DANCERS BACKSTAGE RITUALS: ALLI RUTH OF HELSINKI, FINLAND

 

Alli Ruth by Atelieri O. Haapala, Helsinki, Finland

 Every so often, I’ll meet a dancer whose onstage persona is so completely unlike the way she is in real life, it really throws me for a loop. One moment we’re backstage acting like complete idiots, giggling over silly things while compulsively shoving carrot sticks into our mouths.  Then, she performs a set so amazing, that when she finishes, I’m so blown away with utter fangirl appreciation, I almost feel too shy to talk to her!

 

 Alli Ruth is that kind of dancer.  Even though we’ve been pals her for years, and I’ve seen her multiple times in ratty sweats with no make up, an Ace bandage wrapped around an injury, swearing like a truck driver, I can never quite reconcile her fun, down-to-earth true self with the preternaturally elegant creature I’ve just witnessed bringing the house down onstage.  And   not only that, in her real life, she’s a librarian! To see her performing classic American and Turkish style floor work is like having a private audience with a goddess!

Photo: Atelieri O. Haapala

Alli Ruth lives in Helsinki, Finland, where she teaches and performs her specialty-and passion- American Cabaret style belly dance. She herself calls what she does “AmCab Fusion”, because  she isn’t  nearly old enough to have ever performed this style back in it’s Seventies heyday!

As White Kali in a Desert Sin performance

After moving to Finland in 2010,she realized that dancers from across the continent of Europe had a hunger for this uniquely American style, so she began teaching what she’d grown up with as a dancer. She came to belly dance in 1998, in her native Los Angeles, learning from   the masters of the American Cabaret (also known as Vintage Orientale) genre, including the late, great Diane Webber, whose unique style and considerable influence inspired another of Alli Ruth’s mentor’s, LA-based dancer Anaheed.   Dance mother to many in Southern California, Anaheed invited Alli Ruth to appear with The Perfumes Of Araby, a troupe founded by Diane Webber. In 2001, through Anaheed, she met and began dancing with Elayssa of Desert Sin, a gloriously theatrical “alternative belly dance” troupe whose influence is still widely felt in the Tribal Fusion community, and as Alli Ruth says, “whether they realize it or not!”

 

With Princess Benu in Istanbul

She has also seriously studied with other legendary AmCab performers such as Cory Zamora, Alexandra King and Princess Benu of Turkey, plus the Queen of Floor Work (and inventor of many of it’s staple moves) Anahid Sofian of New York City. Alli Ruth’s teaching and performing career  abroad has been as busy as it has been fulfilling; though like any dancer worth her salt, she considers herself a student and constantly attends workshops, classes and private lessons. By doing this, she is also preserving   a distinctive and exceptional American contribution to belly dancing.

Here, in her own modest words, is how Alli Ruth prepares for her show-stopping performances:

“I try to do as much of my makeup and prep at home, especially if I don’t know the backstage conditions, or don’t have a backstage at all. This too allows me to change my mind, for example about an eye shadow color at the last minute. I enjoy socializing backstage and would rather relax and talk to, or assist other dancers than be stuck in the mirror. It also makes more time for warming up. My warm up consists of lots of relaxed shimmies, “African Stretch” for the spine (Diane Webber used to make us do it every class), large loose hip circles, lunges and ankle, shoulder and wrist circles. 

Alli Ruth at Sutdio Iqaat, LA photo: Kat Bushman

My costuming style is what they used to call “Mixy Gypsy” so I never wear the same exact ensemble. I also never know exactly what I’m going to wear in advance. I’m famous for being frantic about “what to wear” and changing my mind about details up until the last minute. My breast size fluctuates greatly, leading to hasty alterations. My lifesaver mom is accustomed to my begging her to stitch bra hooks, and over the years I’ve taught a couple boyfriends how to use a needle and thread. Because I improv, I also have the opportunity to change my music up until the last minute, particularly if the organizer doesn’t need it in advance. What I’m getting at is that I have total ADD, which I struggle with when it comes to show prep.                                                                                                 

I’ve learned to not make or watch recordings of myself within 3 days before the show as it inevitably results in a self-critique that will cause me to change my mind, if not fall apart entirely. Also, to have many bra hook options on both the back and neck straps of my bras. I of course have a prepped gig bag and even extra, extra things that other dancers may have forgotten themselves (Belly dance karma!). 

Because I do floor work, one of the most important things is to know the condition and material of the floor to help determine the bottom half of my costume. Harem pants can get pulled by carpet (I’ve heard of dancers literally pantsing themselves) but carpet can cause serious burn on a bare leg. Some settings may have floor that is too harsh-such as pavement, be too small or placed in such a way the audience wouldn’t see you on the floor. Sometimes, floor work won’t work which factors into my music selection. 

I’m always way more nervous in the days before the performance and on the day of the show than I am when I’m about to go on. The main thing I do in the moments before coming out to dance is taking deep breaths and remind myself, it’s simply about sharing a dance. I try to remember that nobody cares so much about me that they’re going to go home and think for days about how I may have messed up; they have their own lives and concerns and nobody wants me to fail. I try to quiet my ego and dance for the joy of it. I think of all the happiness and fun I’ve experienced myself when watching other dancers and the gratitude I have towards them for this. It’s simply my turn to do the same for others, to share. This really keeps me calm and ensures a good experience. 

After my performance, it’s like I got something out of my system and just wants to return to being “Al”-my nickname amongst friends. I almost always, immediately tear off my bra and throw on a t-shirt -or a comfy cover up if I’m coming out from backstage, maybe crack a beer or pour a glass of wine.

I like dancing most at private events, where I can come both in and out as the belly dancer …and the mystique of the backstage, behind-the-scenes stays in my own home.”

 

The Snow Queen: photo by  Irina Alanko

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  Sunday, October 4, 2014

Hardcore Floor: Old School AmCab and Classic Turkish Floor Work With Alli Ruth

You’ll learn ascents, descents, back bends, layouts, and some nearly extinct (and very wild) Turkish moves and Rom gestures for floor. Floor work for both drum solo and taxim will be explored.

1:30-4:30pm

Dance Garden

3191 Casitas, Ste 112

LA CA 90039

ONE DAY ONLY, $50.00

To register, contact Devillaraks@gmail.com

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The Belly Dance Handbook: A Companion For The Serious Dancer is now  available wholesale for dance teachers and studios. To find out about wholesale order,  visit www.princessfarhana.com and click on the “email” button at the top right of the home page.

  

DANCERS BACKSTAGE RITUALS: KHALIMA SIKORSKY

 

Khalima Sikorsky in her stunning, lit-up costume for Raqs Luminaire

 Every so often, I like to write about the backstage rituals of dancers I admire, so that these wonderful performers can inspire others. It’s enlightening to find out about the way they prepare for shows, create their onstage persona, improvise through problems, and keep stage fright at bay.

Plus, it’s always thrilling to see a dancer who’s a multi-disciplinary artist. I’m talking about those unique performers that have the talent, technique, and imagination to truly bring their creative vision to life on stage.

 Khalima Sikorski from Richmond, Virginia, is one of these dancers. She’s all of this and more; she’s a flame-haired bundle of energy and powerhouse of a woman.

Khalima is the director of Illumination Dance Studio, and shimmies her way proficiently through many styles including traditional belly dance, Tribal Fusion, and burlesque; sings and dances with musician Barry Bless as the duo “Professor Bless And The Dancing Madwoman. But that’s not all! She is also a costume maker, writer, a fine actress and comedienne, a terrific singer, a magician’s assistant, circus performer and a single mom! She teaches classes, directs a student troupe and is a show producer.

Raqs Luminaire 2013 poster

Since 2010, Khalima has been producing the preternaturally gorgeous stage spectacular Raqs Luminaire: Dance Of Lights. These are themed shows, often based on myths and legends, featuring well-known performers from all over the country, live music and   beautiful sets and elaborate costumes- which all light up! In  2013, I had the honor of playing the lead role in the Raqs Luminaire production of "The Return Of Pandora’ Box" co-starring with Khalima and the illustrious Madame Onca O’Leary.  Typical  for Khalima's attention to detail, there was even a Tarot deck of cards made, each featuring a performer.

Actually, I first met Khalima backstage at Onca’s Americana, Sideshow and Burlesque Festival in Asheville, North Carolina, where we got along like gangbusters.  But it wasn’t until I worked with Khalima in 2012, and then again for Raqs Luminaire in 2013 that I understood the scope and dedication to craft that she has.

 Here, in her own words, is Khalima sharing her backstage rituals:

“Show prep! If I am at home for shows, I like to try to be leisurely about getting ready -sometimes impossible as a mama and crazy lady-, which means having everything for my gig, packed by that morning.

I sit on the floor in my room in my underwear to get my face on, and almost always listen to my favorite Balkan a capella singing ladies, Black Sea Hotel. Something about the floor and not rushing is really nice... and I can stretch my ever-tight legs at the same time! Lots of water and a bunch of food (any food, all the food) are necessary. I simply cannot perform to my liking on an empty stomach! 

 

Khalima by Pixie

So much depends on the show I am getting ready for, but, I am often backstage with a big old pile of lovely ladies who are comfortable with themselves, and excited about whatever show it is we're about to put on. This changes everything! I swear we are like a bunch of kids together, and this is when it gets ridiculous. Whether it's a belly dance or burlesque show, I somehow manage to become ritualistically taken over by my alter ego, "Sadie", who can do nothing but talk about BEAVAAAH all night long! We all devolve into a very crazy flock of giggle-boxes, and I think it helps us all relax and live in the moment! 

Which leads me to my thoughts on stage fright, performing, and being ready. I think a person must always be "ready"... not necessarily in the sense of being "on", or in a stage persona, but really and truly being ready to take whatever is about to happen. It sounds really cliché, but when you decide to live in the moment, and are prepared to fly by the seat of your pants, "mistakes" rarely happen.

Stage fright is the energy of fear around failure, but when you commit to a daily practice of fearlessness and being your honest-to-god real self at all times, any of the worst-nightmare situations that can happen on stage lose their power.

Seriously. 

I think people want to see something real, even amidst fantasy! I believe a performer owning their space, their flubs, and their emotions, all of them, will move an audience more. This is the real magic, and no wayward veil, slip up, costume malfunction, forgotten choreography, or bats raining down from the ceiling (yes, I've experienced all of those!) can keep you from being a brilliant performer. 

I've also been known to say, about my calm amidst show chaos, "the train has left the station!" Every moment leading up to the day of a show has been the practice for the real deal. Whatever has not been lashed firmly enough to the train will fly off, and good riddance, for the time being, if it was not substantial enough to hold fast!  Also: Beavaaaah! “

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Khalima is teaching and performing at these events:

 Los Angeles, CA July 6, 2014

 Teaching at Dance Garden & Performing at Moun Of Tunis

 For Siren Sundays, sponsored by DeVilla, info:

http://devillaraks.com/events/

Washington, DC, July 26,2014

http://saharadance.com/workshops/

 Fort Worth, TX Jan 8-11, 2015

http://3rdcoasttribal.us/

  Check Khalima’s Facebook Page for more events!  https://www.facebook.com/khalimadance?fref=ts&ref=br_tf

 

Khalima as a Sci-Fi post modern mermaid

SMALL FRY: DANCING FOR CHILDREN

 In the past month, I’ve gotten two of the best tips I’ve ever received in over two decades of belly dancing.  They  weren’t  crisp hundred dollar bills,  large bouquets of flowers or earrings made of 14 karat gold… though I’ve been lucky enough to get all of those and more. One of the tips was a grubby Sponge Bob  pencil eraser, tucked into my belt by a five year old boy. The other was a small piece of pita bread offered by a toddler, who was imitating  the  behavior of the adults around him.

Children are the best audiences ever- they’re my  favorite audience!

 Throughout my career, I’ve danced for thousands of kids.  I often joke that most of my biggest fans are the smallest people- kids under the age of  ten- but it’s true! When I tell people I love dancing for kids, sometimes they look at me oddly… for a couple of reasons.

First is that in addition to performing straight-ahead Egyptian-style belly dance, within the belly dance community, I have become known for  my fusion performances, and some of them have been considered very controversial.  But I never  perform anything other than  family-style show unless I know for sure that there will not be children present.

Second, outside of the  belly dance world, many well-educated people still  fall prey to the usual  stereotypes, marginalizing our art as either a seductive ritual or cheesy novelty.  Whether male or female, I can literally see their  “civilian” brains  going into over-drive, conjuring up  images straight out of a  Sinbad or James Bond movie.  They imagine me doing “The Dance Of The Seven Veils” in shadowy, smoke-filled hashish den while leering villains in ornate turbans throw solid gold coins, making plans to carry me away on their flying carpets to a life of slavery in an exotic harem…yeah, right!

I explain something that probably doesn’t need to be clarified here: in  Middle Eastern and North African cultures, the movements of belly dancing are performed by non-professionals as a an integral part of weddings, family gatherings and baby christenings, and women’s parties. When they hear I, like most belly dancers, usually do shows for families, including children, their jaws drop a few inches.

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Since I am still  the featured performer in  the same restaurant that gave me my very first job  almost twenty-five years ago, I not only dance for children on a regular basis, but I’ve have had the extraordinary privilege and pleasure of seeing a good portion of my audience grow up, go to college, get married and have their own kids! It’s impossible to estimate the amount of autographs I’ve signed on paper napkins, and for years my refrigerator has been plastered with primitive crayon portraits  and misspelled fan letters painstakingly written in block letters.

Children are the world’s most pure and unsullied audience, and that goes for every kind of performing art.  They don’t need any sort of suspension of disbelief to be moved by a belly dance show, they are happy enough with a swirling pastiche of dancing women, sparkly costumes, loud music and excitement. Children simply  don’t have the pre-conceived notions that adults do, they  just love being entertained. They know nothing of sexualized stereotypes or judgments that have to do with weight, age, racial  or cultural  prejudice.  They let out wild squeals of unbridled joy the moment a dancer appears.  Not only that, because of their candor, kids will often left you know exactly what they’re thinking.

Due to  “truth factor” in relations with kiddies, sometimes the biggest obstacle for me when I’m interacting with or performing for the small set is to stop myself from bursting into laughter because of their totally logical yet completely innocent observations!  As the Sixties-era television host Art Linkletter used to declare, “Kids say the darndest things”.  Thanks to Walt Disney, I’ve been called Princess Jasmine more times than I can count, but some of the exchanges I’ve had left me laughing for days.

I remember a seven-year-old girl who visited me in my dressing room after a show one night. While she played with my finger cymbals, she very regretfully told me that she could never be a belly dancer because she didn’t have “those round things or those black things”.

  I told her that those “round things” were called finger cymbals and explained that anyone, even she, could have them because they were a belly dance accoutrement that anyone could purchase.

“ But I still don’t have those black things,” she sighed forlornly, shaking her head.

“What black things do you mean?” I asked, utterly confused.

 Rolling her eyes as though I was the stupidest person on earth, she pointed directly to my false eyelashes. When I told her that they were fake, just a part of my stage make-up, and explained how they were applied, she leaned in very close to me, cocked her head

towards the dining room and whispered conspiratorially,

“Everybody out there thinks they’re real!”

 Standing costumed in a hallway just after a show, a little charmer of about five gave the once-over to my sword partner Samra and me and observed,

 “You guys look just like genies… but with legs!”

It took us a moment to realize that she meant legs…. as opposed to the smoke rising from a magic lamp!

 Another time, a little boy ( the nephew of another dancer I worked with frequently) burst into our dressing room to visit us before we went on. Unaccustomed to seeing his aunt in costume, he  stared at our Egyptian finery with his mouth hanging open in shock and exclaimed,

 “Hey, where’d you guys get the all the diamonds?”

 And speaking of being an aunt, I discovered that my baby niece Olivia  had definitely gotten the belly dance gene.

 When she was a toddler, her vocabulary only consisted of an only few words…or so we thought. One night she shocked our entire family with her first full sentence.  As I walked into the room, she cheerfully greeted from her high chair with:

“Hi Auntie-big earrings!”

 Visiting Disneyland when she was three, we almost got kicked off  “ It’s A Small World.” As our boat floated by the Middle Eastern countries, she jumped to her feet, scrambled on top of the bench, pointed at a veiled mannequin and screamed,

“It’s my Auntie!”

 As if on cure, the ride ground to a halt, the music cut out, and a booming voice came over the loudspeaker,

“THE CHILD MUST SIT DOWN!”

 Olivia’s obsession with the dance continued to grow as she did. We’re  talkin’ about a little girl who got elaborate hand made mini-costumes for every birthday…but somehow, it just wasn’t enough.   We were spending   a cool spring afternoon together, about to go to her favorite park.  As I went to another room to get our jackets, she pouted obstinately,

“I DON’T WANNA GO TO THE SWINGS!”

   I was about to placate her the way one normally would with a four year old, but   almost had a heart attack as I re-entered the room.  She stood in the middle of the living room, completely naked… except for one of my rhinestone tiaras sitting askew on her head. Her play clothes lay in a heap at her feet.  In each hand, she held an unsheathed sword- my full-sized, heavy, sharp scimitars. They were bigger than she was, and she swung them around dangerously.

“I just wanna stay here and play dress up with you!” she whimpered.

Feeling my face drain of color, I cajoled, 

“ Ok, sure honey! Whatever you want! Can you put the swords down for Auntie? “

Once, at a wedding, a little girl of about nine  asked if I was really and truly a princess.

 “Why of course I am,” I answered, not wanting to wreck the illusion.

Growing skeptical, hands on hips, she asked me to prove it.

I knew what would verify my claim. Unbelievably, the California DMV allowed me to pose for my driver’s license photo while wearing a large  rhinestone tiara. When I whipped this out of my wallet as “proof” of my royal lineage, she gasped sharply, her eyes widening as she meekly asked,

“ Do you live in a real castle? Can I visit you?”

 Backpedaling quickly, told her that when I was “visiting” California, I lived in a regular house, just like everybody else.

 Far and away one of my most cherished memories is of Timmy, a Canadian four- year- old whom I met while he was in LA with his family, visiting relatives. Timmy fell in love with me at first sight. He swooned as he watched me pass by in costume, and scrawled illegible love notes to me on placemats, which he sent to my dressing room via a very patient waiter.

When I came out to dance, his eyes bugged out of his head. He grabbed fistfuls of his own hair, held a hand over his mouth as if to stifle a scream, and bounced uncontrollably in his seat. He snatched dollars from his mom and ardently stuffed them into my belt, and when he ran out of his own money, he picked it up off the floor as well as personally soliciting it from diners at other tables, much to their amusement.

 Later in the evening, his apologetic mom asked if I would dance once more, as he’d been pestering her throughout the entire meal, asking if I would perform again.

 Of course, I obliged. When the music started, his excited squeals could be heard throughout the entire restaurant.  Making my entrance, I decided to make him feel special by draping my veil around his tiny shoulders. The moment I did this, he let out an earth-shattering shriek that could probably be heard down the block and then he yelled,

“MOMMY! THE LADY LET ME HOLD HER BLANKET!

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Photo & design by Maharet Hughes/ Graphic Vibe LA