Tuesday, May 22, 2012

DANCERS BACKSTAGE RITUALS PART ELEVEN: LEILA FARID OF CAIRO




Leila Farid is a force of nature.

She’s one of the most popular belly dancers working in Cairo today… and not just to audiences, but also to those in the biz, who are taken with her exquisite technique, elegant appearance and easy-going professional demeanor.

A long, lean dancing machine, the gorgeous American ex-patriot has resided in Cairo for years. She got her dance license in 2002 and performed at the Sherton, The Pyramisa, the Nile Phaoron, and many other hotes. Currently, she performs regularly on The Nile Maxim, as well as at concerts, weddings, and cruises, and most of the other and in music videos with superstars like Hakim, Waleed Toufiq, Ahmed Fathi, and many others. She also tours from time to time, performing and teaching workshops all over the world.

Leila is the founder of the belly dance and live music retreat, Camp Negum, has starred in three instructional/performance DVDs, and produced four hugely popular CDs of incredible Egyptian music featuring her famous husband, Safaa Farid, and his band.

In addition to her dancing, she’s also well-known throughout the Middle East as an actress and model, having appeared in numerous films, commercials, and on the cover of every fashion magazine in Egypt.

In her “spare time”, she writes extremely articulate and candid, well-thought out articles about her fascinating life in Egypt, which have appeared in a number of belly dance publications, including www.gildedserpent.com and Zaghareet Magazine.

True to her American heritage, she’s a really fun and a hip chick, as well as being a great dancer and business woman, and an all-around smart cookie. In fact, while we were corresponding about this article, she mentioned that she was currently absorbed in a huge book on the Civil War- as in Yankees and Confederates,-not the Egyptian Revolution!

But while she’s on stage, she’s all Egyptian… last year at the Mena House in Cairo, Leila closed the Ahlan Wa Sahlan Closing Gala with a set that was so beautiful and powerful, I just had to get her to spill the beans on how she prepares for her show.

Here, in her own words, is what she does backstage:

“ I feel like I can get ready for a show with my eyes closed. I’ve been in Egypt now for nine years and have worked between five and seven days a week for most of those years , the only exceptions being during the ban on foreign dancers in 2004, when I was pregnant, and during the Revolution when it was not possible to work.

I have a definite routine developed over the years with my hair and make-up that I rarely vary. Some dancers in Egypt have make-up artists and hairdressers with them all the time. I don’t. I’ve been lucky to have had most of the top make-up artists in Cairo do my face on different shoots and I’ve learned so much from them.

I am a very sweaty dancer so I have to put my make-up on in specific layers so that I won’t end up with raccoon eyes at the end of the first number. They taught me how to create nice Oriental make-up that stays on under hot cinema or stage lights. I also prefer to do my own hair and leave it as natural as possible so it isn’t trashed by daily hairdressing. Hair and makeup take about an hour.

One of the best things about working in Egypt is never having to schlep anything yourself. I have three technicians that go with me to all my work and prepare everything before the show. I have a driver who carries all the bags to the car.

When I arrive at the hotel or boat there is another technician who has already discussed where the dressing room is and has ok’d it (clean, no cameras, near the stage) and also carries the bags to the dressing room.

He is also in charge of dealing with any props for me and the folklore dancers. Both of these techs also lead me to the stage and stand near it (sometimes people are dancing so closely at a weddings that the techs need to go in and fish me out) but mostly they are waiting until I finish the number to help me find the dressing room so I can change my costume.

If you do enough weddings in a night, in big enough halls, you can completely forget where the dressing room ( that you came out of fifteen minutes before) is!

The third tech is the woman in the room with me that arranges all my costumes and accessories, and helps me change. Two of these technicians have been with me since the beginning of my career and they are like family. If they are absent it feels like the show can’t go as normal.

When I arrive, my dresser has already laid out all my make-up and costumes. I check my hair and make-up, do a few warm-up stretches and wait. I don’t change into my costume until I hear the overture or until a technician tells me the music has started. I can change quickly. Egyptian costumes are not very comfortable with everything buttressed up so I spend as little time in them as possible.

When I’m dancing outside of Egypt, I try and keep my routine as close as normal as I can (doing everything myself). Sometimes I get nervous when I dance outside Egypt, especially on a theater stage (yikes), so having my daily pre-show routine helps keep me calm.”

###

You can purchase some of Leila-and Safaa’s - amazing Egyptian belly dance music here:

Tarab

Sukara

Helwa

Leila’s website: www.leilainegypt.com

PHOTOS: Leila portraits by Rudi Piero; Leila live at Ahlan Wa Sahlan 2011 by Andre Elbing

Sunday, May 20, 2012

THINGS YOU NEED TO KNOW BEFORE BOOKING A SHOW

A couple of the most frequently asked questions I get from students are "How do I turn professional?" as well as "How do I go about booking paying gigs?"

Negotiating gigs is a topic that will never get stale! This article is a re-post from December 2009, but the information is still pertinent now.

If you are on the threshold of becoming a working professional dancer, then without a doubt, you’ve been sweating in group and private classes, practicing your butt off at home, dancing with a student troupe and in dance show cases, honing your technique and stage presence… and you just bought a fabulous new costume.

Well, congratulations, girl, sounds like you’re about ready to go pro- all you need is a gig! Now might be the time for you to start working.

Exactly what do professional dancers know that you don’t? Well, for one thing, they know how to book shows.

Whether you’re donating your dancing to a charity event, performing at a private party or auditioning for a restaurant or club job, there’s “technique” involved before you hit the stage as well. The following information will help you book a gig like a seasoned pro… help you to determine the WHO, WHAT,WHERE, WHEN and HOW of your gig.

WHAT TYPE OF EVENT IS IT ?
Private party, wedding, birthday, corporate show, Arabic club, holiday festival…etc. Make sure to find out exactly what your gig will be, so you can costume yourself appropriately and plan a set of songs that will reflect the mood.

WHO IS HIRING YOU?
Club owner, bride or groom, a deejay, caterer, event planner…???

WHERE
How far is the event from your house, as well as whether the event is being held at a residence, restaurant, banquet hall, outdoor festival, etc.)
And "where" also includes your performance area; Is there a full theatrical stage, raised stage, dance floor, living room, patio or through a banquet hall, around the tables?

WHEN
Get specific performance times, and let them know that you are flexible, but cannot stay at the event for hours at their discretion

SOUND
Will there be a sound system w/ a deejay? Will you be using a CD or an iPod? Will there be other performers? Do they expect you to dance to a live band? If so- can you rehearse or do a tech check?

NEGOTIATING PAY
Depending on where, when and how long you will be dancing, state your rate, and negotiate your salary. It will behoove you to find out everything possible about the gig before stating a price- if the client asks my price outright, I stall around by blithely asking questions until I get more details...which makes it easier to come up with a price depending on what kind of an event it is! Keep all your prices in mind, or have it all written on a piece of paper that you can refer to when on the phone with a prospective client.
My friend Samira Sharuk, who is not only a lovely dancer, but a shrewd stickler on business issues, keeps an on-going log of regional rates on her website. See it here: www.samirashuruk.com/belly-dance-rates-by-region/

DO NOT
Undercut the “going rate”.
If you are not sure what the going rate is in your area, ask another local working dancer, or dance instructor. Start your price a little high, many people expect bit of bargaining. If you undercut the going rate in your area, you are literally depriving professional performers their livelihood.

Figure out if it is a tipping situation or not, this will affect the base pay you ask for… and also ask the host or person who hired you if they would like you to stay within your performance area, or if it is fine to dance among the seated guests. Some people consider this acceptable, others think it’s tacky.

DO NOT
Ask the person hiring you how much they wanted to spend on a dancer until you have stated your price. Everybody wants a “deal”, and will give you a lower figure. Know that it is fairly standard to charge not just for the party or gig, but the length of time it takes to get you there- think twice about accepting a gig that is far from your home base, unless you know it will be worth your time. And know that pretty much anywhere in the world, the “going rate” for New Years is triple whatever you would regularly charge.

GET DIRECTIONS
If you can’t get directions from the host, call the venue. If you can’t get in touch with the venue, look up the address and driving directions on the internet or via your GPS or on your phone.

GET CONTACT NUMBERS
Get both a cell-phone number as well as the number of the venue itself.

RE-CONFIRM YOUR PERFORMANCE
At least a week before the show, as well as the day before.

GET A CONTRACT AND DEPOSIT
These days, PayPal makes this part so much easier. Set up a PayPal account if you don’t have one already.

DO NOT FEEL “WEIRD” BRINGING ALONG A FRIEND- PREFERABLY MALE
Any decent people in this day and age will perfectly understand the concept of personal safety. If you are going into a stranger's house to perform, do not go alone, no matter who hired you...because you just never know what might happen! if anyone asks who the guy with is, tell them it is your "driver". However, it is totally inappropriate for you to be hanging all over your driver ! Be professional!

IF YOU FEEL UNSAFE AT ANY TIME, REMOVE YOURSELF FROM THE SITUATION IMMEDIATELY.
That's it, that's all. Don't even question yourself- trust your instincts!

SHOW UP ON TIME, READY TO GO
Arrive fully made up, and if it’s a private gig with no dressing room, arrive fully costumed with a cover-up.

FIND A SECURE PLACE TO KEEP YOUR BELONGINGS
This could be anything from a locked dressing room or office, to a cubby-hole behind the bar or a concierge desk at a hotel or banquet hall. Even if you have to change in the Ladies Room ( and this is a common “dressing room” , believe me) ...or have your "driver" watch them while you perform.

DO NOT
... leave your personal things- purse, costumes, etc. unattended!

LEAVE IMMEDIATELY AFTER YOU PERFORM AND GET PAID
No hanging around, you are an entertainer, not a guest.

BE GRACIOUS, CHEERFUL AND POLITE
... but firmly refuse anything you do not want to do…like perform a second time for free!

HAVE FUN AND YOUR AUDIENCE WILL, TOO!
Need I say more?

Food for thought: If you act like a professional dancer, you will be treated like one!

Tuesday, May 15, 2012

ON BEING A GRACEFUL PERFORMER



Monday’s Child is fair of face, Tuesday’s Child is full of grace…

Since this is a Tuesday, let’s talk about how graceful you are as a performer- and I’m not referring to how well you move onstage, I’m talking about how you comport yourself.

Part of the Webster’s Dictionary definition of grace includes this phrase: "An easy elegance of manners".

In addition to showing up on time for your gigs, being quiet in the dressing room or in the audience while others are on stage, getting your promotional material, photos and music in to a producer by the deadline for which they’re needed, there is one thing many performers either forget, or do not know…and that’s how to gracefully- and graciously -accept a compliment!

What happens when you get complimented on a performance? How do you handle it?

Someone- your teacher, a friend, the star of the show, or a random stranger seeks you out after your performance, and tells you how much they enjoyed it…what do you do, how do you react?

If you are like many people, the compliment falls on deaf ears- YOURS!

The moment that someone tells you they liked something about your show, whether it’s your technique, stage presence, costume- all of that or anything else- is not the time to unleash your insecurities and point out how many things you did wrong.

If an audience member takes the time to seek you out and compliment you, you can bet it’s sincere! Why would they do it otherwise?

They obviously didn’t notice-or care- that you:

Missed sixteen counts of choreography at the end of the second chorus

Tripped as you entered

Didn’t hold a pose long enough

Slid on your veil

Had dry mouth the whole time you were dancing

Couldn’t get that damn glove off on time

Forgot that same part you always do in every rehearsal

Got your earring stuck on a strap

Sneezed when you’re turned your back

Borrowed your costume and it didn’t feel right

Felt so nervous you were hyperventilating before you went on

(Fill In The Blank with your own unique mishap)

And they certainly don’t need to know any of this either! This is for you and you alone to know, and for you to to work on and perfect in the future.

When someone pays you a compliment on your performance, simply smile warmly and thank them… even if you think that you weren’t working to the best of your abilities, or that your entire show sucked!

Evidently, that individual enjoyed your performance or it moved them somehow, otherwise they wouldn't have bothered to take the time to tell you. And since they are being enthusiastic about letting you know this, don’t make them feel like an idiot for saying they liked your show!

So even if you don’t think you had a particularly good show, the professional thing to do when complimented by an audience member is to accept it- graciously. If you don’t agree with the compliment, then just consider this moment a part of your performance!

Otherwise, you are basically telling the person who complimented you that they have horrible taste…and how rude is that?

Sunday, May 13, 2012

FUN WITH KEYWORDS PART TEN



Key Words are the words or phrases people type into search engines that direct them to various websites. Aside from the obvious (“belly dance”, “showgirl”, “costumes”, “stage make up” etc.) I always get a kick at the random and often completely deranged and ridiculous things people search for… which somehow directs them to my blog!

Here’s the best of the latest crop of keyword searches, all exactly as they appear in my blog stats. Enjoy!

EYE VIEW OF YOUR TUMMY

SHOWGIRLS IN PET SHOP

ANKLE BRACELET BELLY DANCE FACTORING

LONG BELLY BARS

INDIA PORN STAR REMOVE UNDERWARES PANTY IN BATHROOMS

METAL MOTORCYCLE STOCKINGS

“TEENAGE MILKMAID”

TIGHT SHIRT MAN BELLY

GLITTER OBRAZKI

RETRO TUBE SEX ANIMAL

SCARECROW SYMBOL DANCE

….And an honorable mention “OCD” Over-Achievement , Over- The Top Award goes to the insane individual who typed in FORTY SIX searches , in one day, during a period spanning about three hours looking for:

ZOE JAKES BOYFRIEND

….and not only that, this isn’t the first time this same person has searched for that! Seriously, dude… get a grip!


Photo: Zoe Jakes ( sans boyfriend) by Sequoia Emmanuel

Thursday, May 10, 2012

DANCING THROUGH THE PAIN







All dancers are concerned with their overall technique and stage presence, and aside from that, many are also obsessed with their age, weight and looks. For professional dancers, this is normal. Older dancers are often worried about “aging out” of their youth-oriented profession, and physical appearance is an obsession with even young, slim and gorgeous dancers. But in the dance community as a whole, any sort of injury or physical limitation is really the big elephant in the room. Everyone knows it is there, but nobody really addresses it since dance is not just an art, but a physical activity.

Essentially, dancers are athletes… but unlike other professional athletes, most dancers do not have a large commercial enterprise behind them, and therefore, do not have the advantage of having a team of highly trained healthcare professionals at their disposal. keeping them healthy, functional and pain free.

Dancers in general have a higher than usual tolerance for pain- ask any dancer about this and they will tell you that repetitive stress injuries or routine complaints like strained muscles, sprains, tendonitis, shin splints and the like have not kept them sidelined. The show, after all, must go on!

Because this profession has such a short life span compared to other artistic disciplines, and because dancing professionally- in any genre- is so competitive, there are some pro dancers who work while seriously injured, rather than admitting their infirmity openly and facing the very real possibility that if their health issues became general knowledge, they might lose their livelihood. For other performers, the need to dance is so unbelievable strong that in spite of chronic pain or any sort of ailments, they need to dance to stay sane.

This article is the first in a series I’m doing on about dancers working through physical limitations. It is my hope that these articles will help other dancers -or civilians- that may be going through similar experiences.The focus of this article is on professional dancers with Fibromyalgia.

For those unfamiliar with this disease, Fibromyalgia affects millions of people, with the overwhelming majority being women. Doctors are still confounded by this complex and multi-symptomatic malady, and often it is extremely difficult to diagnose. It often manifests suddenly after a physical trauma such as a car accident, surgery, or major illness, but in other cases, the symptoms gradually accumulate over time with no single event triggering the onset.

The most obvious hallmarks of this “invisible” disease (sufferers often appear to be completely healthy) are chronic widespread musculo- skeletal pain and debilitating fatigue due to disordered sleep. Research suggests that Fibromyalgia causes this pervasive pain, hyper-sensitivity little or no sleep because the way that the neurotransmitters which processes pain signals in the brain has gone, for lack of a better word, haywire.

Many FM sufferers also have at least some of the following: tension headaches and migraines, TMJ (jaw and facial tenderness) sensitivity to sound and light, irritable bowel syndrome, sleep apnea, systemic candidaisis, cognitive and memory problems, numbness and tingling in extremities, digestive problems and nausea, endometriosis and painful periods. There’s also a whole boatload of other really fun symptoms, too.

Not surprisingly, anxiety and depression are common in Fibromyalgics… but who wouldn’t have either of those after suffering with the all the rest of those symptoms?

May 12, 2012 is Fibromyalgia Awareness Day…. and it also happens to be World Belly Dance Day. Because of this crazy coincidence, I decided it was time to come out of the closet: I have Fibromyalgia.

I was diagnosed in 2010, a year and change after I sustained a severe whiplash and multiple herniated discs in my spine from an auto accident. An SUV plowed into my car when I was at a full stop, and the impact on my vehicle was so intense that my glasses flew off my head and two cases of liter-sized water bottles literally jumped off the back seat. I actually thought there had been an explosion in the nearby high rise building!

Aside from being sore all over, my neck and back were way beyond being “ all jacked up” and I began having constant headaches that were so intense that they made me vomit. I began treatment immediately, from a conventional doctor and a chiropractor, went through MRI’s, X-Rays, two courses of physical therapy, and had regular massages and acupuncture. There was a bit of improvement initially, and then my recovery hit a plateau. Still in pain at a time when most people are judged to be recovered, I eventually got the go-ahead to get back to my dancing from both my doctors.

Nine months later, I was exhausted all the time, and still in constant pain, but it had somehow morphed into worse pain than I had ever experienced from any previous injury, or from the car accident itself. At first I attributed this malaise to my hectic performing and teaching schedule and jet lag. I thought I was being a baby and I reminded myself regretfully that I was no longer twenty…. or even thirty five!

Pretty soon it became clear that something was definitely wrong with me, but I couldn’t figure out what. Every day I felt like I was ninety years old, stiff and sore; I had pain when I hadn't even worked or exerted myself, and sometimes I actually couldn’t access my usually very extensive vocabulary! Though it had always been extremely easy to convince myself that I actually needed another costume, I was having a really hard time convincing myself that “old age” had seemed to come on so alarmingly quickly and thoroughly. When my hair started coming out in clumps, I began to get really freaked out. So on a mid-summer break in my schedule, I went to my general practitioner to see what the hell was up.

“ I feel like total crap all the time…. I can’t sleep, everything hurts. and now my hair is shedding … Test it all!” I barked to the doctor,

“Is it my thyroid, am I anemic, is it lupus, adrenal burnout, hypoglycemia, mononucleosis, diabetes, tuberculosis , a vitamin deficiency, am I in menopause? ”

Nothing is wrong with you, the doc said. Apparently, I was as healthy as the proverbial horse, and he added that I was not only absolutely fine, but also in great shape! How can you dispute a barrage of medical tests that prove you're "normal"? I decided to tough it out, suck it up and manage as best as I could.

Six months later, on a holiday break from dancing, I was still feeling like ten pounds of shit in a five pound sack, and in order to avoid getting addicted to painkillers, had been taking so much aspirin and ibuprophen- just to function- that my mouth now had an odd, toxic, metallic taste. I stopped the drugs immediately, and then actually went through withdrawal symptoms! The last straw was the day I woke up feeling like someone had clubbed my elbows with a baseball bat, they were swollen and hot, and hurt like hell. My hands were numb, I could barely move my arms, and it was difficult picking up my purse, let alone driving to the doctor’s office.

This time, after more blood tests, examining my arms, and poking me in my chest, back, and legs, the doctor told me he believed I had Fibromyalgia, and sent me directly to a rheumatologist.

Bingo!

I began doing research to find out as much as I could. Everything I read on the subject described exactly what I was going through. Some people close to me mentioned that maybe I should start considering a different career, that maybe this was a sign I should quit dancing. I was really scared, but vowed that this disease wouldn’t get the best of me. There was no way in hell I was going to stop dancing!

The standard advice for Fibro patients seemed to be eat healthy, and try getting a lot of sleep and even a just a little exercise. Since I was already eating clean, taking supplements, resting as much as I could and dancing for hours a day, I was kind of disgusted, and deciding I needed some firsthand advice, I joined some online support groups to see what other people with FM had to say.

While I was relieved to know I wasn’t aging prematurely, and that there was actually a valid reason for my body aches and exhaustion, I was absolutely horrified at what I saw in the chat rooms! The people in the forums were in such severe pain that they couldn’t get out of bed in the morning; some had lost their jobs, some were having a hard time taking care of their kids or even doing every day tasks like laundry or shopping…many seemed to have simply given up hope. I got scared.

Knowing that everyone has different experiences of pain and that no two bodies are the same, with some trepidation, I posted on the forums asking if anyone there was a professional dancer or athlete. Crickets. I posted again, and again, and still nothing. It was unbelievable. I got even more scared at that point. Was this what I had to look forward to?

I didn’t want to become a hopeless case like many of the support group people, and I certainly wasn’t going to let on to anyone in the dance community that I was not “just” injured, but diagnosed with an incurable disease!

Isolated and alone, I was definitely starting to see really quickly how depression could play into all of this…until I found Jolie Roberson, Saahira Ruhi and Kamala Almanzar. These strong, talented and amazing women are all professional belly dancers, and have all had Fibromyalgia for years. They all teach multiple classes, and/or are dance studio owners, and they travel for workshops. Uniformly, they’re a perfect example of the old adage “Where there’s a will there’s a way” and they all prove without a doubt that anything is possible.

I hope their stories are as inspiring to you as they are to me!

Jolie was my sole lifeline at first- the only other dancer I’d heard of who had FM. A mutual friend told me to call her, and when I did, out of the blue, she graciously stayed on the phone with me for over an hour, patiently answering all my questions, listening to me venting my frustrations and fears, and helping me become acclimated as a terrified FM newbie. Since then, we have become friends.

A lifelong, classically trained dancer, Jolie Roberson is absolutely gorgeous- lithe and supple, with huge aquamarine eyes. Eight years ago she began performing Tribal Fusion, which she teaches in Tucson, Arizona, where The Skirt Full Of Fire dance studio she owns –and her dance company of the same name- are based. Aside from all this, she also does graphics and is professional make up artist and hair stylist, working at weddings, parties and photo shoots.

Jolie’s belly dancing is lyrical, athletic and precise, infused with everything from ballet to hip hop, and done with impeccable execution… to look at her on stage, you would never imagine that she was hurting. See her in action at Levant Al Sonora’s big belly dance event Desert Shakedown, November 10, 2012, in Tucson.

Twelve years ago, as a teenager, Jolie was in a car accident. Shortly after, she was diagnosed with FM, and her life was irrevocably changed.

“I felt hopeless,” she says, “ As a dancer, you are accustomed to all sorts of physical issues, but the pain I felt with the Fibro was so intense and constant, it was hard to hear that there was nothing I could do to fix it. For the first year of my Fibromyalgia, I was, essentially, bed-ridden. I was on muscle relaxers, pain meds, anti-anxiety meds, and was treated with local anesthetics and electroshock therapy as well as physical therapy.”

Tongue in cheek, she confesses to having an imaginary dance teacher in the back of her mind, someone who is waiting to smack her with a yard stick if she doesn’t do everything to the best of her ability.

“It got to a point where the treatment was worse than just accepting the illness”, she says,

“ So I removed myself from all of it and started dancing and doing yoga again. I would say that my pain is at the same level as when I first was diagnosed, but that my capacity to understand, accept, and move with it has grown enormously.”

Jolie describes her pain as feeling as though she’s constantly recovering from a vigorous workout, with extremely sore muscles in the back, hips and legs. She likens some of the sensations to arthritis, with joints that are inflamed and stiff. And when her symptoms flare, she experiences what is known as “Fibro fog”:

“When my pain levels are really bad, I have a hard time recalling words and keeping up with conversation.”

A self-described Type A personality, and, as she puts it “stubborn as hell” Jolie is also a fighter:

“I’m not all about letting something beat me and that’s what is keeping me motivated past my pain. Find what makes you happy, find what gives you fire and energy and do it. That’s what will keep you moving. I create each and every day, take classes, exercise, and do things that make me happy. Even if you only have an hour to give yourself, do something that makes you happy and do away with unnecessary things that cause you stress. Remember that your stress levels affect your symptoms."

She continues,

Just don’t stop. Ever. Don’t let it win. We all have obstacles in this life, but it’s how you choose to face them that will determine where you go. Find your passion and follow it, no matter what. Remember that you aren’t alone in this and reach out for support when you need it. “

Jolie’s website: ‪http://skirtfulloffire.com/

Kamala Almanzar from Alta Dena, California is a performer, choreographer and teacher, with many weekly classes in the Los Angeles area. A devoted wife and mom, she often accompanies her daughter to gymnastic meets, as well as traveling to teach belly dance workshops, most recently, last week at Floralia in New Mexico.

An exquisite Egyptian style dancer, her elegant dancing shows the influence of Mahmoud Reda, but her sassy personality, unique fusion movements and quirky sense of humor show through as well. Many of her students have become champions, and she has also mentored many professional dancers, including me- I consider Kamala one of my “dance moms”.

When I heard last year that she had Fibromyalgia, I was shocked. Having known her since I was a baby dancer, I never would have guessed that someone who was as vital and on the go as she was had anything even remotely like that going on. A popular club dancer since the American Golden Age of cabaret dancing in the 1970’s and 1980’s, she also appeared on many television shows during that time, and frequently writes about that time period for online belly dance magazine www.thegildedserpent.com. During the ‘90’s, Kamala appeared regularly at restaurants and was co-director of Flowers Of The Desert Arabian dance Company, who gigged relentlessly.

Today, Kamala shows absolutely no signs of slowing down. In addition to her teaching, she sponsors several well-known dancers in workshops (upcoming events feature Aleya of Cairo and Sahra Saeeda) and she is furiously at work on the second show in her “Choreographers Collective “ series, which will take place August 11 & 12, 2012.

Kamala was diagnosed with Fibromyalgia in the late 1980’s, so she has had it most of her career.

“At the time I was diagnosed, there was really not much information about it, so I was just happy there was a name for all the aches & pains!” Kamala says,

“I didn’t realize it could be very debilitating for many people. I have been pretty fortunate, because for a long time I have had minimal pain… I’m knocking on wood…One issue I have often, though, is costochondritis, which is an inflammation in the rib cage area. I now avoid stressful upper body movements…. So rib cage circles and pop locks have gotten cut- but I’ve never had it stop me from dancing!”

Like Jolie, Kamala is also quite driven, and believes that dancing has not only helped her deal with the disease, but is her raison d’etre.

“ I actually think it’s a mind thing - because I have no choice - I have to dance! And nothing will stop me, so it’s not an option I will consider. And I find I do feel better after dancing. I hear of people who can barely function… and here I am dancing all the time. Now, when I’m teaching I stress using the abdominal muscles & glutes to generate the movement and strengthen the core.”

Her advice to anyone- but especially dancers- with chronic pain:

“ As the mother of a gymnast, I can be a real tiger mom when it comes to getting the most out of doctors - so I say be aggressive getting the appointments and answers you need from doctors. You can still dance and have a full life and have manageable pain. Don’t let anything stop you!”

Kamala’s Website: http://www.kamaladance.com

Saahira Ruhi and I first met at a belly dance workshop I was teaching a couple of years ago. It was, as they say in the movies a “cute meet”… at least when you put Fibromyalgia into the mix. She nonchalantly pulled out some hot pink athletic tape out of her dance bag, and it caught my eye immediately! At the time, I had no idea that I had Fibromyalgia, and of course, it didn’t come up in our conversation that she had it, either… but it figures that a belly dancer who was in chronic pain would find the coolest athletic injury “accessory” around, right?

Her graceful, traditional belly dancing and her ironic sense of humor initially struck me. I later found out that we shared a passion for rock ‘n’roll, and also that she was a single mom for years… and that twenty years after she gave birth to her first daughter… she had her second! And of course, when I found out that she had Fibromyalgia, we bonded heavily over that.

Saahira’s eyes are kind and welcoming and she most definitely has a Goddess vibe around her- she is one of the most spiritual, gracious individuals I have ever met. She is the creator of the collective Women Creating Peace, and she recently opened her own studio, Body Temple-Life Arts Center in Riverside, California. Along with belly dance classes, the Body Temple features other forms of movement and spirituality, including Tai Chi, workshops in psychic development, drumming classes for adults and kids, henna, Reiki and much more.

Though Saahira studied ballet as a child, she never dreamed she’d have a career in dance that spanned over two decades. Twenty-three years ago, at the age of twenty-six, she was diagnosed with Fibromyalgia.

“I felt emotionally crushed and hopeless,” she says,

“ I just worked, parented, and sat in my recliner waiting for bedtime. I had stopped doing everything that gave me pleasure because it all hurt too much. It was a pretty sad time for me. I thought about dying a lot. I wanted to know what I was being punished for.”

Saahira’s pain was always relentless. She says that she has maybe three days a year when she wakes up feeling refreshed and pain-free, and considers those days to be holy. Her body constantly has an achy flu-like feeling, her joints become inflamed after any sort of physical activity, and she has a lot of trouble falling-and staying-asleep. She struggled with depression. Irritable bowel syndrome, and an inflamed chest wall that lead to pneumonia.

But three years after her diagnosis, Saahira’s life turned around.

“ I saw this older, heavier woman belly dancing at an event and fell in love with the dance. I saw her take the stage and then transform thru the dance. I began studying with her and drove into Orange County every Thursday night for class for years. At first it hurt so much...but then the pleasure to pain ratio went in my favor. I lived for those Thursday night classes. I began performing and my self-image changed form being ‘handicapped’ to being a beautiful, exotic dancers. I started sleeping better and felt better in general. My dark mood lifted and I’ve been dancing every since.”

Though dancing may not have healed her pain, it has healed her emotionally, and she often ruminates on dancing with deep gratitude.

“ I’ve had Fibro for over half of my life now, arthritis of my neck and spine, and several injuries… and all I can say is never give up on your dreams! When it hurts too much to dance in my body, I dance in my heart. Do what you can. Even if it means sitting in your recliner for the day and doing wrist circles. Notice how graceful your hands appear. Look at all you can communicate thru those hands of yours. Remember and connect with all the wonderful things our women ancestors hands have done throughout the ages. You have this power. Create your own reality and dance!”

Saahira Ruhi’s website: www.bodytempleriverside.com

Saahira’s blog: SaahiraRuhiDancingtheDivine@blogspot.com/

***

If you have Fibromyalgia, suspect you may have it, or have a loved one who does, here are some resources:

WEBSITES:

http://www.fmaware.org

http://www.afsafund.org/resource.htm

http://www.webmd.com/fibromyalgia/guide/fibromyalgia-resources-index

BOOKS:




***
Photos, clockwise; Kamala Almanzar, Jolie Roberson, Saahira Ruhi

Tuesday, May 8, 2012

DANCERS BACKSTAGE RITUALS PART TEN: DIRTY MARTINI



This is Part Ten of my continuing series on Dancers Backstage Rituals… cause we all have personal and often quirky stuff we do backstage to prepare for our shows.

Today’s subject is New York-based international burlesque star Dirty Martini. I’m fixing the follow-spot on her because this coming Thursday, May 10,2012, Dirty will begin a multi-city West Coast jaunt as part of Dita Von Teese’s “Strip Strip Hooray Tour”.

Dirty and I have a long history together, we’ve shared many a dressing room, usually filling it with loud guffaws, laughing til we’re almost crying, unable to get our false eyelashes on!

We first met in the mid 1990's, during the early days of The Velvet Hammer Burlesque, the legendary troupe that pretty much singlehandedly kicked off the Neo Burlesque movement in the United States. Dirty and her New York City co-horts World Famous *BoB* and Julie Atlas Muz would fly in from the East Coast to do shows with us West Coast Velvet Hammer gals on a regular basis.

Dirty always stunned me with her insane rendition of the classic burley balloon-popping act, which she did en point. Equal parts a human incarnation of The Venus Of Willendorf and a post-modern Mae West, Dirty, who was crowned Miss Exotic World 2004 by The Burlesque Hall Of Fame, was always way too much fun backstage, and her acts were exceedingly well conceived and executed. We also shared the stage during the 2007 run of Margaret Cho’s burlesque and variety show “The Sensuous Woman”.

Dirty has been spending a lot of time in Europe the past few years as part of Cabaret New Burlesque, who was featured recently in the French film, “Tournee”, directed by and starring Matthew Alarick.

No stranger to film work, Dirty and I both appeared in director Augusta Avallone’s 2004 documentary, “The Velvet Hammer Burlesque”. Dirty was also the subject of Gary Beeber’s documentary “Dirty Martini And The New Burlesque”, released in 2010 (in which I appeared) and she also was featured in Steve Balderson’s 2008 documentary about my dance career, Underbelly .

Dirty is always consummate professional, but offstage she can really let her platinum blonde (or Lucille Ball red or shocking pink, as the case may be) hair down.

One of my fondest memories of our friendship is an adventure we shared that took place in London in 2009. We were in an after-hours Soho basement speakeasy, drinking copious amounts of expensive champagne. Dean Martin’s “That’s Amore” blasted repeatedly… and we somehow wound up playing a cut-throat, roller derbyesque game of Musical Chairs with a group of pick-pockets, shoplifters, bartenders from other clubs, Italian gangsters, and a pair of lesbian stage hands who had just finished the West End Theater where “The Sound Of Music” was being performed …yes, really!

Anyway, I could go on and on-but I won’t, so here’s what Dirty does backstage, before her shows, in her very own words:

“I guess the strangest thing that I do backstage right before I go on for a show that I think is big or important to me is to reach out to (legendary burlesque stars) Jennie Lee or Zorita. They are like the angel and devil on my shoulders.

If the piece that I'm doing is bubbly and fun, I’ll ask Jennie to help me get through it successfully- but if it's dark and moody or slow and dramatic I ask Zorita to be with me while I channel her.

At Burlesque Hall of Fame Weekend 2006, I found out that Jo “Boobs” Weldon had a similar experience when she tributed Honi Harlow.

The next day we both talked about how we really felt that they were with us from makeup to applause.

We talked about how lucky we felt to have such luminaries helping us out and how amazing that the room was crowded with stars of burlesque that weekend living and otherwise! “

- DIRTY MARTINI

Tuesday, May 1, 2012

NET WORTH: BODY STOCKINGS, NETS AND HOSE FOR THE STAGE




There are many make up  and costuming  tricks dancers use onstage  to create  a gorgeous, larger-then-life persona...and one of them is the discreet use of body stockings and hose  to create  the illusion of longer limbs and a toned torso. 


For dancers who want to make their legs look sleek and toned onstage, but feel like body make-up just won’t cut the mustard, there’s always the option of using stockings.

 Fishnets seem to work best for performance, because regular nylon stockings often create an undesirable sheen under stage lights. 

It’s a good idea to invest in professional-weight fishnet hose. Danskin and Capezio both make them in a variety of styles, and even Leg Avenue now has a sturdy “Show Girl” hose.  Professional weight stockings are more expensive than regular fishnet hose, but they will hold in any unwanted jiggle on your legs, and will last for ages, serving you well…I’ve had some pairs that lasted for years before losing their elasticity!

Of course it isn’t a faux pas to wear regular, inexpensive fishnets onstage, but you should know that these cheaper stockings lose their form-fitting properties quickly- sometimes within minutes of being put on! They also tend to lose their shape, appearing baggy and loose, and they snag quite easily. With a professional weight stocking, if you happen to get the material caught in a shoe buckle or on a piece of your costuming, pretty much the most damage that will occur will be that you lose the connecting threads of one or two squares.  From the stage, this will not be noticeable at all. With cheaper hose, a long, unsightly run or ladder will most likely appear.


 Professional weight fishnet stockings won’t run when you wear them, OR when you cut them, so you can adapt them to your own personal style quite easily.

 Many gals cut the feet of the stockings off at the ankles if they are using them while going barefoot for belly dance. I personally also cut the elastic waistband off the stockings so it doesn’t create a bulge around my hips… and not just for purposes of costuming, but for every day use as well.
 The hose will stay up just fine without it.

Many burlesque dancers cut off the legs of fishnet hose at the crotch- each leg will stay up by itself, or you can use the hose with garters for a sexy retro look.  Plus, the longer length of hose cut like this is usually more flattering than commercially-made thigh-high stockings, which usually seem to hit most gals just above the knee, visually breaking up the line of the leg, and making even a tall, slender woman look like her legs are   half as long as they actually are.

  Fishnets come in many colors, but the best for stage use are nude (many shades are available to match different skin tones) and black.

 Because of the open net pattern, black hose will create an optical illusion and make your legs look curvier; nude or flesh tones will make your legs appear longer. Though The Radio City Music Hall Rockettes and Las Vegas showgirls are already long-stemmed, they almost always wear skin-toned fishnets with neutral, high-heeled shoes precisely because this combo makes the dancer’s legs look like they go on for miles.


When you choose fishnets for the stage, make sure to get a style that has smaller “windows” some of the fashionable styles have larger squares, and though that may look cute up close at a party, it isn’t that flattering to a dancers' legs when she is onstage.


 When selecting fishnets stockings, decide what your costuming needs are and which illusion you are after.

  Dancers with stretch marks, scars, or those with a few more curves often wear body stockings to smooth out the appearance of the torso.  Body stockings serve to camouflage imperfections, and there are quite a lot of affordable, serviceable options available today.  Specially made for dancers, these body stockings come in a large selection of colors, from skin tones to bright jewel shades.

Some body stockings are more heavy duty than others, and the material used range from light fishnet fabric (the same type of fishnet that the stockings are made of) to heavy power net, the type of fabric that is used in many foundation garments. Some of these body stockings hook in to the bra and belt, some attach  by shoulder straps, others are constructed more like a long-line girdle.   

The weight and stretch of the net will have different visual effects on your body as well. The light to medium weight nets will probably do the trick for covering up scars or stretch marks, as well as smoothing out the appearance of the flesh itself.

  The heavier nets tend to look great when the dancer is standing still, but once she is in motion, because of the thicker material, the net can actually look odd, and though it holds in any jiggle or “reverb”,  it can actually create bulges or rolls that wouldn’t have been there in the first place!


There are many Egyptian belly dance costumes available with the net already built in, often with beautiful bead, sequin and rhinestone embellishments curving across the torso in flattering lines. Some of these costumes are the standard two-piece bedlah, but with the netting already in place, connected to the bra and belt; others are constructed like dresses, but with many “open” panels of netting, to give the illusion of a bare midriff.

Most of the older Egyptian belly dance costumes came with the nets sewn in…but they also had really thick, ugly zippers up the back, along the spine.  For years, I wondered about this…how could the Egyptian costumers do such amazing tailoring and hand beading, yet not know how to install an invisible zipper?

After asking around, I finally found an answer from an Egyptian costumer. Due to the strict laws governing licensed Oriental Dancers in Egypt, the midriff had to be covered. This is why dancers like Fifi Abdou and Soheir Zaki often appeared wearing colored bodystockings to match their costumes.   And, apparently, the large zipper in the back of the flesh-colored nets   wasn’t there because the costumers didn’t know how to sew… it was installed so that if the Vice Police happened to visit a club to check on the dancers for “decency”, they would merely have to stand at the entrance to clearly see the dancer on the stage- and the tell-tale zipper in the back of the costume- to know she was appropriately covered!  I’m not sure if this is an urban legend, but it sure makes sense!

 It is also fairly easy to make your own midriff body nets by altering a pair of professional weight hose.    Purchase a pair of    fishnet tights a size or two bigger than you would normally wear, and cut the legs   of the stockings off a few inches below the crotch,

Leaving the elastic waistband on the hose, step through the legs of the hose and pull the waistband up to just under your bustline. Try on your costume bra, and mark the inside of the bra- and the waistband of the hose- where you want to affix them to each other.  One body stocking can be interchanged with a number of costumes, so try on whichever costumes you would like to use the nets with, and make sure that the marks all correspond.  To fasten them, use heavy-duty hooks and eyes, sewn in horizontally to the inside of the bra and the waist of the body stocking.   Some gals use heavy-duty snaps, but depending on how athletic you get onstage, these can pop open pretty easily.

Some dancers get a separate set of hose, cut the legs off and then sew the entire waistband into the bra, then step into the legs of the body stocking before fastening the bra.



 RESOURCES:

Professional Weight Fishnets by Danskin: Danskin Women's Professional Fishnet Tights, Suntan, C/D



 Body stockings at Dahlal Internationale

 Body stockings at The Belly Dance Shoppe:

Custom Belly Dance Bodystockings by Sugar Petals: http://www.sugarpetals.com/body_stockings.asp

Body stockings in different colors—power net midriff body stockings http://www.adiradance.com/dance_costume_cp/BL-001/D_BellyDance/i1/o/Midriff+Power+Net+Body+Stocking.html


 PHOTOS:   Fifi Abdou  wearing a fishnet body stocking, Princess Farhana in Danskin professional weight stockings: credit  Gary & Pierre Silva