Drum roll, please……We have a winner to the “Spot the Belly Dancer” contest! Our lovely Belly Dancer friend, Jennifer lead the race with over 100 votes on the most creative image:  Raking the leaves in her belly dance costume.  I suppose we’d all do more yard work if our neighbors raked the leaves in their costume!

I’d like to thank all the contestant winners who participated and all of their friends who voted!  If you would like to look at the other contestants images, visit our Facebook page.  Even though the contest is over, you are welcome to support their submissions by “Liking” an image or two =)

She’ll be the first to wear the following belly dance costume, a new item to our boutique!

Congratulations Jennifer!! Hope you enjoy your costume!!

I would like to give a shout-out to the belly dancers of the world… of all ages, of all ethnic backgrounds, and of all sizes. I think you’re incredible and hope you never stop dancing.

Here’s the background to this article: I’m turning 28 soon; getting closer to the 30s. Successful and unmarried. I’m recognizing that there’s something terrifying about getting closer to the 30s. I’m approaching a decade that is filled with expectations – I’m supposed to get married, supposed to have kids, supposed to satisfy a lot of the supposed-lies. I spent a year or two panicking about the expectations until I reached one important conclusion: the only supposedlies that matter are the ones that I set.

How does this relate to you, the belly dancer? Think about what happens to most women as they age – what are the expectations we have of them? We start wearing granny panties to hide ‘flaws’, pick up Yoga (no diss, I love bikram), and master the art of showing no emotions to our friends and family to make things easier on everyone. We teach ourselves to hide our bodies and ourselves from everyone – including ourselves. We give ourselves permission to put others first and let go of our looks and well being. Yes, our husbands will love us no matter how we look – but do we?

And then there’s those who belly dance. They’ve put aside ‘me time’ to develop a new skill: a skill that teaches them how to express their emotions. A skill that requires them to look at themselves in a mirror and be proud of what they see. A skill that requires them to challenge the expectations their family or friends have about the way they live their life. “She can’t make a living with belly dancing”, is what most people believe. But then you hear about dancers like Jillina who travel the world teaching the art of dance. Most of the talented dancers are older than me, but are able to kick my ass on the treadmill and look better in underwear than me. It’s not easy becoming a belly dancer. But once you do, you start appreciating life – at any age – your life. For that, I commend you.

Mirror mirror on the wall, wouldn’t I be prettier without the bump on my nose?

I live in Orange County and I’m Persian, which translates to two things: 1) I watch the Kardashians religiously and 2) I know more people in my community who have performed plastic surgery than those who have not. Last week I attended a birthday party and noticed that a lot of my acquaintances have turned into gorgeous Kim Kardashian doppelgangers. I know we don’t want a world where everyone looks and acts the same, but to look like Kim Kardashian isn’t exactly a bad thing either.

I’d like to think that we all go through time periods where we feel more insecure than ‘normal’. We worry that we’re too chubby or that we don’t have womanly hips. We are concerned that our teeth aren’t straight enough – or if you’re like me – sometimes feel uncomfortable that you have too small teeth. I grew up as a tomboy in Germany – so most of the time I never really cared about how I looked. I have no problem not brushing my hair or keeping it short, not putting on makeup, wearing clothes that are too big and leaving the house. In my ideal world, that’s perfectly normal. In Orange County, it’s a potential sign of insanity or being a butch.

In the last few months I have been getting more acquainted with Orange County and as a result I have magically discovered things that help me improve my looks. I have been introduced to foundation, latisse, hair extensions, laser hair removal, electrolysis, no-chip nailpolish, and since Friday, I have been curious about rhinoplasty (fancy word for a nose job). I’m arriving at a screeching halt and am wondering, at what point do we need to stop the self-improvement? Is it OK for Hollywood actresses to do it, because it’s their job to look good – but not ours? Is plastic surgery any different from getting braces, investing in shoes and brand clothes, or getting hair extensions? At what point should you stop improving your looks? Would you feel differenlty (or more beautiful) if you didn’t live in a looks-obsessed-community?

Have you performed plastic surgery? Have you considered? What are/were your hesitations? What made you do it? I’d like to hear from everyone.

The mystery of Little Egypt, the first oriental dancer to perform in the United States, is still unsolved.

Bird Cage Theatre

When in 1893 a dancer called Little Egypt is said to have performed at the Chicago World’s Fair, America was introduced to raqs sharqi, a dance that was perceived, at that time, to be very scandalous. To Westerners it was, indeed, an unusual type of dance. Women would shake their bellies while isolating each part of their bodies, they would dress in revealing costumes and move to the rhythms of drums and flutes.

The Chicago Fair celebrated the 400th anniversary of Christopher Columbus’s discovery of the Americas in 1492. It last for six months. It is reported that 716,881 people attended it. Its biggest attraction was a section called “Cairo Street” that reproduced a North African village; it was completed with an entire street with shops and restaurant, a bazaar and even a mosque. Workers came from Egypt, Morocco, Syria and other parts of the Mediterranean Basin; among them were several musicians and dancers. The one that became very famous was Little Egypt who performed in a show titled “The Algerian Dancers of Morocco” put together by an American musician and entrepreneur: Sol Bloom. Bloom had, previously, attended theExposition Universelle (1889) of Paris and had decided to bring the raqs sharqi dancers to the United States.   The dancers hardly moved their legs but shacked their bellies as if they were separate from the rest of the body, this is why Sol Bloom coined the English name of “belly dance” already used by the French during Napoleon Bonaparte’s years.

Little Egypt?

American Tribal Style, or ATS, is a style of tribal belly dance that’s becoming increasingly popular. But what is it, and how is it different from traditional belly dance?

ATS was started in the 1980s by Carolena Nerricio. It’s characterized by its improvisational method, its lead-follow style, its group dynamic, and its costuming. ATS is a very tribal, muscular style of belly dance, inspired by the styles Masha Archer and Jamila Salimpour in the 1970s, while the costumes are very folkloric, with harem pants, 10-yard skirts, cholis, coin bras, turbans, and lots of kuchi jewelry. The dance itself is based on several different ethnic styles, with flamenco and traditional belly dance being the most obvious.

The intent of ATS’s creator, Carolena, is to create a global dance vocabulary. A dancer who is familiar with ATS can meet up with other dancers she’s never met before and dance with them to music she’s never heard before. This is accomplished by a set dance vocabulary, cued by the troupe leader through a hand movement, level change, or head turn. The lead changes frequently, giving every dancer in the group the chance to lead and improvise to the music. In troupes that have spent a lot of time dancing together, most audience members don’t even realize that the performance is completely un-choreographed.

There are several troupes have styles similar to ATS, such as BlackSheep BellyDance and Gypsy Caravan. However, ATS remains the most popular tribal style, with sister studios all over the world, including New Zealand, the UK, the Netherlands, and even in South Africa. Many tribal fusion dancers today, such as Rachel Brice, have roots in ATS, and have adapted it to their own personal style. Carolena’s studio and troupe, FatChanceBellyDance is also the only studio that offers skills and teaching certification.

FatChanceBellyDance offers two course certifications at their studio in San Francisco and at sister studios: General Skills Intensive, a 4-day workshop with Carolena and/or FatChance troupe dancers that covers every move in the ATS vocabulary, and the ATS teaching certification, a 3-day workshop, again given by Carolina or a member of FatChance. ATS teaching certification is required for any dancer who wants to apply as a FatChance sister studio. The workshops are few and far between outside of the Bay Area but FatChance keeps their website updated with workshop dates.

While ATS and tribal style isn’t for everyone, you have to admire the skill and the dedication of Carolena and the FatChance studio. They have worked hard to create a disciplined style that can be passed on to other dancers, and have raised the bar as to what can be achieved by a belly dancer. The FatChance name itself is rumored to have been borne out of a joke after too many less-then polite people requested belly dances: “Fat chance you’ll see me belly dance!”

Not only that, but the improvisational and lead-follow style lend to a strong bond in a troupe. Women who dance ATS find that they are closer to their sister dancers because they can read so much in a small head movement, or a twist of the shoulders. And like any art, the style is constantly evolving to keep pace with the times and the dancers. There is definitely something to be found in American Tribal Style.

A useful tool to any dancer is networking. No matter where you live or where you dance, it’s always good to know other dancers, and make sure they know you. Your relationship with other dancers can lead to workshops, new classes, performances, teaching opportunities, or even just another friendly face in the crowd. Here’s how to cultivate relationships with other dancers.

* Start with your teacher. If she or her troupe is preforming, make it a point to go to the performance. You don’t have to see every show, but supporting your teacher or her troupe will show that you appreciate and respect your teacher, and that you are dedicated to belly dance.

* Develop friendships with your fellow dancers. Practice with them outside of class and support them during shows. Encourage them and share your knowledge!

* Take workshops and classes with other teachers. Bring a friend or a dance buddy if you can. Even the occasional workshop out of the area can boost your dance network.

* Take different kinds of dance, and see if you can encourage some of the students in your dance class or fellow dancers to go with you. If the studio doesn’t already have belly dance classes, this could open up teaching opportunities for you.

* Go to local belly dance performances and festivals. Shows give you the opportunity to meet and talk with other dancers, as well as see other dancers perform. Some festivals aren’t just about belly dance, but include belly dancers, such as Renaissance Faires or various Middle Eastern festivals—going to these can give you more performance opportunities.

* Develop relationships with vendors. Knowing someone who sells costuming, jewelry, props or music can give you an in for new releases or special items, especially if you can promote their wares on the stage or in class. If there’s a festival going on and you know a vendor will be there, volunteer to help them set up or watch their booth for a few hours.

* Learn about local dancers. Even if you’ve never met them, find their websites or their videos. If you meet them at a show or at a workshop, introduce yourself and tell them how much you liked their performance, style, talent, makeup, or anything else you spotted. Above all, be honest—don’t look like you’re just trying to butter them up.

* Remember that networking with other dancers isn’t just about you. Always give back to anyone who helps you out, and never make someone feel obligated to do you a favor in exchange.

I have had the special honor of e-meeting with Marisa Wright of BellyDanceOz.com, a directory of belly dance videos.   It’s a great resource for those of us wanting to be inspired and entertained.  In my recent communication with Marisa, we spoke about the recent talent at “So You Think You Can Dance”.

“It has always annoyed me that in spite of all the dance shows on our televisions these days – So You Think You Can Dance, Got to Dance – belly dancing barely gets a mention. So it was great to finally see not one, but two bellydance acts in this season’s Australia’s Got Talent.  Idell gave us a burlesque-style send-up, while self-taught 16-year-old Ferah captivated the judges with her performance.

The only thing that saddened me slightly was the judge’s comment that Ferah had “taken belly dance to a new level” – because it goes to show how little the general public knows about the standard of modern bellydancing! Ferah’s performance is exceptional because she’s self-taught and only sixteen – most belly dancers could name professionals whose presentation and technique are just as polished. But the good news is that Australian belly dance schools are fielding a record number of inquiries!”

If you’re an inspiring belly dancer in Australia, here’s your chance to get in touch with a passionate belly dancer who can help you find the right instructor.  Check out the video directory: BellyDanceOz.com.

Courtesy of: http://simpleetiquette.blogspot.com/

The first known etiquette book was written in 2400 B.C. by Ptah-hotep. Much of today’s formal etiquette originated in the French royal court of King Louis XIV during the 1600-1700′s, where elaborate social customs were called an etiquette, an old French word meaning ticket/card/placard, upon which the rules were posted. This code of behavior spread to other European courts and eventually was adopted by the upper classes throughout the Western world.

“Nothing is less important than which fork you use.
Etiquette is the science of living. It embraces everything.
It is ethics. It is honor.” -Emily Post

George Washington’s “Rules of Civility” were the first published manners, but the most popular was written by Emily Post in 1922, “Etiquette–In Society, In Business, In Politics, and At Home,” and became a best seller. Amy Vanderbilt later wrote, “Amy Vanderbilt’s Complete Guide To Etiquette,” followed by Letitia Baldrige and Judith Martin’s “Miss Manners Guide To Domestic Tranquillity”,1999. Today, Peggy Post, great-granddaughter of Emily Post, has written “The Etiquette Advantage in Business: Personal Skills for Professional Success”, and dispenses her rules of modern good behavior online.

“I am a journalist in the field of etiquette.
I try to find out what the most genteel people regularly do,
what traditions they have discarded,
what compromises they have made.” – Amy Vanderbilt

The field has expanded beyond society. Today, many big businesses employ etiquette trainers to teach good manners to executives–how to dress and act; how to eat and converse in proper company; how to be more successful in their companies and the business world by writing good business letters. With global society becoming smaller, executives with a background in societal and cultural differences have a much better chance not to offend, and a greater success rate with good etiquette skills. Hundreds of etiquette coaches exist in business today.

There is no excuse for anyone to behave in a less-than civilized manner today, even belly dancers, we time-honored mavericks of society. After all, we are business people too!

The Student

• Student etiquette in the classroom entails arriving on time and leaving class when it ends.
• Not chewing gum in class, being attentive to the instructor, and practicing at home.
• If the student performs with the teacher, saying thanks for opportunities, for costume loans, or makeup tips will be remembered.
• Appreciative students get more personal attention than those who are rude and disrespectful.
• In a workshop, it is good manners to not wear a jingly hip scarf. Many instructors find the sound distracts from the workshop topic.
• Addressing the instructor properly.
• Not dominating the classroom setting and/or discussions (allow others to utilize the mirror).
• Not utilizing phone or other electronics in class.
• Not eating or drinking in class.
• Not talking to other students unless instructed to do so.

The Performer

Many belly dance performance opportunities come from people of other nationalities and cultural morés. It is the sign of a professional performer to learn about those cultures and accommodate them. American traits like getting to the meat of the negotiations immediately can alienate Arab people, who move much more slowly. On the other hand, moving slowly might be misinterpreted as indecision/indifference by an American employer. Being punctual, ready to perform and cheerfully willing to let the boss be the boss will help guarantee a return engagement. Tipping protocol should be clearly understood between dancer and employer. During the show, it is rude to play finger cymbals during a live drum solo. If one dancer happens to feel glass beads under her feet, it would definitely be courteous to ask someone to sweep the floor before the next act.

“Every one of us is an artist, and as an artist, you really can stroll into any venue that you want, as long as you take your time to learn the etiquette of that venue.” – Terrence Howard

The Teacher

Teachers too must use good etiquette. Starting and ending classes on time is an appreciated courtesy. Saying thank you for a good class, or for being good students will ensure return business. Keeping your word is also taken note of, for example, bringing in a CD with the choreography music on it so students can practice. Showing obvious favoritism is not thoughtful of others. If unable to make a class, contacting each student is merely common courtesy, or providing a substitute teacher.

“The high point of civilization is that you can hate me and I can hate you
but we develop an etiquette that allows us to deal with each other
because if we acted solely upon our impulse we’d probably go to war.”
Stanley Crouch

Whether you believe etiquette is important or not, there is a good chances it is important to others, and they will feel the slight if you neglect to act like Egyptian or French royalty and follow the rules of gracious behavior. Why take the chance of offending someone who may not mention it, but will remember?

“The world was my oyster, but I used the wrong fork.” Oscar Wilde

The last piece I wrote on this subject asked many questions and offered few answers, but sparked a good deal of conversation. Because of this, I am continuing on with this topic, but from the personal point of view. As a bellydancer who has grappled with the more challenging aspects inherent in an ever-evolving and rapidly growing environment, I have personally experienced the issues under discussion.

Without going into a detailed autobiography, I can tell you that my dance journey began with falling in love with bellydance and realizing that I MUST dance- no matter what! Having had excellent instruction in both the dance form and in our community’s ethics, I entered into the professional realm with great trepidation. In my pursuit of fulfilling, enriching work, I repeatedly encountered the same obstacles faced by other professional dancers who are just starting out. I wanted to earn my place and be taken seriously as an artist, but also wanted to respect the dancers who had made it possible for me to dance at all. But the only paid work I could find was in restaurants, which either already had established dancers or were not appropriate venues for the level of art I hoped to present. Many restaurant dancers receive no more attention for all their hard work and beauty than Muzak or some nice room decor. Not wishing (or needing) to provide “ambiance” for income, I chose to perform with troupes (which depleted my wallet while filling my soul) and continued to train myself in technique and understanding of Middle Eastern and Tribal Bellydance. But I was always looking for a way to express my artistic soul, and hoped there would be some way I could do so and be compensated appropriately.

Eventually I came to see this collaboration with my troupe mates as not just a fun activity, or a means to an end (becoming a great dancer) but as a possible solution to surviving in the ever-changing bellydance world. What one artist cannot achieve on her own, the combined intellect, resourcefulness and passion of several dancers can accomplish with élan! A thriving and stable artistic career may seem oxymoronic, but many professional troupes, studios/schools and artist collectives are manifesting exactly that! Such projects allow room for artistic expression, create opportunities for paid work, and (ideally) support nurturing behavior rather than ruthless competition and fear-driven pettiness.

This resource sharing- in whatever form it appears- offers each dance artist the chance to observe her peers with an eye for appreciation rather than comparison. Dancers interact with each other’s skill sets, methods and creative outlets and may discover new ways to express their own artistic nature. Fear of plagiarism or sabotage are almost completely eliminated when dancers are working synergistically, because such behaviors would be utterly counterproductive to their goals.

While people working together will occasionally encounter unnecessary conflicts and misunderstandings, if they have a shared goal, such hindrances to art-making can be lessened significantly. I have been blessed to find a professional partner who – while not a bellydancer- is a fellow dancer and artist who supports me 100 % and we have combined our many shared interests to create showcases (“Bands and Bellies.”) This endeavor allows us to utilize and develop our own abilities and invite other dancers to perform in a dedicated artistic space. This also creates an opportunity for an appreciative -and usually new- audience to enjoy their considerable talents (and all for good causes!)

Obviously, many bellydance showcases already exist. Each has experienced its own triumphs and heartaches, and some of the dancers who started them have found they preferred to return to solo dancing. Collaborative efforts require an enormous amount of patience, planning, flexibility, humor, hard work and compassion- but are these not the very qualities into which the enlightened dancer intends to grow?

Naturally, not every dancer will work well with every member of his or her sphere of influence. Some partnerships are not positive or lasting. Bellydance will continue to attract new dancers of every imaginable talent and personality who will each have their own set of dreams.

Of course, I have not given up my dreams of dancing on fine stages as a solo artist, nor do I think all dancers need to join troupes or produce events, but I do feel that we, as artists, can and ought to create a sustainable community where we can all work together, benefiting from each others gifts without losing our own visions, and respecting each others’ choices when it is time to change and explore new ideas. No worthy undertaking is without its challenges and setbacks, and every dance journey is unique, so ultimately it is up to every dancer to decide how to make their own way in this beautiful -and often bewildering – world of professional bellydance.

I cannot say what the best course is for anyone else, but so many generous, intelligent, beautiful dancers and community members have come together through the “BnB” project that I truly believe most dancers share my vision of collaboration in the bellydance community. No longer do we need to aspire to “replacing” another dancer; rather than competing with our sisters (and brothers) for the few great local gigs, we can each create inviting and successful venues for ourselves! If we are wiling to think outside the parameters that have defined professional bellydance thus far, we will not need to struggle to achieve someone else’s success, but can invent our own!