancing act being a belly dancer (no jokes about swords now...). Although it is a major part of my life, it is not my entire life. Although it influences many things around me, where I go, who I see, how I dress, and how I live, it does not influence all of me. And so, at home, I always have that quandary where I try to make room for my dance things without them taking over the space.

I swear that when I buy a house it will have a room I can dedicate solely to my dancing. So many of my friends do that now and it's an enviable arrangement. In this space, in this house, I simply cannot afford a room that doesn't serve a dual purpose. My living room doubles as a practice space (yes, you can use the windows at night as mock mirrors), as well as a dining room...let alone it's regular purpose for living and lounging. My bedroom doubles as linen storage (under the bed, in the tiny closet recess) and a laundry room with it's entry way to the utility room and garage. My study serves as a work space, and costume storage and staging.

There are many aspects of this house that I love, with it's quirky floor plan and original hard wood floors. It's close to work and to downtown, I have a wonderful landlady, the rent is cheap (for this area), and it is quiet and quaint. The down side is the lack of room, closet and otherwise. The house was built in the 20's and the closets reflect that. On a scale of 1 to 10 on usable storage space, this house rates a 2-3, and for someone like myself who has such an active life it just sucks!

Each year I fight a constant battle of trying to clean out and reorganize my space to make everything fit. I go back and forth between the need for less things and the need for more space. This year, I've come to the conclusion that I need more things for storage and actually decided it may be time to buy another dresser for the bedroom. It may be a tight fit, but well worth the drawer space.

I'll have to find something small, yet roomy enough for all my fitness clothing. Clothing for workouts, yoga, martial arts and of course, belly dance (and I'm not talking costumes!). They all have different purposes and last night I felt like I had an epiphany when I realized that my biggest problem was not enough dedicated space for each grouping of clothing. If I do find a dresser that works, it will be the first time I have allowed the belly dance stuff to creep into another room of the house...and in this case a room with a decidedly Asian theme. We may be looking at breaking international boundaries (or at least design ones) when East meets East meets West.

Belly dance beats the c@#$ out of allergies

2009-01-04T22:00:00.000-06:00

I know that I had willingly offered to teach class this past weekend, despite my original plans. However, I was quite a grump in the afternoon when I realized I wouldn't have a relaxing evening, but had to get up and off the couch and go teach. To say that I was less than enthused doesn't even hit the mark. I'll blame it mainly on my allergies which are really driving me crazy this past weekend. Never mind that I've been cleaning out closets and the utility room (double yuck), vacuuming rugs out on the driveway and all the while forgetting to take my allergy medicine. It couldn't be my fault that my nose is congested, running, itchy and sneezing. It wasn't my fault that I just wanted to lay on the couch all evening, right?

I grudgingly packed up my dance bag and headed out, trying all the while to mentally map out what I wanted to work on. I thought we may have a small class, but I wasn't completely sure. I've talked before about how much effort it is at times to go do dance events, but once you're there it is all worth it. Well, teaching is no exception to that rule. The closer I got to the studio the more uplifted I felt. Even if I had only one student out that night, I was excited and ready to start the year off.

This time last year, I had just started up my intermediate classes on a regular basis. We had a space to dance in that had many disadvantages and never really felt that warm and welcoming. I had picked that spot based on availability and proximity alone. After that location closed I had to look elsewhere and found the perfect new home. We have a beautiful, warm and charming dance space that is often filled with the excitement and enthusiasm of young girls and teenagers taking ballet, jazz and cheerleader classes. It's as girly as girly can get. And, on Sunday evenings we have the space all to ourselves, to behave more, hmmm womanly perhaps!

I had a nice full class, with one new student and one returning student that I haven't seen for months. We worked on incorporating breath and movement, improvisational dance, and a short choreography. We stretched, we shimmied, we butt-bounced and all the while, my nose and allergies behaved. Really, it was like Cinderella at the ball, except in my case I didn't lose the glass slipper at midnight but I did regain the stuffy nose after the evening ended. My prince may not be waiting tonight, but the Benadryl is!

Announcing "Miss January"

2009-01-04T10:08:00.000-06:00

And the winner is...#2! She won me over with her talent portion of the competition, so yes indeedy...my January goal is blogging! And, so far, so good. I'll admit the bar is a little low right now, and it would be easy to just match or beat the number of posts from last year in one fell swoop. I spent so much time last year thinking about blogging, planning to blog and just not doing it.

One primary reason was that the intent of this blog was to talk exclusively about belly dancing in Austin, and focus on Mirage in general. I hesitated on many occasions to post because I wanted to talk about other things, other interests and other ideas. It didn't seem appropriate to use this blog as the vehicle for my thoughts and ideas even though I've been the sole source of information for the troupe. So, my solution? Two blogs.

Yes, let that sink in for a moment. Crazy you may say to the woman who has been unsuccessful with one blog...well, I laugh at that, and you...and myself. So, if you want to hear more about my other life, my other new year's goals and just general stuff, you'll have to join me here. Otherwise, you can stay with me here and I'll do my best to let you in on more belly dance secrets. Of course, you can read both if you really love me ;-)

By the way, if you're wondering why I don't have any belly dance items on my list of goals. That's simple...I don't need a list for the things I'm already doing. For example, I get to practice dance four days a week...for a minimum of 8 hours a week. I am so fortunate to have multiple performance opportunities, and opportunities for workshops and seminars. I also have a wonderful community of belly dance friends, performers, and students to keep me actively engaged, creatively inspired, and delightfully amused. So here's to a wonderful new year of dance and exploration!

The Plan

2009-01-03T12:30:00.000-06:00

I wouldn't be human this time of the year if I didn't sit down and reflect upon the past year and make resolutions for the new one. Personally I've never really liked resolutions, I prefer the term 'goals'. A resolution seems very definitive, with no room for alterations whereas a goal can be modified, changed, and updated. I actually started coming up a with a list of goals in December and had a wonderful pipe dream of posting my equivalent of the '12 days of Christmas' which included my 12 goals and focus for the new year. For those of you who've checked this blog, you'll notice that they never materialized in 2008.

However, here they are, in no particular order. The plan is to work on one thing each month with the hope that it will be a habit, an integral part of my life...or just something I can check off the list. I haven't made a final decision on which one will be the poster child for January, but I have some strong front-runners for that award. I'll keep you posted on which one I choose, along with my explanations for why I chose each of these items for this year. For now, just wish me luck or let me live in my happy oblivion for just a little while longer, that is until the work and chores get the best of me!

Meditate.
Blog.
Do the dishes (more consistently).
Practice my martial arts.
Put up the laundry.
Make my bed.
Take better care of my skin.
Take better care of my feet.
Clean my desk off regularly at work.
Keep in touch with friends and family.
Pack my lunch 1-2 times a week, and cook at home more often.
Manage all my receipts.

Belly dancing makes everything better

2009-01-02T09:14:00.000-06:00

One of my biggest accomplishments this last year was setting up a regular teaching schedule. Although I've been teaching since 2001 through Informal Classes (at the University of Texas), their schedule runs in six-week sessions. It's a great way to introduce a number of people to this dance form, but I've always wanted a place to call my own, a schedule to set on my own, and students to nurture on my own time. Despite a rocky beginning, I'm now looking forward to four classes a week...including my regular informal ones. I'm excited, but at times a little overwhelmed by the amount of work and effort it takes to really work with so many students, at different levels and varying skills.

My original plans was to take some time to regroup over the holidays, work on some new lesson plans, re-design my warm up and drills for the intermediate students and get a lot of marketing out of the way. All that, along with cleaning my house and some R&R before January hits.

However, I received this email today from one of my most dedicated students, who wasn't able to come in December due to a major car accident and subsequent injury. I knew she would be ready again this month to start dancing...but it seems like she needs this more than I need a rest. I'm not sure I can justify waiting another week, especially since I just convinced my martial arts teacher to meet me Saturday morning for some extra practicing in the park, despite his original plan to take another week off! I'm sure it's all a part of some compulsive, obsessive behavior on all our parts...or maybe just plain old fashioned passion.

"When do classes start up again? I've had a horrible holiday and I need to get some belly dancing in to fix everything. Belly dancing makes everything better!"

Dear Internet...

2009-01-01T19:13:00.000-06:00

I know you think that by now, I've forgotten you...moved on, and found another. Well, I'm here to say that you've always been on my mind even if I haven't shown that by my actions. It's been a busy year, and I admit that I have been busy 'doing' versus 'blogging' and that you've been left behind in the process.

On this first day of the new year, I suggest that we forget past indiscretions and focus on a more fulfilling relationship in 2009. I realize that you've been the victim here, just waiting with nothing else to do...but I promise to make it up to you, invite more people over, I even redecorated a little. So, can we give it another try...pretty please?

Najla

Musings, memories and dancing on September 11.

2008-09-07T22:58:00.000-05:00

Scheduling shows for Mirage is always an interesting and challenging experience. We have to work our dance schedules around that of the University, and take into consideration their breaks and on-campus events. If we’re lucky we get our shows every other Thursday (usually in the Spring) and if not, we end up with some back to back shows (like this fall). There was certainly nothing planned or momentous about the first show of our fall semester, but it is worth noting that we start our season on September 11, 2008. (And, if you’re counting…it’s the thirty-third season).

I hesitated at first at having a show on 9/11. Really, there is still so much emotion, politics, rhetoric and events surrounding that date; it’s hard to just think about dancing. However, I decided to keep that date, simply because Mirage has always kept their shows going…despite what has happened in the world, and with any luck we will continue to do so for another thirty years. Mirage performed before, during and after the Gulf war events, and in 2001 we performed exactly two days after the Twin Towers fell, despite the potential for controversy.

To start off our fall semester we had chosen a more folkloric choreography; a cane number to Farhot Shabob. (Nothing screams Arabic music more than a song complete with mizmar and zaghareets!) And, faced with the potential backlash against all things Arabic, and a country still shaken, scared and confused we had to decide if having a show that week, with that performance was the right choice at that time. And to make matters worse, the University had notified us they would be providing security for our event…just in case something happened.

Now, I love this dance with all my heart, but it hadn’t occurred to me that a performance could be life-threatening in any way (besides of course the wayward zils and swords). The risk of something actually happening seemed low, but it made us all stop and think. However, the group decision was to perform. Not everyone in Mirage chose to dance that night, and I don’t remember who, if anyone was a guest. All I know is that our desire to dance and to keep the shows going was important and necessary. We all needed a distraction from the events of the week, and in the midst of a nation grieving, we personally needed a sense of normalcy, and an opportunity for laughter and joy.

After all the discussion and debate, our fears were unfounded. The show was uneventful and in fact the security guard who was concerned about the potential for danger seemed thrilled to sit, take a break, and watch some beautiful belly dancing instead. As Vonda noted, we were just a bunch of white girls who like to dance to Arabic music. Nothing political about it, it’s just something we love to do.

In writing this, I wanted to take a moment to pause, reflect and share with all of you my feelings about September 11. For many people this date represents an emotional scar that may still be healing. For me, it represents the enduring nature of this dance, the support of this community and the lesson that every one of us can find joy and happiness when we have the opportunity to express ourselves through our dancing.

Any emotion and stories aside, please come join us this Thursday, September 11 as we kick off another fabulous Mirage season. We’re rested from the summer, eager to shimmy and just waiting to ‘rak’ your world! Come show your support for Austin’s longest running performance venue, show your support for some fabulous guests and just plan on being part of Austin’s belly dance history!

Where: Texas Union Showroom (24th and Guadalupe)
When: Thursday, September 11, 7:30 p.m. to 9:00 p.m.
Who: Guests included Baharat, Troupe Amar, and closing the show…the amazing Sonya who will leave you mesmerized and a bit breathless (really…)
Cost: FREE!!!!!! (With the exception of the gracious tips you’ll leave the dancers, of course)

If you listen carefully...

2008-06-01T23:14:00.000-05:00

the music tells you what to do. If there is one lesson someone needs to take away from belly dancing it is just that. Technique, complex combinations, fabulous costumes and wonderful venues aside it boils down to the music. Sure, I was enchanted and entranced by the costumes and the colors and the sparkles and oh my, all the accouterments that come along with this dance but first and foremost it was the music that moved me, touched me and seduced me. And if you listen carefully you don't need to think about what step or position or pose you can use, you just have to let go and trust that the music will tell you what to do.

I can't tell you how many times I have heard a song and felt a rush of emotions through my body as I watched a dancer perform. People have said that if a dancer is skilled a deaf person could 'hear' the music by just watching the movements on her body. It's true, I've been there...and it's amazing. Some dancers perform to a song, while others let the music come through them. Trust me, the most technically proficient dancer pales in comparison to a dancer who lets go and lets the music tell her what to do.

So, I was so excited and impressed that one of my beginner students 'got it'. I announced tonight they would start learning a short choreography and at first she looked a little worried especially since she's still getting the hang of some steps. But after a moment's reflection she noted that this dance, compared to all others, seems to come from the music. And, she visibly relaxed when she realized that it probably is easier when you have the music helping teach you what to do and when...and how...

And, for the rest of us, we just have to trust that our bodies know what to do if we just listen carefully.

Evilness, continued

2008-06-01T22:50:00.000-05:00

So it's been over two weeks since I taught my class. Between a trip out of town for work and Memorial weekend, I've been on hiatus. I had a good friend come teach while I was out of town so at least my students didn't miss out on some practice. I even told the 'sub' that she could do anything she wanted with my intermediate gals and that she should really make them sweat for the first 30 minutes of class. It's been my goal to get them (and myself) stronger each week so we do my version of squats (butt bounces really), push-ups, and the plank along with lots of drills, shimmies and whatever else strikes my fancy. We sweat a lot and I love the fact that they keep coming back for more. It's like belly dance boot camp...not for the timid!

So, I know that the sub really worked them hard (you should see her fabulous abs and glutes...) which made me walk back into my class with mixed feelings. I haven't worked out much in the last few weeks (not even my martial arts classes), so I'm feeling a little out of the groove. I also have a little competitive streak (sorry ladies) that said I should push them further than their sub did...consider it 'marking my territory' or just showing them (really, just myself) that I can push even harder. There were even moments in class when I smiled and laughed in a crazed way before I made them do more. I even scared myself a couple of times.

So what's the result? Well, I was soooo sore before class even finished but I didn't want to show them (probably because I was lightheaded and a little shaky) and now I truly believe that my retribution will come tomorrow morning when I try to get out of bed. And I know, they are probably feeling it as well because mid-way through class they became very quiet, very still, and moved a little slower than normal.

So, is "Najla" Arabic for "evil"...perhaps not...but it may be in the running for "crazy woman who shouldn't kill her students or herself".

A gentle reminder

2008-04-14T22:30:00.000-05:00

Now that I've figured out how to keep track of various blogs and RSS feeds (yeah Google Reader!), I'm a little obsessed with subscribing to a variety of them. I won't go into too many details, but I am following a martial arts site that has some great practical advice. I loved his last post because I thought, all you have to do is substitute your own belly dance terminology where needed and the conversation would be about dancing versus forms and fighting. Such a great reminder when we are all tempted to go to fast, and forget our own fundamentals! And such a great reason to keep drilling basic movements in class.

Slow down. When I see somebody flying through kata at warp speed I suspect they're trying to conceal something, albeit unconsciously...the real litmus test of expertise is to be found in how well a student performs the most basic exercise taught at the white belt level. Don't be so interested in learning something new - that will come in its own time. Rather perfect the techniques that you're covering right now, no matter how mundane or ordinary they may seem. Remember, the authentic expert is a master of the basics.

I'll yearn no more...

2008-04-08T22:12:00.000-05:00

Whew, it's finally over. I swear that this last choreography has taken more time to complete then anything else I could imagine. We were supposed to perform this in March, and it got moved (twice now) until our May 1 show. The biggest dilemma I had with this number wasn't inspiration but rather selection.

My favorite choreographies (and the biggest crowd pleasers) are the ones that usually come from a musical phrase in a song that I feel passionate about. So for this number, I had that inspiration and idea from the start, but every section was just such an effort to finalize. I can't tell you how many times I reworked just 4-8 counts in some parts! I had more ideas than I could count, but I didn't really love most of them.

And here I was tonight, dreading going to practice because I didn't have the ending...after all this time. I hate to let people down, and I wanted so badly to have it all tied up so neatly. I even left work early in hopes of finding that last minute inspiration. (note to self...rushing inspiration is never a good idea). And it just didn't come...no great ideas, no wonderful movements...the only good thing is I didn't do any damage in the house. (This is a sword number by the way)

My solution? It was there all along...you just phone a friend, or in this case ask the group. As it turns out, all I needed was someone to help me with a few counts, an idea, an interpretation of the song, a fresh eye and ear to the music. In less than 15 minutes we accomplished as a group what I haven't been able to do in close to a month alone. Thanks ladies!!!!

Now some of you may think that's a hard pill to swallow--when someone else comes in and makes it all look so easy when you've been struggling. But here's my take on that. Sometimes we struggle because we haven't learned to let go and allow our inspiration to come from other sources and other people. So, come see for yourself the result of our efforts on May 1...we've got floor work, sword work, yearning, passion and in this case, completion!

If I could turn back time

2008-04-07T23:56:00.000-05:00

By the way, I know I've been a little slow on the blogging the past few weeks. At one point in time it looked like March postings would surpass February (for those of you counting), but gosh darn it...my typing slowed, okay it stopped.

I have lots of lovely show pics to share and some wonderful stories. If I could only set them to appear a few weeks ago, I would look really sharp and on the ball. However, I didn't and I can't so you'll have to just hear about them in the future.

Now, I know you can change the date and time of your blog but that would be deceptive. Maybe not along the same lines as Google's Custom Time Stamp which actually turned out to be an April Fool's joke.

And yes, I believed it at first. I was seriously torn up about the potential deception that could occur with emails but equally intrigued by the idea that I could make up for correspondence omissions. I had just started thinking about what would be my 'ten' emails to send out when I realized it was a joke. And, I was quite ashamed of myself...so no fake dates on the blog from me...consider it my penitence.

Balance shouldn't leave you stressed

2008-04-07T23:31:00.000-05:00

We really can't do it all, have it all and still be happy, content and relaxed. But ohhh, that urge to multi-task runs deep!

So here is an excerpt from an IM conversation with a good friend this evening. We often vent and share snippets of our own daily angst and frustrations, tonight she was bemoaning the fact she can't do everthing.

her: I have always found it hard to balance

me: here's the thing about 'balance', people think it means holding everything in equal proportions or simulataneously. I think it means moving in and out of things so that over a period of time you aren't stuck in one place. It's very fluid, adaptive and subject to change

Perhaps I was having a rare and brilliant moment, maybe the planets did align and the right words flowed from my fingers, maybe it's just something I've been thinking about lately...really and truly thinking, and contemplating. Whatever it is, I think the word 'balance' is over used, a little trite and leaves people feeling stressed and inadequte when they can't juggle everything. I know I feel that way....all too often.

So, let's spend less time thinking about balance and think more about focus, flow, resiliency, fullness and at times, emptyness....

Overzealous?

2008-04-07T12:07:00.000-05:00

I must have been overzealous last night in my intermediate class. This is what one of my students sent me this morning. I'm wondering though if I should be embarrassed to admit I like her translation?

Am I the only one who woke up at about 4:00 this morning to go to the bathroom and nearly fell out of bed when her legs wouldn't support her? Or the only one who sneezed about 15 minutes ago and almost cried?
"Najla" must be Arabic for "evil".

Meet Egyptian Barbie

2008-03-17T23:55:00.000-05:00

Now, if the notion of Barbie conjurs up unpleasant thoughts from your childhood and you're ready to head out and join some radical feminist group to rally against the barbie name...just stop, take a breath and let me explain. When I'm talking about Barbie, I'm talking about that gal who is sweet and charming and always dressed to perfection. You want to play with her, invite her to meet your friends and above all else, rummage through her closet. So, meet our Egyptian Barbie, Rania.

Being around Rania is contagious, dizzying and delightful...she's playful and fun in person and on stage...and from the looks of her latest costume debut, even her outfits channel the Barbie persona. They behave perfectly and add a sweet, charming element to her dance...a perfect companion to a dancer we all love and adore! So put aside any judgments you have about the B-girl and enjoy one of our favorite gals in action!

I would kill for those legs and abs...

2008-03-17T23:32:00.000-05:00

Really, if I could swap body parts with anyone I would head straight over to Katarina and take those long legs, tight behind and flat abs off her hands (or body rather...). I have several items I would gladly exchange if it was ever possible. I know it may not be appropriate to covet another dancer this way, but gosh darn it I can only dream. In our troupe, we've learned that if you think trying on costumes is fun, try dressing Kat up in costumes...ten times the fun and none of the disappointment of a poor fitting costume. And to top it off, she's witty and smart and devilishly coy.

This last show she lit up the stage, and the room with her kick-butt drum solo and intoxicating smile. I can't remember the last time I've seen anyone have so much fun on stage...wow! She loves her drum solos and always picks music that really get the crowd going. Her performances are sharp and peppy whereas I'm always in the mood to do something slow and moody. For that reason alone (we'll leave her body out of this now)...I envy her willingness to go all out on each number. Plus, she's just one of my favorite people. Yeah Kat!!!!

The show, the show!

2008-03-17T22:53:00.000-05:00

So, I am a woefully poor photographer, I'll easily admit it. My biggest problem is that I forget to take pictures...so when I do have photos that come out clearly...I get very excited. I also get a little sad when I realized how many other beautiful moments I failed to get on film. Bad photojournalist...bad! To the dancers I didn't get photos of...I'm so sorry, but I got a little distracted with Sherry, Katarina and Rania and my batteries only last so long. *sigh*

That being said, here are some moments from our show on March 6. And keeping to our semester tradition, we still didn't have all nine Mirage dancers at the show. It's funny, our biggest concern about having a troupe so large was our fear of too many dancers at one time...the truth is that it has allowed us some scheduling freedom we didn't have before. And, each show has such a different flavor and style to it because of the ladies in attendance. It's really quite interesting! This show, we were missing our long-time members Nisaba and Jeanette (I think this was a first!) as well as Dana Winn...everyone was missed, but they will be extra-rested for the next shows.

Okay, enough preamble...here's the scoop on the show. It was short and sweet...and everyone was hot, really hot!!!!! The audience would have been unable to tolerate a longer show because of the fabulous performances...they would have left gasping for air and breath...we love our audience but we just don't want to risk their safety...so we kept the show short. You cannot say we don't practice 'safe shimmies', now can you?

Our guests include the Jasmine and Maribel. Jasmine first performed on our stage last semester when we had a live show with Belahaar. She's smart, sultry and such a sweetheart as well. Rumor has it that when she finishes school she'll be leaving Austin...I'll just pretend to be in denial until it happens...and in the meantime go watch her dance again. You should do the same.

Maribel has of course graced our stage before, but it's been quite a while...our schedules just didn't seem to sync up. She honored us by closing the show and had everyone dancing behind stage to her beautiful music. (Which I have apparently only on tape...I believe it is Amany Blue). If I had to come up with one word to describe her, it would be 'juicy'. In a nutshell her shimmies have their own law of gravity...even Newton would be jealous about the perpetual motion of her hips, When my hips grow up, they want to be just like hers!

I've also have a photo and a clip of Eva Tennessee...who is blazing her own trail of 'modern folkloric' belly dance here in Austin. One viewing of this video will have you hair tossing every time you dance now!

In the presence of a goddess

2008-03-13T10:00:00.000-05:00

There are some performances that really hit home, they make you feel a deep emotion (yearning perhaps) or move you in ways you didn't imagine. There are also some performances where you just say...doggone it...how does she look so hot and how can I have some of that! (I mean that from a dance perspective not a 'I'm changing teams' perspective...in case you are now wondering).

I have to admit that Sherry's performance at our last show hit home on all those marks. Really, she's channeling some goddess or sultry 50's movie siren, or one of the classic, golden age belly dancers we've all admired. Her music is always intriguing and interesting and she moves so effortlessly across the stage, it's like she's floating! If you missed the show...shame on you, you'll just have to sit back and imagine the entire performance. The following photos and clip may help a bit but you'll only experience 1/10 of the passion and emotion everyone felt in her presence.

Now for a collective sigh...

The anticipation

2008-03-12T18:49:00.000-05:00

Okay, last weekend I did something spontaneous and bought my first costume online. I know, it doesn't sound that dramatic and everyone is doing it anyway...but I took the plunge. It's all because I've been jonesing for a new costume for quite a while and it's difficult to find one I like and that fits well. You could argue that all I needed to do was order something to fit and I'd be set but the truth is I have a hard time visualizing how things will look on me. I also have some difficulty because of the girls*, which complicates costume shopping. So, I only buy costumes that I can try on.

This weekend, the allure was too great and the costume was so pretty...and blue...and I don't have anything blue right now. So, I splurged and bought a beautiful Hanan costume online and I'm worried about how it will fit and look. Will I love it???? Will it love me???? I just want to know, and soon!

They** told me it would ship promptly and even though I know it wasn't sent overnight I was disappointed that it didn't appear yesterday. Today when I came home, again my heart fell when I didn't see a box at my door. However, when I opened my mailbox I found a note saying it did come today but it's sitting at the local post office, aargh!!!! Really, if I had known I would have snuck away from work just to retrieve it.

Now, the anticipation is even worse because it is so close and yet so far away and I have to wait until tomorrow morning and then make a special trip over there to pick it up. And all I can wonder is if it lonely right now, and is it looking forward to meeting me as well?

*One of these days I'll do a post on the 'girls'; some people who know me have already met them...not everyone will be that lucky though.

**If I'm happy I'll tell you who 'they' are, but I may not...especially if I want another one (which I already do).

Imagine the Possibilities

2008-03-12T16:12:00.000-05:00

There is nothing like the promise of a new costume to send dancers into a tizzy. We are in the process of picking out one color (yes, just one right now…) to order some skirts, gauntlets and tops for the troupe. Here are the samples of the fabrics we received from L-Rose. I put them on the cards for easy viewing (and not to lose any), and the photo cannot do justice to the beauty of them in person.

I don’t have an actual photo of us looking at the samples, but I wish I did. You would see us huddled together, lovingly examining each small sample. We all had to touch, hold and caress each little square of fabric. And, when one of us would suggest a color choice a collective chorus of ‘oohs’ and ‘aahs’ went up, as if a world of opportunity was contained within each small square. The process is delightful, but the product will be absolutely yummy...I'm sure of it.

Would the International Olympic Committee even care?

2008-03-06T23:22:00.000-06:00

If only we could get scores (Olympic style of course) for daily challenges in our lives. I'd enter the packing/coordinating/traveling/performing/unpacking part of my Thursdays into the competition, and I think I'd walk away with a gold medal. Even the Russian judges would give me extra points based upon degree of difficulty. Not convinced? Here's a look at the contents in the trunk of my car for just today alone.

Notice that the bag with palm trees is large enough to carry a body (it does have wheels though), the lovely polka dot number is packed to the brim and difficult to navigate simultaneously with the other suitcase because of the size difference, the red bag came along for the ride because it's my work stuff (which I'm not reading tonight like I should), and the black bag contained a change of clothing so I could transition from work to the show. Please note, this does not include the skirt hanging in the back of the car so it won't wrinkle. Four bags, four clothing changes, just to cover my life from 5:30 a.m. until now. You try training for that!

Another thought...

2008-03-05T22:49:00.000-06:00

In case any of you were worried that I really did think I would pass out while dancing tomorrow night (see my note about giving blood in the previous post), don't worry. If I can make it through a two hour martial arts class so early in the morning, I'll be fine...but possibly moody :-)

And in case you're wondering...the pants are in the dryer, and I've picked my music, whew!

What are thinking about tonight?

2008-03-05T22:07:00.000-06:00

What are you thinking about the night before a performance? Are you rehearsing your steps, listening to your music, lovingly pulling out your costume the entire time you are mentally, emotionally and physically preparing for the next day and show? If you are, I want your life and now!

This is me now:

I just realized I don't have pants to wear to my martial arts class tomorrow which starts at 6:30 a.m. (no, that's not a typo)
I have just put a load of laundry in so I will have a pair of pants for tomorrow. This means that they have to wash and dry before 6:30 a.m.
I just ate something for dinner because I realized I was hungry.
I was just thinking about food because I taught a class (last minute) tonight and missed my regular dinner hour.
I'm lying about the regular dinner hour, I don't have one...but I did have some chicken for tonight, which will have to wait until this weekend because I'm not cooking chicken at 10:30 at night.
I have no idea what to wear to work tomorrow and I'm hoping I don't have to do laundry for that as well. My two options are either something I can wear to the show (and lug the backdrop and other gear in) or something I will change out of for the show. My hope and prayer is for the first option so I don't have to worry about changing again.

****Side note, if you're keeping track we're looking at 1)an outfit for martial arts; 2) an outfit for work; 3)potentially an outfit to travel from work to the the show; and 4)a costume. Packing is really a huge issue for me on Thursdays...seriously...if I could hire someone to pack for me for this one day...I would! Now back to the list:

I don't know which costume I'm wearing tomorrow because I don't know what I'm dancing to.
I don't know what I'm dancing to because the song I originally picked was slow and a little moody.
My song choice must be different now because I have to go first in the show, and therefore must do something peppy and upbeat (it's a Mirage-thing)
I'm not feeling peppy and upbeat tonight and I'm not sure I will be tomorrow.
I gave blood today, and I'm not trying to get sympathy however I'm wondering if peppy and upbeat is violating the rule that you shouldn't engage in strenous activity for 2-3 days after donating blood. And, if I pass out while dancing can I just go back to the slow and moody song?????
I'd rather write about not packing versus packing and preparing...that should tell you something.

My gosh, I so want to be the dancer that has everything laid out so neatly, every step rehearsed, and every nuance memorized. I imagine she is gleefully gliding into her bed just about now, and falling asleep (you know she gets at least 8 hours) so she'll be refreshed and ready for the next day. I envy her, admire her but most likely despise the fact that she doesn't have other limits on her time...but that's another story.

If you really are out there...can we trade lives for just one day???? Or, or at minimum will you pack my bags, pick my music (and costume) and tell me what to wear...I know you have the time!

Hold your applause

2008-03-05T22:00:00.000-06:00

Before I go anywhere else, I am proud to announce that during the month of February I posted 15 (yeah baby) times on this blog. For some people that is just a pittance of what could and should happen, but given that I only have a total of 23 posts over a six month time period it's exciting news. I'm not going to jinx anything by stating that I'm on a roll here, I just simply want to call attention to the fact, pat myself on the back just a little, and vow to post again soon.

Choregraphy, part 4????

2008-02-26T22:29:00.000-06:00

Okay, I'm back to the whole choreography story again. You see, we're still in the process of working on the number that we will be performing on March 20. And, I'm only a little over half way through detailing all the steps and pieces for it.

One of the hardest parts is trying to work on staging and positions for so many people at one time. I don't have enough cats to cover all the dancers (thank goodness), and they don't do well taking instructions from me. Now, they are wonderful at improvisational forms of movement and dance but just don't ask them to repeat what I try to teach! So, I'm often left trying to figure out how to take some great idea in my head and transform it into reality with six to nine dancers on any given occasion, it's quite a brain twister.

So tonight's only goal was to rework the beginning of the number, really only the first minute or so. I had ideally wanted everyone to do floor work at the beginning however it’s not a given for all dancers. So, in order to make sure it worked for everyone…it was back to the drawing board.

Now some people may think that would be an inconvenience and not worth the effort. However, I like to think of it as a greater challenge. It’s like someone reads a paragraph you wrote and says this is good, but you can’t use these five words in it…come back when you have it rewritten. It forces you to distill down the essence of the movement or the feeling you’re trying to capture and rework (or rewrite) until you come up with a better product.

And tonight although we didn't make substantial progress in the number we did come up with some nice movements that will be fabulous on stage. It was nice, easy and collaborative evening and I think we walked away feeling productive. We still have some floor work included (my thighs are killing me tonight) but we also have some new height dimensions that weren’t there in the original plan. The good news is that we still have three more practices to finalize everything and I have three more weeks to work out details if needed, yeah!

All things happy

2008-02-24T21:41:00.000-06:00

I really am still very new at this whole blogging thing, and like most other things in my life I just started doing it (literally one evening)...then bothered to figure out the details. In this regard, I am so much more like a man, I don't read maps (or bring them along), I don't read instructions and I obviously wait until later in the game at time to ask for directions. On a basic level I know that if you want your blog to be read by people you have to do a little marketing, include links, get yourself listed on other blogs...and oh my gosh so many other things. At first I thought that the labels portion of my blog would allow me to help market the blog (and things related to the troupe) better. So, at first all of my labels referenced the very same things:

Mirage

Troupe Mirage

Belly Dance

Austin

Middle Eastern Dance

Do you get the picture????? I was adding keywords to all my posts thinking this would help in the great netherworld that is the Internet. Well, now that I've thrown together several blogs, I've started reading and taking note of what others are doing and it just dawned on me this weekend that the label section is just a method for me to categorize my posts in case someone wants to search through them by topic not just by date! Duh!!!!! (My favorite example of categories is on http://www.dooce.com/ ) So, now I'm trying to go re-label everything I've done and figure out if there is some system or method to my posts (short answers is no) and do I have logical categories I want to build on (maybe).

Which brings me to the topic of my newest label "All things happy". I have one post for this label (my zil saga) because I couldn't think of a more appropriate category. So now, in addition to the pressure of finding things to blog on (is that the correct term?) and taking photos to enhance my blog (I am the most random photographer...) do I need to worry about fleshing out each category in advance or just let them organically grow and develop? Whew, it's a lot to think about. So, here's my attempt at hitting all three worries in one blog:

Hip scarves with coins; always a happy thing!

There is a trend out there to not wear jingly, hip scarves in class. Well, although I may do that when I'm taking a workshop for myself...I just can't bring myself to give them up while teaching. Why you may ask?

It helps me tell if the students hip movements and shimmies are consistent,

I can see what they are doing at a glance during class,

They really do frame your hips and tush nicely, and

The sound is one of the most delightful, joyful noises you can hear on any given day!

Settling in

2008-02-24T21:22:00.000-06:00

So, I had my last class in the studio near my house. It's been quite an experience there and my students have been such troopers! I had been on the fence for so long trying to decide if I wanted to teach beyond UT or not. I think there was a part of me that worried I wouldn't have enough to teach beyond what I've done so far. Since I've been doing the 6 week sessions at UT, I've moved to the point that they are easy to coordinate and pull together. So, the thought of teaching beyond that was a little daunting and a part of me kept thinking I may just be a "six-week wonder", good at short classes but not enough substance for the long haul.

Well tonight I'm feeling quite different, not only do I have a brand new beautiful space to move into but I also found that there are sooooo many things I want to do in class that I can't quite figure out which way to go. (Hopefully the class doesn't mind my short bouts of randomness on some nights). It also helps that the ladies taking the classes realize that belly dance takes more than just a few classes, that it really is a long term process that requires work and dedication. So, instead of trying to keep everyone's interest for six weeks, I feel like I can settle into the idea of drilling deeper on movement and really pushing myself and the students each week.

The coolest thing about teaching an ongoing class? Beyond the opportunity to help teach this wonderful dance form, it will allow me to learn from them as well...which in turn will make me a better dancer. So yeah for new classes and the new studio...and yeah for working hard and sweating (and a small shout out for my sore quads this evening, especially the left one).

There really was no debate

2008-02-22T00:08:00.000-06:00

Okay, our show was scheduled for the same night and time as the Clinton-Obama debate here in Austin, and literally the debate was being held just a few blocks away. I put on a brave face and kept telling people don't worry about the traffic, it's on the other side of campus, and of course, we'll have good audience! Well, as I walked up to the Texas Union this evening the most incredibly long line of students had wrapped around the building and up the street. Apparently they were going to show the debate live in the upstairs ballroom and it was open to several hundred students.

So here I am lugging the biggest suitcase in the world (for our backdrop) and my little suitcase (for my costume) through the crowd and all I can think is please, let there be room for us inside, or at a minimum maybe the line of people waiting for the debate could just snake through the Showroom...they wouldn't be bored waiting and we would have an instant crowd. Well my concerns were for naught because one I was inside all was normal. And the best part about the evening? We had a really great show and a really good audience to boot, all in all an enjoyable time for everyone. There really was no debate for us, we were the best ticket in town. Great music, great variety...lots of props and styles of dance. Yesireee...it was the best place to get a sampling of all things wonderful about belly dance.

Now for those of you who didn't make it (you know who you are) here's your recap, take notes...there may be a quiz in your future...at a minimum enjoy the pics! (By the way, please ignore the speakers in the background, we normally cover them up...but they just got missed this time, I promise we'll be more diligent in the future).

Nisaba opened the show (with zils of course), and I absolutely love this picture of her...it really captures her smile and essence! The funny thing is she and Eve had picked the same music for the evening, and the truth is the two performances were so dramatically different you wouldn't have known that it was the same song twice!

Next came Dana Winn doing a beautiful number with Isis wings. You should have heard the crowd gasp when she came out with them...and the image of her in gold and red against the backdrop was stunning! I managed to take a short video of her...pardon the shakiness (I'm still learning this stuff) and I can't explain the poor sound quality here...however, I still like this!

Jeanette was next...and did one of her all time favorite numbers (Habibi Ya Eni), and I think to the original version of the song. Very classic Jeanette...playful, cute and upbeat. I've included a picture (it's a pose she does so well) as well as a short video clip (the quality on this one is a little better), remember to sing along.

Zanjabil did a short number to Gabe's Cat off the Light Rain CD. Oh my gosh, this song takes me back to my baby belly dancer days!!!!!! Jeanette taught this choreography to us in class, and I did this as a duet with Shane (yes a male student) with zils on the Mirage stage. I may have mentioned that event before...it was not a pretty event (zil-playing wise) but this was the song that brings it all back. The funniest part? Jeanette still remembers that choreography (and danced it behind the stage) close to ten years later...too funny for a woman who may not remember what happened 30 minutes ago, but still very impressive! Of course, Zanjabil did a lovely job and interpretation of the song which will help me get over the scars of that previous performance...I'm sure of it!

I believe I danced next, and to a song I wasn't that sure about. I was trying out a new costume and wanted something fast. However this costume has some of the longest fringe I've ever had and fast doesn't work well with it, there is just too much hang time. When I tried to do faster hip movements I was literally whacking myself silly with the fringe...so a fast song and the need for slower movements to accomodate the fringe's personality may have not been the best combination. I've been debating on selling this costume and I'm still on the fence about it...I love the color and I got a great reaction from the audience on it...but it's the darn fringe, it makes me look like I have no torso! The verdict is still out on this one...

A little side note here, Elizabeth was another guest dancer for us, but I didn't get a picture of her (I'm sorry!). She's awfully sweet and has danced with us several times before, in fact she gets major brownie points for doing the December Ararat gig with us, and freezing in the process.

Final Mirage dancer was Eva Tennessee doing a hot cane number. For a gal who doesn't have much traditional belly dance under her belt...it doesn't show. She really takes well to the folkloric styles and I love the emotion in all of her movements, yeah!

Our headliners for the evening were Midnight Breeze, a troop from the San Marcos/Wimberly area. They are great fun to watch, and as a bunch of dancers...they really are some of the nicest ladies you'll meet. Always entertaining, and a real crowd pleaser. Unfortunately I don't have pictures of all of them...and my camera batteries died before their last set (sorry ladies)! But here's what I do have (and I included one I took from behind the stage...which is what we see frequently).

The only down side of the evening was our three missing Mirage gals. Rania is uber-busy with her work and took a little break, Katarina was home sick, and Sherry had a 'column emergency' to deal with in her alter-ego engineering world. Hopefully next time we'll all be together...okay, now I'm off to bed!

Coriander???????

2008-02-20T23:13:00.000-06:00

Okay, I'm still in the process of reading from this woman's blog (same one with the time of day quiz), and came across the "What Spice are You?". Figuring that I would come up with something sultry and sexy...I tried one more for the evening. Again, go figure!

P.S. I love the part about being subtle ;-)

Your Score: Coriander

You scored 50% intoxication, 50% hotness, 50% complexity, and 75% craziness!

You are Coriander! You're subtle. So subtle that people often forget about you. You are refreshingly clean and rather odd. You're often misunderstood. Your key word is "latent;" all your potential is wrapped up tightly until "BOOM," one day you're cilantro. Funky.

Link: The Which Spice Are You Test

I'm obviously in the wrong time zone

2008-02-20T22:48:00.000-06:00

Okay, I saw this quiz on someone else's blog and thought it would be cute to find out "What time of day I am". This must be some type of karmic joke being played on me:

The additional description is below. Keep in mind, I think coming into the office at 9:00 is early and I normally eat my breakfast in the car.

You're 6:49 a.m.
You're the time of day right around sunrise, when the sky is still a pale bluish gray. The streets are empty, and the grass and leaves are a little bit sparkly with dew. You are the sound of a few chirpy birds outside the window. You are quiet, peaceful, and contemplative. If you move slowly, it's not because you're lazy ? it's because you know there's no reason to rush. You move like a relaxed cat, pausing for deep stretches that make your muscles feel alive. You are long sips of tea or coffee (out of a mug that's held with both hands) that slowly warm your insides just as the sun is brightening the sky.