Other than swearing at the local router and the lack of internet connection these past few days, that is…
The weekend of October 8th, my belly-buddies and I traveled to Nags Head, NC to attend Beach Blanket Beledi. Much fun was had by all (the first rule of the workshop is “You MUST have fun!”), and I’m afraid that we horrified the poor organizer again – this time the EO took the stage with us at the performance that evening, as the “local tourist” facing the “Goth Island crew”. Sorry the only photo I can post is of me only! Hopefully there will be some shots on Cheyleydra’s site soon (currently the photos are of the 2010 show).
We stayed an extra two days, making it the first vacation we’ve had together in 2 years, since the EO was too sick to attend last year.
I’ve also finished the models for release at the Online Needlework Show, and there should be a third one released sometime in November. They’ll be available on the site for retail purchase as well as wholesale come December.
Yesterday my fall classes at SuperB’s gym in Coats, NC started. They are available on a drop-in basis as well, so if you’re interested and in the area, feel free to contact SuperB and come by! We’d love to see you. Next session of Fuquay-Varina classes start up again the last Thursday of this month.
And in my spare time, I’ve been stitching. Inspired a bit by the Daisychain ABCs, I designed my own alphabet based on an old Victorian letter, and have been stitching name signs. They are hand embroidered, then upholstered onto foam board with a felt backing and a ribbon hanger. They’ll be available in my Etsy store in the next week – and I’m more than happy to stitch custom names for you as well! There will be a pattern available for them soon as well, for us crafty-types who want to pick our own colors and stitch it ourselves!
Stitching, probably, yes. But only in the small spaces between shimmies. Going to Beach Blanket Beledi to learn and perform. Kaleegi – A dance of the Gulf Coast (think Saudi Arabia and Kuwait), and something I’ve wanted to learn for a long time, in addition to two other workshops! Yay! And the NC Coast, and some time off from designing.
Time for a deep breath, learning and fun.
There won’t be a Monday treasure this week, because I was bad and didn’t do my homework.
But while you’re waiting for me to come back on Tuesday, you can watch some of the type of dance I’ll be learning (this is our lovely local dancer, Haala, performing in Durham two years ago- she also runs NCBellydance.org for resources!):
You really CAN go to Farmville in NC! But I *didn't*.
I spent last weekend at the beach. Well. Sort of. Despite the picture at the beginning I did NOT stop at Farmville… Either the real town (LOL!) OR the computer game.
I spent last weekend at Beach Blanket Beledi, which is a lovely and FUN (1st rule of BBB – Have Fun!!!) bellydance workshop that takes one day, (well, three if you count travel time from my house!) and features three wonderful teachers every year. This year was Dalia Carella, one of my favorite dancer/teachers of all time. I could watch that woman dance for hours. Class is to die for, sometimes I think literally… keeping up is always hard work. But I wish I could take class from her at least once a week… I know I’d be in better shape at the end of a month! The workshop she taught is available online as a download in two classes. It was the Ghanalli choreography. Also teaching were Riskallah Riyad from Connecticut, and Chelydra, who taught us a “Dash of Debke”. Apparently our troupe choreographies from last year were well received, as they kept being referenced all day by the teachers, much to our embarrassment. I came home with a notebook full of new ways of putting steps together into combinations, ways of integrating my modern and jazz dance background with my raks sharki, and some great ideas for getting my students to be themselves when dancing.
So from a learning standpoint, workshops are great, no matter what your level is. Saqra of Washington state once said to me that if you don’t remember everything in a workshop, it’s all right, because you’ll remember it when you need it — it will bubble up over time, so don’t worry about getting overwhelmed. She’s been right, although I find that writing down combinations as I learn them helps immensely in the remembering arena!
Needlework workshops are the same way… you learn new techniques for things you thought you already knew how to do! And sometimes you can share a tip with an instructor as well.
But the most important thing about workshops to me is that they inevitably remind me that I’m not alone in whatever endeavor I’m doing. Both needlework and dance can be very solitary pursuits, especially if you find yourself dancing in your living room because of a lack of classes at your level that are convenient! Going to a workshop is a way to find new friends that you already have at least one thing in common with – it’s an icebreaker.
I never had good experiences at summer camp growing up. But now, going to Beach Blanket in particular, I start to understand the girls who loved it. Leaving is bittersweet. “Drive home safely. Have a good flight” (people come from everywhere), and most importantly “see you next year!” ring. As we come back year after year, we start to see the same women, and slowly learn names. We start to communicate by email and get invited to their hometowns for workshops. Workshops in the arts are how we build community and learn from each other. It’s neat. (Oh, and there’s usually partying at night, too. )
Where do you start with this genre? “Raqs Gothique” grew out of the Goth movement, which, over the years has embraced dark retro, punk, medieval, Victorian and “Steampunk” attributes. Then add bellydance to any of the facets of Goth culture and you get Gothic Bellydance, or “Raqs Gothique”.
In other words, there are almost as many versions of goth costuming as there are genres of bellydance itself.
Perhaps the best known Gothic style dancer is Tempest. She draws from all of the above styles with a dark and humourous twist — and she teaches a mean workshop on using film noir attitude in your dancing!
I have seen her dance in dark flapper attire with Doc Martin boots, pantaloons and lace in granny boots – and a very spooky Lovecraft inspired outfit.
Other Gothic dancers wear what could be mistaken for just dark colored bedlah of the Egyptian or Turkish varieties. Others use a dark tribal as a base — it’s really the mood of the dancing that makes something Gothic, rather than the costuming. (For example, Tempest’s ode to Theda Bara costume is white, but no les Goth for the color!)
Tempest’s 20s style routine to “Whatever Lola Wants”
Ariellah at Black Heart’s Ball…
For more, just search “Gothic Bellydance” on youtube and marvel at the variety!
Oh Dear! I seem to have lost track of this series of posts way back in May of 2008! My apologies!
Tribal style costuming, like “cabaret,” comes in many different flavors. Remember that there are always going to be variations, even with styles.
American Tribal Style
ATS, as created by Carolena Nericcio takes the standard vocabulary of bellydance and creates a strong, group-oriented vision. Troupes dancing in the ATS style often incorporate big swirly skirts, poofy cotton harem pants, velvet in black, rust or jewel tones, traditional Afghani coins, Indian embroideries, tassels and turbans. There has been movement over the last few years (decade?) to add woolen hair fals, hair picks with feathers and cowrie shells, and “hair gardens” which are full flower bouquets perched in braids and elaborate hairstyles, sometimes incorporating the bright wool hair falls.
Tribal Fusion
I always find the various genre names a bit amusing — ATS is also a fusion form in many ways. Tribal fusion, World Dance fusion are all variants from the ATS branch of the bellydance tree. These are NOT always danced as a group, very often there is choreography involved, and costuming can go from basic to very far-out. Because tribal fusion is so personal, as is the costuming choices, I’ll take three fusion dancers’ styles and give examples:
Rachel Brice uses cowrie shells, tassels, flare leg pants and panel skirts to create her signature look. This look has been adopted by many of the fusion dancers – it’s very striking.
Donna Mejia‘s costume choices have been simpler, at least in the locations I’ve see, but in combination with her orientale/electronica/hip hop/Brazilian fusion moves are no less striking.Be sure to explore her site and her videos as well as gallery. She is an amazing, strong dancer with roots in many worlds.
< a href=”http://www.youtube.com/watch?v=3RtFgo2-NWk” target=”_blank”>Donna Mejia video
Dalia Carella, who may well be a bad choice to label “tribal” fusion, though her World Dance form is definitely fusion, leans more to simple reflections of the forms she is fusing. Huge skirts stand in for flamenco dresses, heavy veils for Indian influence. There is definitely a reason she played the part of Ruth St-Denis off Broadway!
Just a taste – right at the beginning…
Tribaret
I love the individuality of the fusion world. I love the options and the mis-and match mindset. I love coins and cowries – but I miss the beads if I’m performing in these styles. Which leads me to the cosumint/performance style known as “tribaret.” Take the fusion form, and then fuse *it*to what I earlier called Cabaret. Glitz and coins and shells! What more could a girl want? If the baroque era of gilt and overkill had produced a bellydance form (hah!) this would be it.
Conclusion
So there’s my homage to the coins and velvet and fusion of world dance. In later parts, we’ll go over Raqs Gothique, and I still promise a few beading techniques outside of my bedlah series! (the bedlah is progressing. Really it is. Just very very slowly as I have other projects that are more pressing right now…)
