DREAMS REALLY DO COME TRUE

"The Belly Dance Handbook" release party at Studio Iqaat, Los Angeles. Photo by Graphic Vibe/LA

 Dreams really do come true…

And setting goals and working hard makes a dream become a reality.

Live stream viewer Alice Dee sent this picture  

This past Friday, February 7^th, 2014 I had proof of that at the launch party for my “Belly Dance Handbook”. The party, held at Studio Iqaat in Los Angeles was fabulous. Some of my favorite LA dancers performed Egyptian, American Cabaret and Tribal Fusion, and my favorite drummers Issam Houshan and Donavon Lerman, who owns the venue, played. The party was streaming live on the internet, and people from all over  the world "attended"!

Writing the book was a dream of mine for years. Combining my two favorite things- dancing and writing- seemed to be a no-brainer, but it was also years of hard work. It was work that I enjoyed immensely, and did with love, but still, it was A Process.

Sabrina shows how smart belly dancers are!

I’m not sure if you readers realize that I actually started this blog in 2009 to force myself to write the book!  The idea had been floating around in my head for ages before I started working to make it a reality. I wrote at home with kitties sitting on my lap batting at the keyboard, and on the road in foreign hotel rooms at 3:00 am when I couldn’t sleep. Then I edited each and every thing I wrote mercilessly. Though writing came easily, other things did not. I’m a huge techno-tard, and I pushed myself to learn how to do things that were difficult for me, yet simple for others, like upload pictures and format a blog…and I’m still learning!  

 

Alli Ruth of Finland performing at the party

Before putting out the book myself, I sent it to a number of agents and publishers, who all told me that my book wouldn’t work because “there are already books on belly dancing”. So I realized I had to pull up my big girl panties and do it myself. This was great cause it meant that I could do the book the way I wanted to, but it was also kinda scary because I knew the staggering amount of work it would mean! Teaming up with graphic designer/ photographer Maharet Hughes (who is also a belly dancer, of course) made my vision come true. She understood what I needed and wanted the book to be, and we worked on it together for

Maharet Hughes, The book's designer

almost two years, through five re-writes, technical glitches, problems with photos and formatting. If I’m the mother of “The Belly Dance Handbook”, she’s my Baby Daddy!  When we first got the proofs of the book, we looked through them jumping up and down with glee, then started taking tons of pictures of them like crazy people, because the book was finally finite.  But then reality set in when we realized we’d have to correct the proof, and do everything all over again…which we did three more times!

  And giving credit where credit is due, I’m giving a huge shout-out to all you readers for your years of support!  Your comments, questions and wonderful emails have kept this blog- and the book- going!

THANK YOU!

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Get a signed copy of  “The Belly Dance Handbook: A Companion For The Serious Dancer” here:

http://www.princessfarhana.com/shop.htm

OR

Purchase  “The Belly Dance Handbook” on Amazon:

http://tinyurl.com/nuxqhhr

Find out about wholesale rates for dance studios, book clubs, teachers and troupes by emailing here: princessraqs@gmail.com

Cover Design and photo by Maharet Hughes/ Graphic Vibe LA

GET MORE POWER FROM YOUR DANCING

 In the same way you service your car by getting an engine tune up, every so often it’s necessary for dancers to fine-tune our technique.  No matter what level you’re at, from newbie to professional take a little time every few months to make sure you’re not getting too complacent with your dancing. Going over the basic tenets of posture, weight placement and different types of technique will not only help you to become reacquainted with what you are doing, it will give you power that will make you a better dancer.

 Posture And Center Of Gravity

 No matter what kind of dancing you practice, there are certain guidelines for posture. The spine is elongated, the ribcage lifted, the shoulders are held back and down making a beautiful, long neckline. The pelvis is in neutral position achieved by pulling the tailbone slightly down towards the floor.

For belly dancing, we stand with equal weight placement from the balls to the heels.  Our knees are soft and pliable, with our feet and legs aligned just under our hips, without using ballet turnout, because this will inhibit the movements of the hips. For other types of dancing, a turnout may or may not be employed- this depends on your training and what sort of effect you’d like to achieve.

But no matter what genre of dance you’re performing, make sure you know where your center of gravity is. In ballet or jazz, the center of gravity is much higher than in belly dance, African dance, Hula or even burlesque dancing.

Be hyper-aware of your center of gravity, as it will dramatically change the quality of your movements.

Define Your Weight Placement

 Make sure you plant each foot firmly every time you set it down, even if it’s just for a few seconds.  Any hesitation with your weight placement could potentially throw your movement off…or just make it look not quite as awesome. Defined weight placement is absolutely necessary in quick footwork, especially for turns. Check your weight placement frequently, and you’ll start noticing a difference in the quality of your dancing really quickly.

Once you’re conscious of your weight placement, use the floor as a “launching pad” every time you take a step.   For belly dance especially, this is important because there are so many one-sided hip accents and flourishes happening all the time. These movements initiate from the knees or the feet; you can get much more power and definition from twists, circles, and upwards/downwards motions by grounding, or  quickly pushing off the floor with your foot.

 Check For Overcompensation

We all have a dominant or stronger side, and usually we need to drill more on that side to make things “even”- this is natural; it’s like being right or left handed. However, many of us favor our dominant sides…and let the stronger side do all the work! This leads to our bodies falling out of balance.

Once in a while, give your body the once-over and make sure that you are using both sides of your body fully.  If you aren’t, sometimes this might  be due to careless technique, but  it's more likely  that its a sign of weakness in a specific area. Especially if you have an old injury, you’ll notice that certain parts of your body- such as your spine, hips or leg muscles- are overcompensating in order to protect the injured   area.

 This is what usually leads to your body falling out of balance: some areas are really strong, while others remain much weaker.

 If you notice that you have spots that are fragile or not as strong as others, bite the bullet and get some professional training for strengthening and joint stabilization.

 Pilates has worked wonders for many dancers - including me! This form of exercise was designed for injury rehab as well as strengthening. But any sort of cross training can help you regain balance, just by using  muscles that you don’t use quite as often in your dancing. Try swimming, walking, running or Yoga-whatever-just take some time to cross train, you’ll be happy you did!

Finish Each Movement Fully

 Unfinished movements are common in baby dancers, who aren’t fully aware of their bodies in motion…but those of us with more experience are guilty of slightly sloppy too.  Sometimes we can tend to become too comfortable with ourselves and neglect to monitor our movements.

Check yourself for movement completion during drills in class or while you’re practicing at home.  Make sure you know exactly where each movement initiates and where it ends- even in fluid motions.

Check that your hip circles are actually circles, and not ovals, kidney bean shapes or open-ended- unless you are making it that way on purpose.

 Employ Muscular Resistance

 Give your movements more definition  and power by using muscular resistance. This requires strength and concentration at first, but will become second nature with practice.

Play with your muscular resistance when making full-body or limb-only movements, such as a languid sideways body wave or a utilizing a slow motion “dragging” effect with your arm pathways.

 For the legs, experiment with suspensions. A suspension is a long, slow lift, often made while rising up on the ball of the weighted foot. This looks great as a short pause at the beginning of a turn. Your weighted leg needs to be very strong and hyper-stable to achieve this effect.

You can also “punctuate” your hip technique by quickly tightening the muscles of your quads and glutes, or using the abdominal muscles for contractions and locks.

Open Your Chest For Beautiful Arm Work

  Standing with an uplifted, open chest with the shoulders held slightly back and down is an integral part of posture for almost any genre of dance.  It elongates the spine and makes the torso look long and lean, but it also really affects what your arms are doing.

 Keeping your ribcage elevated, imagine that all of your arm movements initiate from the sternum as opposed to your shoulders. This technique will make your arm paths gorgeous and defined. It adds an elegant quality to every movement your arms make, from floaty to angular.

 Use Your Head

  The angle of your head can really change the appearance of your movements.  Inclining your head towards or away from the audience will magnify the emotional intent of your dancing; using your head to spot while turning drastically changes your technique for the better, and following the paths of your arms with your entire head gives these movements a beautiful, finished quality.  Though it sounds crazy, don’t “forget” about your head while your body is in motion…and this goes double for your facial expressions!

USE YOUR HEAD: SOME POINTS ON SWORD DANCING

  Working with swords is one of my absolute   favorite things  about belly dancing...but I haven't taught sword  dancing in three years because of neck injuries due to a car accident. Next week,   I  begin  teaching a sword series in Los Angeles at  Dance Garden, and  I am soooo excited!

 I missed  dancing with my gorgeous scimitars a lot. As I got  my  sadly neglected swords out to practice with, I felt very happy, like I was revisiting an old and wonderful friendship.

 Dancers from all over the world  are always emailing me about   how to pick out a sword and where to find  the perfect sword for their style or experience level,  so here are some  points  to consider:

Finding the perfect sword for belly dancing can be a daunting task. This is especially true if you are about to purchase your first scimitar, or if you are shopping for a sword on the Internet, and don’t have the opportunity to try it out in person.

For someone who is just beginning to dance with scimitars , the best are those that are perfectly balanced, height-proportionate, and not really light but also not a big heavy weapon, because you may need to increase your strength and work up to that. Medium size well-balanced dance sabers are pretty inexpensive, so once you get used to working with them, if you want a flashy, heavier sword, it wouldn’t break your bank to buy one after a few months of getting used to your "starter" sword- and that way, you will always have a spare on hand.

You want a saber that'll stay on your head without rocking, and one that won't kill your neck and upper muscles until you build up the necessary stamina and strength. Also, durability figures in- you want it to stay balanced if- and when- it gets dropped, and believe me it will get dropped!

Your selection will depend on a few different factors: aesthetics and personal taste is important. One dancer might want a gleaming new-looking sword that shines under the stage lights, while another may desire a weapon that looks more rustic, like it’s an authentic antique. There are also many shapes and sizes of swords to choose from, ranging from those with relatively thin blades without much curve to blades that have a deadly, sharp curve and get thicker at the end, towards the tip. The way the hilt (handle) looks and feels is also a factor. Some swords have a very utilitarian, simple-looking hilt with a flat cross guard, others are highly decorated, and ranging from ornately carved rounded or pointed pommels to dragonhead motifs. I even have a sword whose handle features a cast-brass figure of a leaping jaguar chasing a rabbit. If your sword features a cupped cross guard and you are left-handed, make sure it fits your hand properly, or get an “ambidextrous” sword with a flat cross-guard.

Personally, I am not a fan of those flat swords, which look like they were cast in a mold. Yes, they are inexpensive, but I like my swords to look like real weapons, even if they were made specifically with dancing in mind. There are plenty available that look- and handle- much better than the cheap flat ones. A few months ago, I was  at a workshop in Germany and one of the students had a flat sword.... which literally broke in half  during the class!

Your  sword choice will also depend on your size. A larger sword might be too heavy or dwarf a smaller performer onstage, while a smaller, shorter sword might look comical on a taller, more statuesque dancer.

More importantly, your sword selection should be based on how experienced you are, as well as in the strength of the muscles in your neck, upper back, shoulders and arms. Remember, you are going to be balancing it on top of your head and will have to remain very stable while doing so, and that takes strength. You will also be arcing and swinging the sword while it’s held in your hand, and so it needs to be light enough for you to easily handle it.

Another factor is price: swords can range from about $25.00 to $500.00, depending on quality, size, whether the sabre is custom-made or antique...but don’t think you need to make a huge investment in order to get a decent sword.

There are many inexpensive options on the market today, so if you are a beginner and unsure of what to get, pick a slightly smaller, relatively affordable sword- you can always work your way up to a larger, heavier and more expensive one later.

All swords balance differently, depending on the weight of the blade, the heft and angle of the hilt-or in laymen’s terms, the handle area- which includes the cross-guard and pommel, which is the decorative bolt at the top of the handle. When buying a sword for dancing, pick one that stands up straight on it’s edge (the blade edge) and doesn’t flop over flat. There are many scimitar options on the market today which are made strictly for dancing and are balanced already, so you will not have a problem finding a sword that suits you and your unique needs.

When shopping for a sword in person, check it out and find the median balance point by testing the blade on the top of your wrist, then try it on your head. The balance point of the sword itself won’t be dead center; it will be more towards the sword’s handle. The optimum balance point on your head will be different depending on what type of sword you are using as well as what is easiest for you. For swords, my balance point is just in front of the center of my head- but everyone’s skull has a different shape. With some practice, you will find what is your most comfortable spot.

If you are shopping for a sword on the Internet, you obviously can’t try it, so find a reputable dealer, and don’t be afraid to ask questions if specifications aren’t listed on the item’s description. Ask about length, weight, and if it includes a scabbard. Also ask how it is shipped, what it will be packed in (it may get banged around on it’s way to you and potentially fall out of balance) and also about the company’s return or exchange policy!

Scimitars and swords that are either real military weapons or decorative items usually won’t balance properly. The souvenir swords are very light, and typically not constructed well- hello, they were made to be decorations! It would probably be much easier for a sword newbie to eschew these in favor of a sword made specifically for belly dance.

Legitimate military weaponry, whether antique or contemporary, may or may not balance- and know that they are often quite pricey. Some were made for actual battle, others for ceremony. Of course they look amazing, but know that if you decide to purchase one of these, you will undoubtedly be gambling: you will have to take it apart yourself, or have someone else do it for you, or at the very least tweak the hilt or pommel in order to get it to balance. Before swords were mass-produced for dancing, I used vintage military swords. I owned a Pakistani Army scimitar, which balanced perfectly when the entire hilt was inverted, but that made the ornate cross-guard sit upside down, so I really had to adjust the way I held the weapon itself. The other was an Afghani scimitar, which sadly never balanced at all but was gorgeous. The last one was a serious antique- a Persian Shamshir that was given to me as a birthday gift. It was stunningly beautiful- but weighed maybe ten or twelve pounds. Well, since it was my birthday, I made the mistake of unsheathing it after I’d ingested three or four margaritas. The blade, full of beautiful scrollwork, was oxidized to a dark color, and it looked very lethal. I immediately got the sense that this weapon had probably killed –or at least seriously wounded- someone, but that just made it all the more glamorous for me!

“Wow, just look at this,” I purred, holding the scimitar vertically in front of me, showing it off. I mentioned I’d heard that in the early Ottoman Empire, to test the sharpness of the scimitar’s blade, that soldiers used to toss a piece of silk up in the air, and when it landed on the blade, if the material effortlessly split in half, the sword was sharp enough for battle. With that, I joked that my present looked like it would definitely split silk.

“Look how sharp it is!” I cried, all full of tipsy bravado.

With that, I ran my index finger down the blade from the tip to the center. At first I didn’t understand why my birthday guests looked horrified, until I realized my finger was bleeding profusely, and my blood was dribbling lazily down the blade-the scimitar was so sharp I hadn’t even felt it open up my finger! There was a brief moment of uproar and some serious debating on whether or not a trip to the Emergency Room was in order. Upon secondary inspection, after I got cleaned up, the wound wasn’t deep enough for stitches, so I just put the sword away, turned the music up and had another cocktail!

That sword took a ton of sanding and scoring to dull the blade enough for me to use it…and even then, though I loved it, it was so heavy I only danced with it on very special occasions. I still own it, but sadly haven't used it in years.

Dropping your sword can throw it out of balance, as can bad storage. For travel to and from shows, I recommend a heavy, stiff sheath as opposed to a casing made of cloth material, because it will protect your saber better… but if you are going to be storing your sword for a long time, it would be wise to remove it from the scabbard and wrap it in cloth, then wrap the cloth in plastic. This will keep the sword straight and un-warped, and also protect it from the elements. For regular storage, when you are using the scimitar often, you can either get a weapon rack, or you can store your sword(s) flat on the floor or on a deep shelf. Most swords have stainless steel blades, so they will not tarnish easily, but anything made of metal can tarnish or oxidize. After each use, you should wipe the blade off with a soft cloth to remove fingerprints, sweat, perfume or any oils from your skin or scalp. Every so often, wipe the blade down with oil to keep it shiny- even if a blade is made of stainless steel, it still could get a bit rusty. Never use abrasive polishes on your sword!

As far as dancing goes, some performers prefer to balance a sword on a wrapped turban, others prefer a bare head, and some people use wigs or falls when doing sword work. There is no hard and fast rule; you should do whatever makes you feel comfortable. Personally, I like to feel the sword sitting right on my scalp, so I know exactly where it is at any given time.

Any way you choose, if the blade of the sword feels slippery on your head, you can “cheat” a little by rubbing a candle along the blade at the balance point, or roughing up the area by filing or scoring it with sandpaper. In a pinch, even spraying the balance point with hairspray so it becomes gummy will add a little traction. Some dancers glue a very thin strip of sandpaper along the edge at the balance point. This will not be visible from the stage but it does help to “catch” on your hair. Some types of swords come with grooves already cut into them at the balancing point- but I myself don’t find this helpful- usually the grooves are too wide for them to be able to work properly. And there are also dancers who don’t use anything, just a bare blade. Again, this is your choice.

And one last word to the wise: even if a sword was made specifically for dancing, it still has the potential to injure you. Remember to warm up completely before you work with your scimitar. If you feel it sliding while you are dancing, take a moment, remove the sword and replace it back to your original, comfortable balance point, and then proceed with your act.

 The main thing to remember when rehearsing or performing with swords is: SAFETY FIRST!

Here's a link which features many great dancing swords…tell them The Princess sent you!

http://www.bellydanceprops.com/scimitars.php

I have three instructional sword DVD’s featuring more hints, tips, tricks, instruction and costumed performances available on my website. You can find them here:

http://www.princessfarhana.com/video.htm

 If you happen to live in Southern California, here's a link to register for my Sizzling Sword Series  at Dance Garden  on Wednesday  Evenings, Feb. 6, 13, & 20, 2013  6:00-7:45pm  3407 Glendale Blvd, LA CA 90039

http://www.dancegardenla.com/events.html

SOME TIPS ON TIPPING

Even though Christmas is over, the  Holiday Season is still in full swing, and with New Year's Eve  coming up, I thought   now would be a good time to  talk tipping.

 Belly dance and tipping have been  thought  of together almost as much as peanut butter and jelly, and there are many traditions connected with tipping.

It is believed that the reason for coins on belly dance costumes stems from days of yore, when women would dance in public and receive coins from spectators which were later sewn onto their clothing, possibly as part of a marriage dowry.  Descriptions of this practice are documented in writing from travelers who visited the Middle East during the 17^th, 19th and 19^th centuries.  Early 20^th century photographs of the North African  Ouled Nail tribe document the women wearing elaborate coin headdresses above gowns   bedecked in coin decorations.  Known for their dancing (as well as prostitution) the images of the Ouled Nail still fascinate viewers, and their dress has also influenced modern belly dance costuming.

Tipping dancers at weddings is traditional in many cultures, and though the tips are showered upon the dancer, they often signify good luck and prosperity for the happy couple.

Contrary to popular belief, the practice of in-costume tipping seems to have originated in American nightclubs, during the latter half of the 20^th century.  In the Middle East, tipping a well-known dancer during a show at a better hotel is usually not done, and as far as I have seen, in Egypt, there is no custom of in-costume or body tipping there either. However, showering a dancer with money seems to be fairly commonplace at street weddings.

 When a dancer is working with musicians and singers and tips are littering the stage, the tips are usually divided in a three-way split: the dancer gets a third, the band gets a third and the last portion goes to the house. I’ve worked at some places where    the tips placed into a dancers’ costume were hers to keep, and the rest were divided between all the performers and the house.

Tipping is still a popular practice at belly dance shows, not just for monetary reasons but because the very act of tipping is a way for audiences to relate to the dancer, as well as show appreciation for her skills.

There are several ways to tip dancers, and they vary according to the venue, local laws, the ethnicity or culture of the patron, or the individual dancer’s preference.

TIPPING STYLES

 In-Costume Tipping

Though tips have always a large part of a working dancer’s income, some performers have a rather uneasy relationship with tipping. Sometimes this is because they associate  accepting tips with strippers or gentleman’s clubs, but more often than not it’s because they are uncomfortable accepting tips tucked into their costumes. 

 In-costume tipping is what most non- Arab audiences think of as the “standard” way to tip dancers, and it can definitely be done in a respectable fashion. Usually,  the most suitable location for a tip is  tucked into the side of the dancer’s belt, although many dancers accept tips in the straps of their   costumes. In general, tipping in intimate areas, such the front or rear center of the dancers belt, her cleavage or the cups of her bra is considered to be an invasion of personal space.  If someone is attempting to tip you in an area you are not comfortable with, just stay a little out of out of his or her reach, and when you come in to accept the tip, offer your hip instead. This little dodge usually works well-most  people don’t want to be disrespectful, they’re simply excited about the interaction.

 At the Armenian parties and clubs in Hollywood during the 1990’s, I got the impression that tipping the dancer was a way of the patrons to show their  status. One man would whip out a twenty-dollar bill,and flash it around to make sure everyone saw it before he put it in my belt.  His friend would do the same with a fifty-dollar bill, and  often the patron after that would take out a wad of seventy-five or a hundred ones and tuck them in all over my costume, before throwing the rest over my head- or slapping a bill directly onto my head, which leads us to:

 Body Tipping

 Some dancers refer to in-costume tipping as “body tipping”, but in my opinion, body tipping is a completely separate cultural practice.  This style of tipping is very popular among Greeks, Turks and Armenians and Israelis- but isn’t limited to people from those countries.

  Body tips  seem to occur most often  in mid-set, when the dancer is getting a little sweaty, because the tip is typically pressed or lightly tapped onto the center of the dancer’ forehead…though I’ve received similar body tips on my abdomen and arms.

Tipping dancers on the forehead is a custom, dating back to Ottoman Turkey.  The young female impersonators known as kochek dancers received their tips this way, only in those days, the tips were coins, not bills! In Turkish Romany   (gypsy) dances the dancer will often tap their forehead, and this gesture is understood to be a request for tip.

Money Showers

Money showers are an extravagant display as well as a way of tipping the dancer without actually touching her. Often, at Arabic restaurants and nightclubs, a waiter or a shill planted in the audience will start the money showers to get the crowd going.  Then, the patrons will continue, by taking a handful of money and “ raining” it down over the dancer’s head, flipping the bills down one by one, while she is performing.

Many Arabic nightclubs keep stacks of crisp dollar bills on hand for the purpose of money showers.  When a customer wants to tip the dancer, a singer or the band, they’ll hand the waiter the amount they wish to tip, or have it added onto their bill. The waiter steps up to the stage tip the performers,  throws a few bills into the air, then palms the rest of the bills  in a  fluttering "shower", raining  over the dancers head, then indicating where the money came from with a sweeping gesture.

In Los Angeles, at the Arab clubs where I worked   in the mid-90, there were so many Saudis giving money to the waiters to throw on the stage   that dancing actually became risky- it was like ice-skating on   money!

In the lower class cabarets of Cairo, I’ve noticed that there is almost always a stagehand whose sole job is to sweep up the tips from the stage and dance floor before depositing them into a locked box that is kept on the stage.

If you receive a money shower at a wedding or a private party, often a family member will pick up your tips and get them to you after your show.  Children seem to love this job, and will feel special collecting your tips from the floor and delivering them to you, so if there is nobody around to pick up after you, it is a good idea to pre-arrange   the duty with a couple of kids.

Passing The Hat…Or More Frequently, The Basket

This type of tipping is frequently seen at outdoor festivals, Renaissance Faires and street performances, but many dance troupes performing at indoor venues use this practice to good advantage.  When dancing in a group situation, it’s difficult to accept tips during choreographies, so   near the end of a set, many dancers leave their performance space to “pass the hat” among the crowd. Often, this is done to music and may include audience-participation dancing as well.

A showy and creative way   to do this without seeming like the dancers are begging is to have a couple of troupe members  or a soloist dance through the crowd with tipping baskets balanced on their headsor carrying tambourines into which the tips are placed. The audience seems to love the novelty and will happily part with cash…because it’s part of the show.

Tip Jars

Though this doesn’t happen too often, once in a while venues will have a large, visible tip jar set out for the dancers, either because the dancing is done on a raised stage, or in order to keep up a “family friendly” atmosphere and discourage body-tipping.

 Post-Show Gratuities

There are a few situations such as private parties or corporate events where tips are discouraged… but you may wind up getting tipped in the form of a post-show gratuity. Usually, this will be discussed with you in advance so you’ll know what to expect. In cases such as this, the dancer’s gratuity will be either be added onto her pay or handed to her separately in an envelope.

 Sometimes, whether tipping is condoned or not, audience members take it upon themselves to tip the dancer post-show, either by having a waiter deliver the tip, or by giving it to the dancer themselves.

 I used to work at a French Arabic club in Los Angeles where tipping the dancers was frowned upon.  A regular client came up to me after a show, complimented me on my performance and discreetly handed me a folded bill.  I thanked him and put it in my pocket. As I left the club, I transferred the tip to my wallet- and saw that it was a hundred dollar bill!

Creative Tipping

 At the many Lebanese and Armenian clubs that were around Los Angeles “back in the day”, people liked to get inventive with the way they tipped- it often became a   friendly  (and increasingly wild) competition to see which table could come up with the most ingenious way to tip…which of course, was terrific for us dancers.

  I’d get a lot of   bills folded up into shapes like Origami, ( dragons, bow-ties, flowers) but some patrons even brought their own staplers to the clubs!   I was constantly draped in stapled-together money necklaces, bracelets, cross-body bandoliers, headbands and belts of money that customers would literally staple around my hips. If ever I took my zills off and set them down during my set, there’d always be dollars slipped through all the elastics!  Those people were crazy and rowdy and fun, but always respectful.  

Non-Monetary Tips 

Tips don’t always come in the form of cash.  Some venues feel it’s “low class” for their customers to be handling cash, flinging money at the stage or tucking bills into a dancer’s costume.  I often worked at a Greek club in Hollywood where they had a flower lady who sold customers baskets of carnations to throw at the stage. The club would keep track of how many baskets were sold during each dancer’s show, and at the end of the night the band and the dancers would split the monetary equivalent of the flower baskets that had been sold.  It was always good money, but I hated feeling the carnations squishing under my bare feet!  

There are also audience members who just get carried away in the moment, and leave quite unusual tips. Once in Switzerland, a woman tipped me a gorgeous antique ring right off her finger.  I tried to give it back after the show and she wouldn’t let me.  I have received numerous bouquets of flowers sent to my dressing room or the venue where I was appearing.  I’ve also gotten tickets to events, retail gift cards, and currency from foreign lands. And of course, what working dancer hasn’t gotten a business card with “call me” furtively scrawled on it…can’t blame a guy for trying, right?

 The most extravagant tip I’ve ever received was from a regular at a Los Angeles club where I used  to perform. After my show, he handed me an expensive-looking leather jewelry box.  I politely refused it, explaining I had a boyfriend and wasn’t interested in a relationship, but he insisted over and over that I keep it, so I thanked him politely and left.   At home, I opened the box and inside was pair of   solid 22-karat gold earrings, with a lotus at the earlobe, and large dangling sphinx heads!

TIPPING AND CROWD CONTROL

Over the years, I learned how to master the art of crowd control. Before I started dancing professionally, I avidly watched many seasoned dancers working. I studied the way they handled crowds, watched their interactions with their audiences, the way they accepted tips and the way they handled rowdy customers. I noticed that the dancers never picked up their tips from the floor, and learned that it was considered a big, tacky faux pas to do so!

Most clubs and restaurants have a system in place where an employee, such as the manager or a waiter, will pick up the dancer’s tips and bring them to her dressing room after the show. If tips fall from your costume and a customer notices, they’ll sometimes let you know.  In this case, I either assure them the waiter will get it for me or ask if they wouldn’t mind retrieving it.

Dancers always appreciate a lively, demonstrative crowd, and it’s our job to get the audience riled up and festive. Don’t be afraid  to make direct eye contact with your audience members- it’s the surest way to make them feel  connected to you- and to get them to tip you! 

 By using gestures alone, you can have the entire crowd clapping along to the music, or get them to be silent during a quiet part of your set.  If you want to break the ice with a tough crowd, the best way to do it is to call a child up to dance with you- they’ll almost always jump at the chance, it’s cute and people love a good photo op.  If there are no kids around, select a pretty, vivacious-looking woman, and pretty soon her friends will join in.   If someone you’ve gotten up to dance overstays their welcome, just  “present” them to the crowd, and get them all to applaud- everyone will understand the idea that their dancin’ machine friend is now taking a bow, and should return to their seat.

Once in a while, things can get a little out of hand, especially if the venue serves alcohol. If anyone does  anything during your show that’s pushing your personal boundaries, interfering with your comfort-zone, being disruptive or seems dangerously intoxicated, either enlist the service of the nearest waiter or remove yourself from the situation right away and report it to the management!

Inevitably, you’ll encounter some show off that’ll offer you a  tip… held in his teeth.   I’ve found that the best way to handle this is   with humor and pantomime.  I’ll either pat the guy on the head as though he was a dog  with a bone in his mouth, or gaze directly at another member of his party, point at the offender and pull a comical face that silently asks  “What’s he doing?”  Usually, someone will make him stop- or they’ll grab the money and tip you properly!

 Many audiences are unsure of tipping protocol,  and don't want to  offend  the dancer or  do something impolite. There are  a few discreet ways to let them know that tipping is OK. Often, dancers will seed their belts with hidden a bill or two (which can be prudently revealed mid-set) giving the audience the idea that tipping is acceptable. Another way to do this is to have the servers help you out before you go on by courteously asking patrons if anyone needs change to tip the dancer.

Whenever you get tipped, make sure to thank the person who tipped you, either verbally or  with a nod of thanks and a  smile.

 

Tipping is a way for the audience to tell you how much your performance meant to them.  It’s our job as dancers to transport the audience, and by receiving their tips graciously, you can also take satisfaction in knowing that you have done your job… and done it well.

BELLY DANCE TRAVEL AND TOURISM-STAYING SAFE & SANE: PART FOUR

 This is Part Four in a four-part series on belly dance travel and tourism. Even with the  social unrest in the Middle East and North Africa, many dancers are eager  to  travel to research, study and immerse themselves in  Oriental Dance.  If you're armed with  some knowledge about the places you'll be visiting  and  know what to expect  before and during your trip, you'll have a much better time.

 In this series, I'll cover everything from  keeping healthy and staying safe abroad to buying costumes; from cultural and social differences  to  breezing through security at  airports; from  communicating socially to haggling for a bargain.  

I learned all this stuff the hard way… but you won’t have to!

Cultural Differences And Culture Shock

While the countries you are visiting may be fascinating in terms of the museums, ancient sites, and the dancing you will see and learn, bear in mind that many of these places are underdeveloped compared to America and Europe. You may find yourself actually disoriented because it is so different from what your are used to…or what you expected it to be like.  Lack of sleep due to jet lag can also make you crabby or overly emotional, which can sometimes make these disparities magnified.  This is known as culture shock.

The best way to reduce your own culture shock is to inform yourself by finding out as much as you can about a country before visiting it, and to realize consciously that you must be patient, understanding, and open to a new way of life...at least temporarily!

 I don’t mean to scare you or burst your bubble, but extreme poverty is rampant in many of the places you’ll be visiting. It’s definitely not all white sand, alabaster temples and pristine ruins.  Undoubtedly, you will see things that will disturb you such as ragged children playing in the dirt or horribly crippled beggars.  It is also not at all uncommon to see many sick stray animals or to witness animal abuse (such as horses, donkeys or camels being whipped) on the streets, either.

 I remember being very upset pretty frequently on my first couple of trips to Egypt; when I saw things like this, it made me feel awful and helpless.  But you have to try to process through this, and take an almost detached, anthropological view of things, or it will completely ruin your trip.

 I always give spare coins, pens, and cartoon stickers from the USA to kids, and food  (stolen from the buffets my hotel!) to the beggars. I also save buffet scraps for the dogs and cats on the street. That’s about all you can do when you are there. If you are still thinking about this when you get home, you can become involved in donating to a charity or foundation, or putting on a fund-raiser or something like that.  And once you are home, you will also realize how lucky you are and how good you have it!

Some other less troubling cultural differences you might notice are that in public  or on the street: the concept of personal space and physical boundaries are quite dissimilar to what you are used to.  It may be frustrating to you that the signs are not always printed in your own language, and there may not be a number of conveniences you take for granted at home.  Also, the general pace of things will be much slower than what we are used to in the West, and that may start to annoy you.

You will probably find that the service in restaurants and even government offices are incredibly methodical and sluggish, this is also a cultural difference. Many of the   merchants at the bazaars are brazen, unrelenting and often downright obnoxious; again this is typical in the Middle East and North Africa. Tourism is big business, there are endless shops selling the same trinkets, and even if you think you are poor, you’re very wealthy compared to most of the locals.

  The best thing to do if you are not interested in shopping is simply to not engage with the shop keepers -in any way. Even looking at merchandise the way you would at home can be a signal that you are ready to purchase an item, which will lead to the afore-mentioned lengthy (and expected) process of bargaining. While you are getting antsy, wishing you could just cut to the chase already, the merchant probably will not notice your impatience, since this type bargaining scenario is commonplace!

 A significant difference in the countries you are likely to visit are the customs involving social  interactions between the sexes.

 In Muslim countries, women have rigidly defined roles, and each country differs depending upon what degree Sharia law is practiced. For example, if you are traveling with a male companion, don’t be surprised if people you meet speak only to him and ignore you! It’s almost automatically assumed that any man you are with is your husband or a family member, not your platonic pal from back home.

  Make sure to keep your interactions with men- even hotel employees, customs agents, merchants or waiters- on the polite, conservative side.  What you see as friendly social behavior might be construed as embarrassing, inappropriately familiar or even a sexual

come-on, which leads us to:

 The B-Word

 The B-Word stands for Belly Dance.

In the West, most dancers who have never visited these places have no idea how belly dancers are perceived in Muslim counties. While we all struggle to keep the dance “decent” and  “cultural”, in many of the nations that brought us this beautiful art form, belly dancers- no matter how well-loved or how famous they are- are regarded as little more than prostitutes.

 I know this may seem impossible to digest, but it’s true. And while I am mentioning this, I might as well add this controversial statement: since religious conservatism has been so sharply on the rise in the Middle East and North Africa, whether you are a dancer or not, the very fact that you are not Muslim - and not covered up modestly -will also make you appear “suspect”. Sure, there are exceptions, but it’s better to err on the side of caution.

 Unless you are at a belly dance festival, when you are in public, for your own protection, dress conservatively and please don’t ever let people know you are a dancer!

 Personal Safety

While North African and the Middle East used to be among the safest destinations in the world, sadly this isn’t true anymore.

Many of the major cities have almost exactly the same type of crime problems as comparable places in the USA or Europe. Because of this, you may wish to register with your embassy prior to or upon your arrival. Also, in some countries, you may have to register your electronic devices at the airport, to ensure they are not intended as black market items!

While traveling, use the same common sense that you would use in any large city or urban area!

 Leave your expensive jewelry back at home, and keep any valuables you’ve taken with you, including your money and passport, in the hotel safe or on your person at all times.  Keep a separate record of your passport and credit card numbers in case you need to have them replaced; make sure you know the phone numbers for your embassy as well as the international numbers for lost or stolen credit cards. Don’t flash your cash or leave expensive cameras lying around unattended, even at hotels or cafes in tourist areas.

 Be aware of your surroundings. Keep your purse close; motorbike muggings have been on the rise. After dark, go out in pairs or groups, never alone- and this includes taking taxis that you hail on the street! Always use the “safer” cabs that are from large companies, do not get into any  independent taxi cabs.

 Have the front desk at your hotel write out the address in Arabic, so you can show it to cab drivers and they’ll know where to take you.  Negotiate a price for your cab trips before you get into the taxi- many don’t have meters! Keep the phone number of your residence, hostel or hotel with you at all time, in case you get lost.

Since the  Arab spring of 2011, things have been changing rapidly in North Africa and The Middle East.    Sexual harassment, especially on the street, has escalated alarmingly.  Not so very long ago,  the most female  tourists received was blatant staring, but  that is not the case any more. "Accidental" encounters  like brushing and groping  are happening more and more frequently.

The sad truth is that sexual harassment-especially on the street-  is a major problem  for   foreign or native women in Egypt.  It doesn’t matter whether you are full covered or not, it’s rampant. Dress modestly and keep a low profile. Blondes and redheads will definitely receive more attention on the streets, no matter what   sort of clothes they wear. Be prepared for this and take it with a grain of salt, don’t let any unwanted attention-or even good-natured flirtation- get to you.  Earlier I said it was not usually necessary to cover your hair, but you may want to consider it if you’re getting a lot of “interest” on the street!

  In case some sort of unwanted physical contact  happens to you, do not be afraid to  make a scene!   Make sure to  be as loud as you can,  there is no such thing  as  “over reacting”. Once you do and the situation has escalated,  anyone near you  will be highly likely to rush to your aid.

 Tourism has always been Egypt’s “main export”, and  that goes  double since  The  Revolution- tourism has dropped considerably, and everyone  working in the tourism industry  is aware  of  the economic impact  because of this. Call the  police  and make a report if necessary.

 I will say it again- NEVER go out alone after dark!

    That being said  one of the great things about travel is the people you meet. Make new friends with the locals or other tourists, but be wary of completely trusting anyone right off the bat.  Use your street smarts, character assessment  and  judgment.   Have fun, but  weigh the situation  mentally before accepting any offers of a place to visit or stay with your newfound acquaintances.

  Do not accept drugs from anyone. Don’t accept cocktails-or any drink, for that matter (which might be drugged) unless they come directly from the bar.

 If you feel unsafe at any time, remove yourself from that situation immediately!

 Make sure to ask permission before taking a photo or video of any locals or people you do not know.

  Never take photos of anything related to the military or national security; it’s usually against the law!

This includes some monuments, government buildings, police officers, soldiers, and any police or military vehicles, border crossings and the like. When in doubt, ask before you shoot.

 Make sure you communicate regularly with your family and friends at home, and let them know your whereabouts, especially if you are visiting multiple destinations.

 Be a savvy traveler and you’ll have a fantastic time…Bon Voyage!