TRUST IN ME: DANCING WITH SNAKES

  Ssssalutations  Ssssweetie...thinking of performing with a snake?

 Throughout the years, serpents have always been associated with belly dancers, even though dancing with snakes has no foundation in traditional oriental dance.

 From a modern perspective, the association with snakes and belly dance probably  came about because the serpentine undulations in oriental dance echoes the movements of the snake, but  serpents have worshipped for centuries, linked with rituals, the supernatural and the divine. We are all familiar with the serpent that tempted Eve with knowledge in the Garden of Eden, but in the ancient cultures of Egypt, Mesopotamia, Minoa and Crete, snakes were highly symbolic. They were often associated with goddesses like Ishtar, Egyptian deity Renenutet,  and the gorgons of Greek mythology, including Medusa, were female human/snake hybrids. Serpents were also an important part of the Dionysian cults, and in pre-Christian  rituals in the West. 

In India and The Maghreb (Morocco, Algeria, Libya and Tunisia) snake charmers are still a common sight on the streets and in the souks. In America  and Europe during   the last century, women  belly dancing ( or doing an approximation of belly dance) with snakes were often a staple in touring carnival sideshows.  The 1967 Disney film The Jungle Book , featured  the number  Trust In Me ( The Python's Song)  a sardonic ditty performed by Sterling Holloway, as Kaa the serpent, who attempts to seduce the main character Mowgli, before making a meal of him. This song has been covered extensively by  rock and roll artists ( by Siouxsie And The Banshees and The Dead Brothers, among others) and has become popular with fusion style  performers dancing with snakes. 

 The use of snakes within contemporary belly dance is widely thought to have originated with the storied pioneer Jamila Salimpour, who danced with snakes in her groundbreaking Bal Anat shows during the 1970’s at the Northern California Renaissance Faire. 

Today, belly dancers of all styles incorporate snake dancing into their shows, with the most commonly used snakes being pythons or boa constrictors. These breeds seem hardier and more adapted to stage work, and can grow to impressive sizes as well.

If you are thinking about owning –and dancing with- a snake, there are many points to contemplate:

 First, snakes are NOT dance props; they are living creatures that need tender loving care the  same way any companion animal would.

 Housing And Feeding

 Snakes need to be housed in containers,such as a large aquarium or reptile cage that is climate controlled, well aerated and most importantly, secure. These reptiles can definitely rival Houdini in that they are notorious escape artists; they can squeeze through very small openings and are also liable to push out of an unsecured cage door or cage lid quite easily. They are also shy, particularly during molting, and will need plenty of room in their enclosures to hide.  Snakes need to have a sizable water bowl  (which will have to be changed and cleaned often) in which to soak. Their living spaces will also have to be cleaned out completely at least every few weeks.

Snakes are predatory and carnivorous-they like to eat mice, rats, frogs, earthworms-even baby chicks. Though they usually only feed every couple of weeks, they do need to eat, so if you think that putting live prey in their cages will freak you out, it’s comforting to know that most snakes will accept a meal that has already been killed… but this will  mean that you’ll most likely have a freezer full of dead rodents!

Transporting Snakes To Gigs

 When you are bringing a snake to a show, your foremost concern should be the snake’s comfort and well-being. 

Many dancers use large woven baskets or those self- locking plastic crafts containers (with holes drilled into the lid) padded with blankets or towels. Another option is a pet carrier, again padded for warmth.

Once you arrive at your gig, find an out-of-the-way to place to store your snake’s temporary home that isn’t cold or drafty. Some dancers even take along a small heating lamp along to add warmth. If you’re sharing a dressing room, let other dancers know that there is a live snake present and ask them to be respectful of its comfort. This will keep your snake safe and secure, and also serve a warning to anyone who may have a snake phobia…which will avoid creating chaos backstage!

 Dancing With Snakes

 Snakes need to be approached slowly and handled in a calm, firm and deliberate way.  Their bodies need to be fully supported, and they must to know that the person handling them is relaxed. Snakes get stressed from sudden movements and they can also sense fear or nervousness, which will make them become agitated. One you have taken your snake out of it’s house, let your snake slowly discover you, remaining still while the snake slithers around your body, exploring.

 

 Never attempt to dance with your snake until you are comfortable handling it!

  Before you start dancing with your snake, select a costume that will not harm him. Your snake dancing costume should be sturdy, and in my own opinion, smoother and less decorated is better. Beaded fringe and other delicate or potentially sharp embellishments (hello… the prongs used to set rhinestones and crystals) are not a good-or safe-idea.   Many dancers wear coined costumes while dancing with snakes, but again, check that the coins don’t have jagged or sharp edges that can potentially injure your snake.

Snakes really cannot be trained, period. Snake dancing usually means letting the snake slither and glide around you while you perform, therefore, slower musical pieces and improvisation are mandatory, because you can never be sure what kind of mood your “dance partner” is in!

Remember that your snake is a reptile, not an entertainer!

Respect this, and mentally prepare for anything that might occur during the course of your show. Your snake may be frightened by bright stage lighting, loud decibels, and the crowd you are dancing for. Also, some vibrations in the music itself can potentially make the snake edgy.  He might want nothing more than to hide in your hair, or he may get aggressive and try to bite you, or start to constrict you. Move slowly and carefully, and try not to agitate the snake. 

 When you are done performing, bring your snake back to his traveling container, and try to get him back home into a safe and quiet environment as soon as possible.

 Do I have to tell you never to leave your snake in a parked car? I thought not!

.

  Photos:  

 Actress Maria Montez (1940's)

Dancer Heather Shoopman and friend: Zulu Lounge,  Los Angeles, 2012

SOME THOUGHTS ON TEACHING

 Teaching belly dance is extremely fulfilling and enjoyable. It’s lot of fun, and rewarding for the instructor and students alike. There’s nothing quite like the joy that comes from helping women to discover themselves through a creative art which encourages self-expression. Watching your students starting out as awkward newbies and blossoming into beautiful, self-assured dancers is incredible! By the very act of teaching, you’ll be enhancing the artistic development of your students, and will become a better dancer yourself, because you’ll have to consider movement and technique breakdowns such as isolations and shimmy mechanics. You’ll be forced to drill along with your students, keep track of posture and body alignment, and invent combinations- all of which can only lead to cleaner technique for you. Teaching will also supplement your income…or as the case may be, feed your belly dance addiction!

Unfortunately, in the belly dance community-perhaps more than in any other dance community-there will always be instructors who have absolutely no business teaching…at all.  The  “six week wonders”- women who’ve taken an introductory course and then set up shop as a qualified instructor- have been a problem for decades. The saddest part of this phenomenon is that beginning students will not know the difference, and may be taking classes from someone who knows nothing about safe posture and basic technique, let alone the cultural aspects of the dance.

  Teaching is a huge responsibility.

 In order to be a competent instructor, it’s imperative that you have experience, the ability to break down movements verbally as well as physically, and to have at least a basic working knowledge of what muscle groups are being used and how to describe where each specific movement is originating from.  You need to have more than just a passing familiarity with whatever style of belly dance you are teaching- you’ve got to know the signature moves of the style, where it came from, and so on. In laymen’s terms, you need to know your shit.

 There are many ways to start a teaching career, and each one is as valid as any of the rest. Every so often, it just sort of happens- the way it did to me. I hadn’t even considered teaching, but I kept getting requests from friends or other dancers.  I started holding informal Saturday morning classes -in my sister’s living room! My classes were getting crowded, and, like, my four-year-old niece would be running in and out of the room, wrapping herself up in everyone’s veils! It quickly became apparent that I needed to move to a real studio. 

 Often a local teacher will move or retire, and designate a star student to take her place as the instructor; some dancers start off substitute teachers at the their dance studio, or apprenticing themselves to an instructor there before beginning their own classes. Many prospective teachers decide to get certified by master teacher or a dance school, in a unique format or style of belly dance, while others come to teaching in a more organic way, developing on their own. Any way is fine, it just depends on what you’re teaching, and where. Whether you choose to be certified or not, it goes without question you’ll need a broad understanding of the dance in it’s myriad forms and knowledge of your local scene as well as the world-wide belly dance community. You should have been learning from a variety of teachers and workshop instructors, and broadened your horizons by attending several workshops,  festivals and events.

An experienced performer might be a superlative dancer, but it doesn’t necessarily mean that she’ll be a good teacher.

 Performing skills and a flourishing career can be a definite plus for a dance instructor, but they don’t guarantee that she will have what it takes to be a good coach. Teaching is an art form, and some people are blessed with a natural gift for teaching. Several dancers teach but prefer performing, some do both equally well and enjoy it all, and there are also those who don’t care for it and don’t have the patience or personality needed to become a great instructor.

 As a teacher, you’ll be facing a myriad of students, all with different needs, a wide range of physical abilities and/or talent, and a bunch of reasons for even considering the study of belly dancing. Some women decide to take classes for amusement; others are serious trained dancers who want to develop their skills.  You need to be able to discern the needs of your students and treat them as individuals.

 After I was teaching for a while, I noticed that it seemed like I had an awful lot of students who were coming to me from some sort of traumatic situation such as a divorce, a mastectomy, an eating disorder, miscarriage, or just a plain old midlife crisis.  I wondered what was up with that, but when I discussed this phenomenon with other teachers, I found that it wasn’t uncommon. My friend Suhaila Salimpour told me something to the effect of  “When I see women coming into my classes, I know it means they are ready for a major life  change or transition.”

 This is not to say that you’ll be holding classes in The Land Of The Broken Toys, but you’ll probably find that many of your students do have a back-story that isn’t necessarily all about fun or experiencing a new adventure. That means that in addition to technical skills, as a teacher you’ll need to hone your emotional intelligence, and be able to zero in with the skill of trained psychologist to ascertain what makes your students “tick”.

There is no one type of student. Some work diligently, progress quickly and start performing, while others are just taking the class to lose weight.  Certain students desire corrections, critique and brutally honest assessment, but to others, this may seem humiliating. Then there are students who will chatter incessantly, question every word you say, and act out in other ways disturbing to the class as a whole. You’ll need to be able to command a class without seeming like a tyrant, keeping the atmosphere light and fun, but educational. This takes a lot of finesse and sensitivity.

 Whether you’re teaching already or just thinking about it, here are some points to consider:

Student Safety Comes First

 It’s crucial that you practice and teach safe posture and thorough warm-ups and cool downs. You can never be too careful about this anyway, but once you throw students into the mix, you are now responsible for the well being of others. Ask your students point blank if they are currently dealing with any injuries or infirmities that you should be aware of. Let them know that it’s all right to speak up if they have health issues or if a movement feels strange or is hurting them, and that it’s fine for them to take a breather if they feel the need to. Remind them to stay well hydrated. 

If you think you may be lacking knowledge in the area of health and safety, general anatomy and biomechanics, then by all means, before you start teaching you must familiarize yourself (at the very least in a broader sense) through taking fitness classes and adjunct courses, and also by reading as much as you can on these subjects. While you are teaching, pay strict attention to the body alignment and posture of your pupils, focusing on areas that are prone to injury, especially the spine, hips and knees. Correct your students and remind them often about their posture.

Begin your warm up with large, soft movements that articulate every area of the body, before continuing into some lightly aerobic dancing, lifting the arms above chest level before beginning to stretch. Static stretching and stretching cold muscles can  cause injury. It was once believed that stretching was the way to warm up, but that theory is outdated…and dangerous. Once your students are warmed up, they can begin to stretch. Have them hold a comfortable stretch without straining, and do not allow them to bounce. A class cool down is important for injury prevention as well. Always allow a few minutes for a thorough cool-down at the end of class.

 Be sure that the studio where you are teaching has insurance -and a first aid kit!  You may also want to look into taking first aid or CPR classes and obtain teaching insurance as well.  There are many companies that offer insurance specifically for dance and fitness instructors.

The Responsibility Of Knowledge

As a teacher, it’s your job to shape your students into well-rounded dancers. This is a responsibility that should never be taken lightly. Not only will your students reflect upon you, but also you’re assuring the future of our beautiful art form! It doesn’t matter what style you’re teaching-you have to know fundamental belly dance history. Students are curious and will have many questions; they’ll wonder about rhythms, costuming, cultural traditions and the countries they came from, when to play finger cymbals, song titles, famous dancers of the past and present- and you need to know the answers. If a question stumps you, admit you don’t know the answer, but do have research materials on hand or refer the student to someone who does know.

Focused Teaching Means Better Learning

Write out your lesson plans well in advance so you can have your students work towards goals.  Plot out exactly what topics you’ll be going over in each class, so your sessions will have a good flow. Make notes on any combinations or choreographies you’ll be using and refer to them in class if you need to. Create class CDs or an iPod play list so you don’t have to waste time fumbling through your music to find the appropriate track.

Know that even if you’re teaching a beginning class, your students will have a wide array of abilities. In any class, there are those with natural talent and/or prior training, and those who will need to work harder to get up to speed. It’s absolutely vital that you be prepared for this.

It’s important to know that there are three basic types of dance students:

 Auditory learners need to hear the movements, rhythms and counts described verbally. Visual learners must have sight references and like to see the technique before absorbing it. Kinesthetic learners absorb the movements physically, benefiting from a literal hand-on approach.   Be sure to ask a student if it’s OK to touch them before you do.

Many students are a combination of all three types, so it’s wise to integrate your teaching with visual, auditory and kinetic techniques.

Don’t be afraid of boring the class with drilling, repetition helps students retain what they’re learning by engaging muscle memory. Make sure to demonstrate any movements or combinations by facing towards the class, away from the class and offering a side view. Keep an eye on your pupils, checking frequently for posture, body alignment, weight placement, and incorrect or unsafe technique. Don’t single anyone out- offer corrections in a generalized way.  Have the class perform technique and combinations facing towards-and away from- the mirrors.  Experiment with spatial orientation and add variety to your classes by forming lines, making a circle, dividing the class into groups and having them perform for each other.

Foster A Structured Learning Environment

Having a set pattern for your classes will aid your students in efficient learning. Creating a learning environment that is fun, challenging and informative will keep your students interested and encourage them to strive for their personal best. It will also help them retain what they’re learning, because they’ll grow familiar with your methodology and know what to expect from you-and what is expected from them. How you create this framework is your decision. I like to structure my classes this way: A few minutes of gentle, full-body activity followed stretching; technique drills, then either new movements, short combinations, a specialty or choreography, and finishing up with a cool down.

Teacher-Student Relationships

 Keep your interactions with students relaxed and pleasant; building a learning environment that is fun, challenging and informative. Create an atmosphere of respect, for the dance itself, from student-to-student, and for you as their leader. Sometimes students get excited and like to chat with each other, ask questions and make comments; allowing for a little of this is fine, just don’t let the class run away with itself! Through compliments and positive reinforcement, encourage your pupils to focus on the curriculum instead of socializing. Provide positive feedback and keep your critique constructive and gentle. Notice the personal qualities students have to offer, help them feel good about their unique development and progress. Have them strive for excellence without creating an atmosphere of competition.  Try not to play favorites- there will always be a few star students, but those who don’t shine as brightly or who are more reticent need your love, too. While some of your students may be your personal friends outside of the studio, during class, maintain a slightly removed but open and friendly professional distance…you are, after all, the educator. Cultivate your leadership by being a role model.

Every so often, you might be faced with a problem student. This can take many faces, including (but not limited to) know-it-alls who’ll always have a “better” explanation than you do and take it upon themselves to offer correction to other class members; the ultra-needy types who constantly hog your attention, extremely competitive or aggressive pupils, or those who use precious class time for gossiping, joking and fooling around   Don’t let anyone usurp your authority; nip these behaviors in the bud as soon as they start, or it will be a continuing problem. In some cases, a light admonishment in class will do the trick; otherwise a private talk before or after class is in order. If the problem child continues to turn your classroom dysfunctional, sadly, sometimes the only option will be to ban the student and offer her a refund.

Establish Goals and Create Opportunities

There are many ways to get students enthused about learning to dance and becoming a member of the local dance community. Establishing goals early on will give your students something to strive for.  Students always respond well to this and delight in measuring their personal successes and accomplishments. Compile a class mailing list and send out newsletters letting your students know about belly dance performances and events happening in your area.  Have a video night where students can watch clips of famous dancers or dance-related movies; hold a halfla or dance party in your studio where everyone can dance and mingle. If your students are ready, you might want to form a student troupe that also holds rehearsals outside of class, with the goal being to perform.

 Don’t be jealous or a separatist- know that your students will only benefit from learning from a variety of teachers. 

A great teacher is a generous teacher!

Invite guest instructors or lecturers to teach workshops or talk about specialized styles. Network with other studios, dance schools or instructors within your community or recommend that your students explore taking classes from others, whether belly dance or some other form of dancing.

 The Teacher Needs Homework, Too

The most important thing you can offer your students is knowledge. It’s your duty to keep abreast of what’s going on in the Middle Eastern dance community, whether locally, nationally or globally. Continued study and research on your end will only make you a better teacher… so don’t be afraid to attend workshops side-by-side with your students. Subscribe to belly dance trade publications, join Internet forums, seek out other instructors with specialties and learn from them, do research on line or at the library.

 Set an example for your students by showing them that learning is a never-ending process!

PREPARING FOR BELLY DANCE COMPETITIONS

This coming weekend, February 15-17, 2013 marks the 23rd anniversary of the Belly Dancer of The Universe Competition, held annually at the Convention Center in Long Beach, California. I hold an extremely soft spot in my heart for BDUC, and not just because I love the mother and daughter team who put it on, Tonya and Atlantis. BDUC was the very first belly dance event I ever attended...exactly 23 years ago! During those years, I went from "baby belly" to professional dancer and competion judge, and so I kind of count BDUC as my "belly dance birthday".

In that time, I've judged a heck of a lot of belly dance contests , so I thought I'd share a few observations I've made-both on competitions in general, and how to ace them, grow from them and have fun to boot!

Performers enter competitions for reasons that are as diverse as the belly dance community itself, but it seems the majority of dancers enter hoping to get noticed. Belly dance competitions are a great way of gaining exposure: along with a trophy and prizes that can range from cash to costumes, jewelry and gift certificates, title-holders can pretty much expect good publicity and national or international name recognition, plus lucrative offers ranging from coveted spots in theatrical shows to contracts to teach workshops, and even appearances in performance videos or on instructional DVDs. Of course, depending on whose in the crowd, or where the contest is being held, even if a contestant doesn’t place, the recognition and job offers can still happen- because contests are a way of putting yourself out there as a dancer. The very nature of a competition calls attention to promising unknown performers as well as “unsung heroes”- talented dancers that the public might otherwise not be aware of. It’s a terrific way for someone from a small, regional studio to get the national or international attention they deserve, and it’s not uncommon for contestants to travel from far-flung locations (many of which may not have a thriving dance scene) to compete, and hopefully take their career to the next level.


Sometimes performers enter belly dance competitions for the sole purpose of setting personal dance-goals, because they want to challenge themselves. For these contestants, winning or losing isn’t the main objective; it’s the whole process that counts. They may be in love with the dance but committed to a job or raising a family, and competing is more about accomplishing something they set out to do rather than jump-starting a career. There are also dancers who compete as a lark, or because they were urged to enter by a teacher, mentor, friends or family.

As someone who has judged a fair amount of competitions, I can tell you that judging is not an easy task.

Personally, I believe that anyone who enters a competition should be given kudos, no matter what-it takes guts to put yourself out there, to believe in yourself and your talents and to compete with your peers! I myself am a lenient judge, and even though the criteria sheets for judges are (most of the time) anonymous, I try to scribble a few lines of encouragement to the contestant, or at least explain the reason why I added or subtracted points in a certain category.


Sometimes, I find the judging process itself completely surreal. Many times, a category I’m judging is so full of great dancers who have wonderful stage presence and dazzling technique, wearing costumes I’d give my right hip for, it’s really difficult to pick a winner. But there are always a few contestants who, sadly, don’t have a clue…and unfortunately, this aberration applies not only to my own personal taste, but also to everyone on the judging panel, as well as the audience! Even though belly dance competitions are not the Olympics, some of the acts appearing onstage during competitions are downright confounding- and I’m not talking about a dancer accidentally tripping on a veil or having a minor technical issue with her music. There’s always entries like the weird, un-choreographed “interpretive dance” that couldn’t even be classified as fusion entered into the Egyptian category; or some poor newbie dancer in a Halloween Headquarters costume that doesn’t fit and is showing the contestant’s underwear. There’s typically someone wearing finger cymbals but not playing them, or a dancer with zero stage presence, no technique and badly-done music editing…all at the same time… Ask anyone who has judged a competition and they will tell you that any of these train wrecks are actually not uncommon!


Once I was judging a kid’s competition, ages 5-13. The contest organizers told us not to get too dazzled by the overall cuteness of the contestants, and believe me, most of them were adorable- not to mention extremely well trained! At one point, I was so impressed with the level of presentation, I wondered to myself why I was a judge- any of the uber-talented kiddies on stage could’ve literally danced circles around me! The age thing had me stumped too: How was I supposed to be judging a category where some contestants had been dancing for years longer than others had been alive? By the middle of the kid’s category, I found myself thinking: I don’t care about plastic surgery; I just want a tendon-transplant from a flexible 9-year-old whose vocabulary doesn’t include the words Ibuprophen or chiropractor!


Also, and this is just my own opinion, I am not sure why nationally or internationally-known professional belly dancers (some with instructional DVD’s on the market) enter contests, since it seems to me that they already have recognition and a good career… but I guess that’s just my own thoughts on the matter


But back to judging: most of the time, competition judges are given sheets with a strict point rating system for the categories they are observing, and sometimes, there is a space left on that sheet for additional comments.

These criteria can range from points for costuming, stage presence, lyrical and rhythmic interpretations, choreography, improv, transitions, and prop use. Often, points may be subtracted for performances or costumes that are not appropriate for the category; or songs or routines that run over the allotted time, or if the contestant’s age or experience isn’t suitable for the category entered. Many contests offer a “People’s Choice” where the audience votes for their favorite performer. The actual contest winner or someone who took second or third place may or may not win this award; sometimes it goes to another contestant that didn’t even make semi-finals. This is up to the crowd alone, who are not given any sort of scoring or point sheet; they just vote for whomever they liked. Once in a while, competitions take a surprising turn, with an un-expected, dark horse winner taking first place, and an audience favorite not even placing as a semi-finalist. This is sometimes due to the judging panel’s personal taste, and also because when determining a winner, all points given by judges are taken into account and tallied up for a total, overall score.

As a judge, I look for the “whole package” in a contestant, and it’s my guess that is what the other judges do as well.

I can’t tell you exactly how to win a competition, but I can tell you things that will help you prepare.


Practice, Practice And Practice…Did I Say Practice?
 There is no such thing as “over rehearsing” for a competition…unless, of course, you injure yourself in the process. Know your routine (whether choreographed or improvised) and know it well. Some contestants practice hours a day for months. Just make sure that during this intense rehearsal period you are getting proper nutrition, and enough sleep to let your muscles –and your brain-repair! Many dancers add on private lessons, or work with coaches when prepping for competition- it’s something to think about, and worth doing if you can afford it. If you can’t, try to seek out a dance mentor who can watch your performance and offer helpful tips. Videotape yourself and your routine and view it to determine your strong points and weaknesses.


Preparation
Make sure you have everything you need in your dance bag, including all costume pieces, needle and thread, pins, feminine protection, hair spray, back-up copies of music, a cover-up, etc. You can never be too prepared, and you never know what will come up! Know the directions for getting yourself to the contest itself, make travel reservations and confirm them well in advance, pack some light snacks and water with you on the day of the contest, and get some rest- you will need it!


Presentation Is Everything
To become a winner, you must have it all: technique, a hot routine that uses the full stage, a compelling presence and appropriate emotions that translate beyond the footlights, professionally edited music, a costume that fits well and looks beautiful on you… and you also need to stick to the time limits- don’t go even a second over your allotted time.


Categorize Yourself
Pick the appropriate category (or categories) for your dancing… if you are a strong fusion style dancer; do not enter the Egyptian category hoping to be noticed. You’ll only be throwing your contest fee away because you won’t stand a chance of wining. Determine whether or not you are entering into a competition category that is suitable for your age range or skill-level, and make sure you know exactly what certain category criteria is. I have seen contestants get points taken off for a variety of things, but one major blunder is not sticking to the criteria for the category entered. For example: I recently judged a “Specialty Props” category, where many contestants did veil work… and not that much of it…with a single veil. Though I didn’t check with the other judges, I believe we were all on the same page: a veil isn’t a specialty prop- along with finger cymbals, it’s a belly dance “standard”. Specialty props are things like cane, fans, shamadan, veil poi, hula-hoops, trays, jugs, swords, Isis Wings, and double veils. If you are using a fire prop, you need to check whether or not open flames are allowed in the competition-because many times the event- and the venue itself-will not allow any sort of fire or open flames onstage!


Appropriate Costuming
You’re not going to win a contest through your appearance alone, but you can and will get points taken off if your costume isn’t appropriate. It doesn’t matter if your costume is home made or a high couture creation- but it should fit perfectly, flatter you, and be suitable for the category you are entering. Use fashion-tape and safety pins even if you think you don’t need them) wear shoes to protect your feet (there may be beads on the stage from other dancers) make sure all straps, snaps, hooks and zippers are in tip-top shape, hem your veils and skirts, spray your hair, and for Pete’s sake wear enough make up!


Kick Stress To The Curb
If you have rehearsed well and planned enough to be comfortable in your performance, alleviate stage fright and performance adrenalin by taking a few even, deep breaths before you go on stage. Remind yourself mentally to go slow and to finish every movement. Remember to smile- it really “sells” your performance, the audience adores smiling dancers. Even if the judges are keeping poker faces, smile and look them in the eye! A smile and a confident attitude sometimes makes the difference when points are getting scored, so keep that in mind, too. If you miss a few steps in choreography, or have some sort of minor mishap onstage, do not let it show in your facial expressions. Know that you have prepared for this moment fully, and trust yourself and your abilities. Nobody on the judging panel started out being a fantastic dancer or was born that way- everyone worked towards that goal, just remember that! As judges, we admire your bravery and your unique presence, we’re only human…and we too have had mishaps occur onstage, probably more than most of us would ever admit to!


Use Competitions As A Learning Experience
Congratulations, girl: even if you don’t win or even place in the semi-finals, you have done your personal best, and by the very action of entering a contest alone, you are a winner! All of your preparation and practice has not gone to waste if you don’t win; you will only be a better dancer for the experience. Don’t beat yourself up and try not to feel dejected. You set a goal for yourself, and you followed through. You probably also made some new friends, and now people in the community are aware of you, as well.


All that alone is amazing and with the popularity of belly dance growing every day, there will be plenty of other chances for you to enter other competitions!

BDUC GENERAL INFO:
http://www.bellydanceroftheuniverse.com/bduc2013.htm


BDUC WORKSHOP REGISTRATION http://www.bellydanceroftheuniverse.com/bduc2013/bduc2013-workshops.htm


I will be teaching "Strike A Pose: How To Make The Camera Love You" at BDUC on Sunday, February 17, from 12pm-2pm in...appropriately enough(!!) "The Princess Lounge" at The Long Beach Convention Center...but I'll be there all weekend!


Come on by and say hi!










Photo by Dusti Cunningham

BEHIND THE MUSIC

  Long ago in a land far away, I was a confirmed card-carrying rock and roll chick.  Before I started belly  dancing professionally, I was one of the original punks on the scene in Los Angeles; I fronted three bands that put out records and toured all over the place, I was also a music journalist and club booker for years. But then my life got taken over so thoroughly by belly dance that my music career sort of ceased to exist. I made a 360-degree turn in what seemed like an instant, with Om Kalthoum replacing Elvis and   Hakim taking the place of The Cramps. Once in a while, I even felt guilty for my new allegiance- it felt like I was “cheating” on rock ‘n’ roll because  nothing I listened to had lyrics in English!

 I had long since become fully reconciled to my new lifestyle, but then an odd coincidence occurred.  In 2006, I was asked to headline at the Majma Festival in England, where I’ll actually be returning next month.  It was my first major belly dance gig in a foreign country, and I was super- excited!    Just after   accepting that gig, my music publisher contacted me and said that the well-known   UK dirty house deejays   Peace Division wanted to sample   some of my spoken word vocals for a new track they were working on. I said yes, and we signed the papers. Shortly after, I was contacted again and told that my samples had now turned into the lead vocal and the track would be released the week I was heading to Majma.  The song came out as “ “Blacklite Sleaze” by Peace Division, Featuring Pleasant Gehman…and the moment I touched down   at Heathrow Airport, it entered the British Pop Charts.  You can listen to it here: http://www.youtube.com/watch?v=goZ41xzs3_o

 Ironically, the moment I’d switched my focus from music to dance, I suddenly had a legion of new fans who wanted to hear my audio recordings, but my dance career kept growing, and I didn’t find the time to do any more recording.  After a while, I began to miss being in the recording studio, as opposed to the dance studio.  I wanted to make a track or track   the melded my   two favorite things- writing and belly dance, but it didn’t seem possible.  

Enter Karim Nagi.

If you are a belly dancer or a fan of cool rhythmic mixes, undoubtedly you already know Karim’s work, released under his own name as well as his moniker Turbo Tabla. But on the off chance that you don’t, Karim   is a multi-faceted artist: musician, deejay, dancer, instructor and orator, who is extremely knowledgeable about the traditions of Arabic music and dance… but he’s also a forward-thinking risk-taker artistically, and ridiculously talented and funny to boot!    In addition to his own  compositions, he’s made “Arabized” cover  versions of everything from Vivaldi to  the 1970’s hit “Low Rider”! In fact, he’s probably the only person on earth who can sing a tongue-in-cheek acoustic version of   the Queen hit “Bohemian Rhapsody” (in Arabic, no less!) accompanying himself on the tabla!  Though this epic bit of clashing cultures will probably never be documented for posterity ( ok, it was an impromptu  dressing room performance after a belly dance show)  I realized at that very moment that I  had finally found my dream collaborator!

  

 Though Karim and I are each infused with the culture of our native countries, we love, admire and are immersed in the culture of our adopted countries as well. Together we created   “Heart Full Of Cairo” a crazy ethno-soundscape that we conceptualized together.

 I wrote the words and did the vocals; Karim did the music and produced it, putting it all together.  The project came about organically, and of course the idea was spawned at belly dance festivals where we were both working.  We started discussing it at Cairo Caravan in June 2012, and by the time the Las Vegas Belly Dance Intensive rolled around in September 2012, we were onto something. We decided that whatever we did had to be Oriental, but not traditional.  I have done many vocal and spoken word recordings in the past, but I never combined my recorded work with belly dancing- I kind of inadvertently kept those two areas of my life compartmentalized.

Many of you readers may remember my posts about Egypt during the revolution as well as my reports from the Ahlan Wa Sahlan festival in 2011, post-revolution Cairo.  I was nervous about my Egyptian and ex-pat friends during the protests, concerned for their safety. I was also a little apprehensive about the future of a country I loved so much; afraid I might not ever get to return. Cairo is definitely my favorite place on the globe.  The moment I stepped off the plane on my first trip to Egypt, I started to weep, I was so happy to be there, and my feelings for it never change. I get giddy every time I go there; it’s a sensory overload of the very best kind. Karim is from Cairo, so   undoubtedly he has a different “relationship” to the city than I do, and understands it in a way I never will.

 But we both have a profound love for the city often known as Masr, or Al-Qahirah … so,  just in time for Valentine's Day, here’s the audio love letter  to Cairo from Karim and me… Enjoy!

 TURBO TABLA (KARIM NAGI) FEATURING PLEASANT GEHMAN (AKA PRINCESS FARHANA)   “HEART FULL OF CAIRO”

https://soundcloud.com/karimnagi/heartfullofcairo

   Karim and me  backstage at Cairo Caravan 2012,  posing as Egyptian Golden Age movie stars

 Photo of Princess Farhana on  "Heart Full Of Cairo" cover by Andre Elbing

DRUG STORE COWGIRL: TWELVE INEXPENSIVE BEAUTY PRODUCTS THAT JUST MIGHT CHANGE YOUR LIFE

 These days, cosmetic science is evolving almost as fast as electronic science- there are so many innovative and inexpensive products coming out on the market it’s hard to keep up with them! Happily, that means that a hefty price tag is no longer a prerequisite for a great beauty product.  Just in case it's not entirely obvious, I'm an absolute  make up fanatic, and one of my favorite...er...hobbies is looking for inexpensive cosmetics  that perform well  on or off stage!

 Here are some of my favorite drug store cosmetics, all of which are more than worth their price, and widely available. 

 EYES

Revlon Precision Lash Adhesive

  I can’t rave enough about this fantastic product! It’s one of the best discoveries I’ve made in the past year, I am totally addicted! The main reason most chicks have a problem applying their falsies is because they put the glue on and don’t wait for it to get tacky enough to set on the lash. But you won’t have that problem with Lash Precision-it’s perfect for those who are not experienced with applying false eyelashes- or those in a rush on their way to a show- because the moment you apply the glue, it’s tacky enough to put the lash directly onto your eye with no wait time whatsoever!  This little gem comes in clear or black glue, and features a fine-tipped brush applicator, which will enable you to paint the glue onto the lash with no messy drips. The formula is also   great for those with Latex sensitivity- no more swollen weepy eyes! A godsend for newbies and make up addicts alike!

Wet N Wild Color Icon Eye Shadow Palettes

 Through out the years, Wet N Wild has offered a great selection of cosmetics for the budget-minded, but these new palettes are just incredible! An absolute steal at under seven bucks a pop, the palettes feature either four or eight trays of lush, hyper-pigmented frosty color, which means you can use them wet or dry. Seriously, the quality of these eye shadows are comparable to Mac or Nars! And the little purse-sized palettes mean they are perfectly transportable in dancer’s gig bag. Two of my fave collections are  “Blue Had Me At Hello” ( some of the shades are pictured on my eye, above) an eight-shadow palette with frosty white, metallic silver, pearlescent teal, minty aqua, royal blue, navy, flat black and black with silver glitter;  and  “I’m Getting Sunburned”, a four-pack with a beautiful blue/pink, a metallic bronze, dark brown with copper glitter and rich black. 

Ardell Double Up Lashes

Some of you might remember a post I did a while ago on double stacking lashes…well, these come that way already!  They have a full, thick and slightly uneven look that makes their appearance a little more “natural”… well… not really, but that’s why we use them, right?  Anyway, these’d be terrific for use onstage or just for a glam night on the town- and they go for $3.99-$5.99 depending on where you buy them. Use them with the Lash Precision glue!

 L’Oreal Paris Telescopic Shocking Extension Mascara

This stuff really works!  You’ll ridiculously get long, thick, luxurious lashes with just a few swipes of the wand. The fibers in it somehow don’t clump into scary Tammy Faye Bakker lashes, either. I was blessed with a lot of things, but beautiful eyelashes just wasn’t one of them…when I use this mascara, you’d never know! Try it, you’ll become devoted.

Physicians Formula Shimmer Strips

 Custom Eye Enhancing Shadow And Liner 

Another handy palette, these eye assortments comes in a cute box trimmed with black lace, and creates perfect, dimensional ombre smoky eyes…of any color. Some are intended for certain eye colors, such as green or hazel, but the Nude palette, a mix of matte and pearly colors, would be terrific on anyone. Under ten bucks, and considerably less depending on where you shop.

 Urban Decay  Glitter Liner

 By far the most sparkly and stay-put glitter liners on the market.  Unlike other brands that barely leave a trace, the Urban Decay Glitter Liners are packed with color and glitter, so they really shine and twinkle when you’re onstage. They look great on their own with a couple of coats, but for extra drama, layer them over eye shadow of the same tone, like bronze on bronze, turquoise on top of teal- you get the idea. They come in eleven different colors, and all of them look like a serious explosion of bling!

LIPS

Revlon’s Just Bitten Kissable Balm Stain

A super-fantastic cross between lip balm and lipstick, this product slides on easily and precisely, and it is shaped like a chunky crayon with a pointed tip that doesn’t need to be sharpened. The candy-like colors stay put for ages, and have a nice moist sheen, but are not gloppy at all.  There’s a huge array of shades- the one I use the most right now is  # 040, a punchy perfect coral that is not chalky-looking or old lady-ish at all.

 Burt’s Bees Tinted Lip Balm

 I’m sure you’re already extremely familiar with Burt’s Bees incredible line of skin care and cosmetics…but their tinted lip balms are the bomb! They’re perfect for any season- great for winter, because the 100% natural botanical waxes and shea butter condition your lips as they add a pretty color, while being light enough for summer, with shimmering sheer shades that don’t look too over done, and aren’t messy even if you apply the balm a little haphazardly. Available in nine shades, at about seven bucks apiece, my favorite shade is Red Dahlia.

  SKIN

Maybelline Dream Fresh BB Cream

  The new buzzword in cosmetics is BB...and if you’re wondering what the heck a BB is, the initials  stand for Beauty Balm, which is a multi-purpose product that provides skin care and coverage.   Beauty Balms mask imperfections like a foundation, but they are lighter and don’t cake up.  They hydrate and brighten the skin, while providing a sunscreen.

 In other words, how did we ever live without them? 

Maybelline Dream BB Cream is hands-down the best BB I’ve tried yet- and I’ve tried a lot of them.  It glides onto the skin, provides coverage for redness and zits, and it looks dewy and fresh. Plus, Maybelline’s version has five shades, while most BB creams only offer two or three.  While it’s too sheer to use onstage, I highly recommend this stuff for real life, especially on those days when you’re running out to a dance class, but don’t wanna look like a hag!

 Urban Decay Afterglow Glide On Cheek Tint

 I was never really a fan of creamy cheek color; I much preferred powder until I tried this nifty stuff.  The formula is silky and glides on evenly whether you’re putting it on bare skin or over foundation or a BB cream.  Because the tints are sheer and natural looking, you can build the color up to increase the color value. Yummy.  

Boots No.7 Photo Fix Primer

Finally! An inexpensive primer that allows your foundation to slide on easily and faultlessly.  I love this stuff: it’s light and doesn’t feel greasy, in fact it’s barely noticeable, but it also seems to “fill in” problem areas like smile lines or crow’s feet without looking cakey at all.

Lumene Pure radiance Day Cream SPF15

I discovered Lumene products in Finland in 2011, and I just adored them.  On that trip, I started stressing about how I was going to get more, but wouldn’t ya know that the moment I got home, they became available in the USA?  Cool! Their products are natural, mostly made with Arctic Cloudberry. I’m not entirely sure what exactly that is, but let me tell you, all their stuff feels amazing on your face!  Aside from this emollient cream, they make a variety of facial washes, toners, and eye creams, and every single item I have tried just rocks! Super affordable and wildly repairing.  Go for it!

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