Dancing with Your Veil – YouTube Resources

Veil Dances: YouTube Resources Featuring Acclaimed Dancers

As part of the Study Resources for the Spring: The Season of Air (Veils and Swords), this Post introduces some good YouTube clips that form great study resources for veil dancing, especially for “moving across the floor” and “creating veil patterns in space,” two of our Spring Season themes.

Anahid Sofian – Master of Veil Patterns, Spins, & Turns

Anahid Sofian, a master dancer, teacher, and choreographer in Oriental dance.
Anahid Sofian, a master dancer, teacher, and choreographer in Oriental dance.

Anahid Sofian – One of the world’s most renowned Master Teachers of Oriental dance. I reference her substantially in Unveiling: The Inner Journey. See her in:
Anahid Sofian – excerpts of veil movements.

This is a compilation of snippets from three of Anahid’s live performances.

The footage of Anahid in this short montage is assembled from three of her most widely-revered performances:

  • Theatre of Riverside Church Dance Festival NYC (1986); the music is a taxsim by the legendary oud player, Oudi Hrant, who lived in Istanbul and was considered the greatest oud player In the world; he is still revered today as a master musician,
  • Town Hall NYC (1999), with musicians Haig Manoukian, Souren Baronian, Harold Hagopian, Sabah Nissan, Lee Baronian, and
  • Town Hall NYC (2000), with musicians Elias Sarkar, Michael Hess, John Vartan, Emanuel Mann, Amir Naoum, Seido Salifoski.

You may wish to read Chapter 26: “Unveiling: Selective Revelation,” in Unveiling: The Inner Journey, describing how I learned a crucial veil secret from Anahid:

“In my dance, I had started the way many dancers start these days; holding my veil behind me, and using it to frame myself as I moved across the floor. There is nothing wrong with this. In fact, if the music is very active and dynamic, this can be a great dance opening! However (and this is important), this approach lacks the power of mystery and suggestion.

“In the dance that Anahid showed me, she started by staying in one place, with the veil wrapped around herself. She held the veil edges in such a way that her hands were covered. She held her hands high enough so that, with the veil wrapped around her from behind, it covered her face as well.

“Slowly, hypnotically, she moved her hands in an alternating, graceful up and down pattern. She managed this in such a way that I couldn’t get a glimpse of her face, or any part of her body. She was a mystery. Later, as she “unveiled” herself, she had total control over the timing, the pacing, the very selective revelation that she offered.” [Unveiling: The Inner Journey, pp. 359-360]

 

Paper

Kindle

 

Eva Cernik – Veil Patterns: Floats and Spins

Eva Cernik in trademark spinning veil. Photo from the <a href="http://bellydancedvds.blogspot.com/2011/11/turkish-belly-dance.html">Second (Annual) Awards of Belly Dance</a>.
Eva Cernik in trademark spinning veil. Photo from the Second (Annual) Awards of Belly Dance.

Eva Cernik – Eva, a protégé of the renowned Anahid Sofian, carries on Anahid’s tradition of exquisite veil dancing. See her in:

  • Eva Cernik with veil – in a 2008 performance in 2008 with Rachid Halihal – there is a little veil work at about 3 min, 30 secs, but the most interesting starts at about 5 minutes and continues to the end.

I love Eva’s veil dancing! Here are two more of her veil dance vids:

Eva is possibly one of the best to study for improvisational work with a veil – even if you have to work with VHS instead of DVD format. She works with single and double veils, and with regular rectangular as well as half-circle veils. Great study!


 

You are the Jewel in the Heart of the Lotus. <br>Become the Jewel!
You are the Jewel in the Heart of the Lotus.
Become the Jewel!

You study and perform belly dance (Oriental dance) because it brings forth a special aspect of who you are – the full range of your emotional expressiveness; both the sensual and sacred aspects of your being.

Join me – get the latest on how to become the jewel (a fully expressive you) in the heart of the lotus (your life, and all that surrounds you)!






Be the first to know about upcoming events, valuable online tips and training guides, and all that will help you create yourself as the jewel in the heart of the lotus!

We respect your email privacy

Powered by AWeber Email Marketing Services



Alay'nya - author of "Unveiling: The Inner Journey"
Alay’nya – author of "Unveiling: The Inner Journey"

Alay’nya – author of "Unveiling: The Inner Journey"

Alay’nya – author of "Unveiling: The Inner Journey"

Very best wishes as you make your dances more dramatic, interesting, and exciting by including a veil!

Yours in dance –

Alay’nya
Author of Unveiling: The Inner Journey
You are the Jewel in the Heart of the Lotus. Become the Jewel!

Founder and Artistic Director, The Alay’nya Studio
Bellydance a courtesan would envy!

Check out Alay’nya’s YouTube Channel
Connect with Alay’nya on Facebook
Follow Unveiling: The Inner Journey on Facebook


Nizana el Rassan, reviewing Unveiling: The Inner Journey for iShimmy.com:

“serious and yet fascinating material … a culmination of all disciplines wise and helpful all in one place, with belly dance woven throughout … Unveiling is a fascinating read with so much wisdom and solid advice, and it’s all about improving balance in your life in a well rounded way.” – iShimmy.com.

Copyright (c) 2013, Alay’nya. All rights reserved.

Related Posts: Veil Dancing

Spring – the “Season of Air” (and Veils, Turns, Spins, and Swords)

Spring – the Season of Air (and Veils, Turns, Spins, and Swords)

Metaphysically, the Season of Spring is associated with the “element” of Air.

In fact, the “seasonal correspondences” are:

  • Winter – “Sign” of Pentacles, “Element” of Earth
  • Spring – “Sign” of Swords, “Element” of Air
  • Summer – “Sign” of Rods, “Element” of Fire
  • Autumn – “Sign” of Cups, “Element” of Water

In our Studio, we connect our dance practice (on all levels; physical, emotional, mental, energetic, and spiritual) to the various Seasons. This simply makes it simpler and easier for us to organize our focus.

Thus, during Spring, we turn our attention to topics relating to the “sign” of Swords, and the “element” of Air.

Naturally, this means that Spring is our favored time for veil dances, especially those involving movement across the floor – as if we were propelled by a strong March wind! We do “air-like” movements such as:

  • Movements across the Floor – various steps and movement patterns,
  • Veil Patterns in Space – learn a rich variety of “veil patterns,” particularly those that flow as we move,
  • Spins and Turns – study a wide range of spinning and turning techniques, and learn how to fit them both into “static” (in-place) choreographies as well as how they give structure and interest to “movements across the floor,” and
  • Transitions – how to go from static to moving, and vice versa. Lots of wonderful little insights and skills here!
  • In addition, of course, we also use Spring as the time for studying swords; both the practical movements (and choreographies) involving sword dances, and the psychological components – especially how to create tension and drama.

    Posts during this Season of Air will include:

    • Music Resources – favorites for moving across the floor, with match-ups between music selections (and specific sections within the music) and suggested techniques/movements,
    • Technique Resources -technique notes together with links to the best YouTube links that we can find, illustrating specific kinds of spins, turns, and “movements across the floor”, along with veil and sword techniques, and
    • Dance Resources – both DVDs and YouTube links,

     
    Jewel in the Heart of the Lotus
    You are the Jewel in the Heart of the Lotus.
    Become the Jewel!

    You study and perform belly dance (Oriental dance) because it brings forth a special aspect of who you are – the full range of your emotional expressiveness; both the sensual and sacred aspects of your being.

    Join me – get the latest on how to become the jewel (a fully expressive you) in the heart of the lotus (your life, and all that surrounds you)!






    Be the first to know about upcoming events, valuable online tips and training guides, and all that will help you create yourself as the jewel in the heart of the lotus!

    We respect your email privacy

    Powered by AWeber Email Marketing Services



    Do you have a suggestion? Email us. Send us your best recommendations for music, DVDs, and YouTubes to: alaynya (at) alaynya (dot) com. Those whose recommendations are adopted will get back-links to their own websites!


    Alay'nya - author of "Unveiling: The Inner Journey"
    Alay’nya – author of Unveiling: The Inner Journey

    Very best wishes as you make your dances more sensual, interesting, and exciting by including a veil!

    Yours in dance –

    Alay’nya
    Author of Unveiling: The Inner Journey
    You are the Jewel in the Heart of the Lotus. Become the Jewel!

    Founder and Artistic Director, The Alay’nya Studio
    Bellydance a courtesan would envy!

    Check out Alay’nya’s YouTube Channel
    Connect with Alay’nya on Facebook
    Follow Unveiling: The Inner Journey on Facebook


    “Alay’nya brings divine sensuality to women in the ancient forum of dance. This book is delightful.” – Dr. Christiane Northrup, New York Times best-selling author of Women’s Bodies, Women’s Wisdom and The Wisdom of Menopause.

    Copyright (c) 2013, Alay’nya. All rights reserved.

    Related Posts: Veil Dancing

Static on the Brain – And What We Can Do About It

“Static on the Brain” – What It Is, What It Does, and What We Can Do About It

“If You Can’t Be a Good Example, Then Be a Horrible Lesson”

There’s a woman in my life who is fundamentally sweet.

She’s intelligent. She has some sense of life-purpose. She has a number of very admirable habits, not the least of which is that when she puts herself together, she’s remarkably polished and attractive.

Yet she has a “habit” – actually a set of habits, all drawing from a single basic thought-pattern – that have (until recently) driven me to distraction. (Not to mention to a bad temper, etc.)

She has what  I call “static on the brain.”

"Static on the Brain"

“Static on the Brain”

“Static on the brain” manifests in many different forms.

For example, when she built a fire in the fireplace this last December, she ignored the word from myself and others that the fire needed to be built slowly. She put together a huge bonfire’s worth of logs, and lit the match. And yes, the flue was open.

But in this case, with a cold winter’s day and a two-story, very cold chimney flue, the fire caught just fine. And billowed smoke into the entire house. I’m still cleaning and repainting the living room (including the ceiling) as a result of her efforts.

If this were a one-shot thing, that would be one situation. But it’s not. This is a woman who can’t learn how to recycle, despite repeated demonstrations. (Throwing out an entire bag of limp spinach, instead of putting the spinach into the compost and the clean bag into the garbage … one of a couple dozen examples.)

Her common response is, “I guess I just wasn’t thinking.”

Right. Thinking. It’s a survival skill.

So What Is “Static on the Brain”?

“Static on the brain” happens when we have so many conflicting, low-grade, randomly-jumbled but non-productive thoughts that what would seem to be “common sense” simply isn’t common any more.

Another Horrifying Example (Especially for Dancers)

Years ago, I had a student. This woman was very intelligent; she held a high-status job. She was pursuing her Ph.D. She had a sense of elegance, flair, and drama. In short, she had a lot going for her.

But when it came to dance – she simply couldn’t “get it right.” When doing any choreography, if she was supposed to turn left, she’d turn right. Or vice versa. Or simply – stand there in the midst of “brain static.”

This wasn’t a matter of being clumsy. It was a matter of having so many little interfering thoughts going on that she couldn’t function well in dance. And if we stripped away the protective cover, it was (sadly) obvious that she wasn’t functioning well in life, either.

How Do We Get “Static on the Brain”?

We get “static on the brain” by having a chronic pattern of not only lots of distracting and undisciplined thoughts, but also a pattern of negative thoughts.

Static electricity on wig, courtesy Alan Hart-Davis, Natural Science

Static electricity on wig, courtesy Alan Hart-Davis (Natural Science)

When this latter woman was in class with me once, she said, “Let me tell you about this horrible thing that happened to me recently.”

“It’s really important that we focus on positive things,” I said.

“Yes, of course,” she replied. “And let me tell you about this horrible thing … ”

Sigh.

This was a woman who just wasn’t going to get it. No amount of coaching, no amount of pointing the direction, was going to make an impact in her life, simply because she didn’t want to make a change.

She didn’t last long in dance.

And today, she is probably making left turns when she should be making a right, or getting into a situation in which an intelligent response is required, and simply – sputtering in static. Now that is something “horrible.”

How Do We Deal With Static on the Brain

We’ve all got it. To some extent, each of us has “brain static,” and it affects our lives – more or less significantly and profoundly.

If we’re going to dance fluidly, gracefully, and effortlessly, we need to minimize brain static. (Sure, we’d like to eliminate it completely, but let’s focus on goals that can be achieved within this lifetime.)

I’ve had (and undoubtedly still have) “brain static” as much as the next person. A while ago, my life was going “down the tubes.”

After more than a year of teaching myself marketing (post launching my latest book), I’d had a whole lot of discouragement. My self-talk reflected that. There were more stressful situations – a tooth that looked like it would need a root canal. Financial challenges. Housemate challenges. And then – my daddy died.

Shortly after, there was the fire that “smoked us all out.”

One of my students – wise and compassionate beyond her years – pointed out that that the fire was necessary in my life. It was “cleansing.” It was “purifying.” (She is deeply steeped in the Hindu religion, and I was learning a lot from her about what profound wisdom and insights this religion offered.)

I sighed and agreed with her, and tried to keep what she was saying in mind as I scrubbed and repainted yet another wall in the living room.

But she was right. The fire was cleansing and purifying, because something within me had to get burned away. It was my own “static on the brain.”

I knew that I had to make a change; a real significant one.

So (and wow, doesn’t the Universe/Source/Higher Power/God really provide for us?), I was commissioned by a very dear friend and renowned spiritual teacher, Alice (“Alicja”) Jones, to help her get her latest book ready for publication. This book – soon to be available – changed my life. Own Your Power is like an approachable, easy-to-read-and-assimilate version of A Course in Miracles. And the core lesson in both?

Forgiveness.

Yup, hard-core spiritual stuff. Forgiveness. And also gratitude. And giving love.

The lesson from all of this?

The basic, fundamental spiritual lessons (forgiveness, gratitude, giving love, etc.) have a powerful influence on our energetic anatomy.

Specifically, forgiveness can remove “static on the brain.”

It’s like bathing corroded electrical parts in a solution that washes off all the corrosion, leaving them sparkling-clean and highly functional once again.

So an immediate result – from both my daddy’s death, the fire that “smoked us out,” and what I’ve learned through spiritual teachings – is that to be effective dancers (and effective in life), we need to bring spiritual principles into action.

We need to forgive, have gratitude, and give love.

Believe me, I am still learning and re-learning these lessons.

Because of this, I’ll be including them in curriculum and reference materials, on an ongoing basis. After all, “We teach that which we have to learn.”

In the next blogpost, I’ll provide links to and summaries of some of the books that have been most influential and useful during this turn-around time for me. These have held the core lessons that have helped me start washing the “static” out of my “brain.”


Alay'nya - author of "Unveiling: The Inner Journey"
Alay’nya – author of Unveiling: The Inner Journey

Very best wishes as you use Oriental dance (belly dance) to create an increasingly calm, centered, focused, and totally glorious springtime, with little (if any) “static on your brain”!

Yours in dance –

Alay’nya
Author of Unveiling: The Inner Journey
You are the Jewel in the Heart of the Lotus. Become the Jewel!

Founder and Artistic Director, The Alay’nya Studio
Bellydance a courtesan would envy!

Check out Alay’nya’s YouTube Channel
Connect with Alay’nya on Facebook
Follow Unveiling: The Inner Journey on Facebook


Autumn Lesson 4: Breaking Through Emotional Resistance

Autumn Lesson 4 in The Season of Cups: Moving Out of Stuck Situations

The primary focus of this ten-week series (from the Ace through the Ten of Cups) is on cultivating our internal energy and bringing it up our spines. The final stage of this series is actually the Ace of Cups, when we (supposedly) learn to “fountain” our energy around ourselves.

This is an important goal, both because being able to “fountain” our energy (actually, to do anything at all with our internal energy) is good, but also because this ability is a crucial predecessor to the really important energy exercises:

We will be doing the first two of these practices (Micro-Cosmic Orbit and Middle Pillar) over the winter, and the final one (Circulating the Body of Light) in the summer.

What we are doing now, though, is a structured energy practice that will lead us steadily to some of these more advanced exercises.

In the previous three weeks, we introduced the Season of Cups and basic exercises for this autumn quarter:

In this Autumn Week 4, we encounter emotional blocks that keep us from fully doing our energy work.

The Tarot Minor Arcana "Four of Cups" card describes the emotional process of opening up to new life experiences.
The Tarot Minor Arcana “Four of Cups” card describes the emotional process of opening up to new life experiences.

Learn more about the Tarot’s Minor Arcana Four of Cups.

The Four of Cups is a moment of stasis; we are so locked up in our present thoughts and conditions that we can’t open up to new “good energy” that is being offered to us.

 
 
 

http://bubbewisdom.com/2016/02/24/ida-and-pingala/
Three channels through which vital ch’i energy flow up the spine, the ida, pingala, and susuhmna, with their six “nadi” crossings.

When we studied the Two of Cups, we realized that we were being directed to examine the Ida/Pingala energy streams at the root of our spine. At the Three of Cups, we included the Sushumna primary energy column in our attention, and did the first “interweaving” or “crossing over” of the Ida/Pingala streams. We did this at an energy nexus point on our spines that connects directly to the second chakra in front.

(Recall our energy anatomy: there are six “nexus points” on the spine, each of which connects via nerve bundles to one of each of six nerve ganglia on our fronts. Each of these physical nerve ganglia bundles corresponds to a chakra area.)

Now, at the Four of Cups, we’re at the second crossing of the Ida/Pingala streams, which corresponds to the third nerve bundle on the spine and the third nerve ganglia grouping and chakra center on our fronts.

This third chakra occurs at our solar plexus. This is right where our upper diaphragm (the one separating our heart and our lungs from our abdominal organs) occurs.

When we are energetically and emotionally blocked or “stuck,” then our diaphragm is tight, and we have a rigid hold on the muscles in our upper abdominal area as well as our sternums. The result is that we have a tight and rigid dance.

In Unveiling: The Inner Journey, I describe how one of my master teachers, Anahid Sofian, corrected me and another leading dancer on precisely this matter.

Across the crowded floor, a series of young women swayed like seaweed in the ocean. Their eyes on the diminutive teacher, they followed Anahid Sofian in her graceful yet precise movements…

“Leah,” she called out to a dancer, “you need to release – right here.” She gestured to her own sternum. We were practicing upper body undulations, one of the most beautiful and sensual moves in Oriental dance. “And Alay’nya,” she turned, scrutinizing me, “you need to do the same.”

Both Leah and I were well beyond the beginner’s level. … Here we were, getting the same correction on one of the most basic moves. “What,” I wondered, “is going on with us?”

Suddenly it hit me; one of those “Aha!” moments. Leah and I both epitomized the “young-woman-on-her-own-in-the-world.” Having to make it on our own in essentially a man’s world, we had taken on the masculine attributes of body armor by using our muscles and ligaments! By stiffening our muscles, and holding them tightly, we created an impenetrable shield; we were “armored” against the world. What we were doing in our bodies reflected more the influence of Athena, Goddess of Intellect (as well as war; she is the ultimate Amazon), than Aphrodite, the Goddess of Love. We were fully in our Amazon mode!

Releasing the muscles in our sternum took conscious attention from each of us. It did then, and it still does. The old tension patterns die hard. [from Unveiling: The Inner Journey, Chapter 14, “Locking Our Minds Out of Our Bodies,” pp. 189-190]

For many of us, as we go into the autumnal Season of Cups, our attention is not just on practicing technique. Rather, it becomes a quest to release those tensions and blockage patterns that keep the movement from flowing freely.

Here’s to your own “inner un-blocking”!

Very best wishes as you use Oriental dance (belly dance) for personal growth and healing!

Yours in dance –

Alay'nya - author of <a href="http://www.amazon.com/Unveiling-The-Inner-Journey-Alaynya/dp/0982901305/ref=sr_1_1?ie=UTF8&qid=1368123419&sr=8-1&keywords=unveiling+the+inner+journey">Unveiling: The Inner Journey</a>
Alay’nya – author of Unveiling: The Inner Journey

Alay’nya
Author of Unveiling: The Inner Journey
You are the Jewel in the Heart of the Lotus. Become the Jewel!

Founder and Artistic Director, The Alay’nya Studio
Bellydance a courtesan would envy!

Check out Alay’nya’s YouTube Channel
Connect with Alay’nya on Facebook
Follow Unveiling: The Inner Journey on Facebook

French-Patina-border-long-v1-jpg_crppd


P.S. Getting Your Own Copy of Unveiling: The Inner Journey

Do you want to continue reading Chapter 14, from which the beginning was excerpted above? You can have your print copy of Unveiling overnight from Amazon, or a Kindle version within minutes.

 

Alay’nya, Unveiling: The Inner Journey

Paper

Kindle

 

French-Patina-border-long-v1-jpg_crppd


P.P.S. More Unveiling

A very important related section is in Chapter 9, “The Essence of Stillness.” I have a nice long extract posted on the Unveiling website. Go to the Resources page, and look for the extract about Esther. Also, you’ll have a chance to sign up for the Unveiling e-newsletter, and be given early information on:

  • Workshops: Whether my own, or those that I highly recommend (and will likely attend), be the among the first to know your options for putting your Unveiling studies into practice – topics will range from archetypal to dance to the “Fountain of Youth,”
  • Best-of-the-Best links and “insider info, which I custom-select, carefully edit, and share just with the Unveiling Community (free, but you must Opt-In using the Opt-In form on the website’s first page) and
  • Weekly updates – so that you won’t miss a thing!

Alay'nya - author of <a href="http://www.amazon.com/Unveiling-The-Inner-Journey-Alaynya/dp/0982901305/ref=sr_1_1?ie=UTF8&qid=1368123419&sr=8-1&keywords=unveiling+the+inner+journey">Unveiling: The Inner Journey</a>
Alay’nya – author of Unveiling: The Inner Journey

Very best wishes to you make your dances more fluid and expressive as you add “water play” to your practice!

Yours in dance –

Alay’nya
Author of Unveiling: The Inner Journey

You are the Jewel in the Heart of the Lotus. Become the Jewel!

From Dr. Nicole Cutts’ Amazon review of “Unveiling: The Inner Journey”: “I love, love, love this book! It is like the g*ddess mother, mentor I never had and always needed. Finally a book that just tells it like it is for women. It is well written, intelligent and enlightening. For any woman who wants to live a life of adventure,joy and love. It is rich with so much wisdom and grounded in thorough research, which I love! I can’t say enough about it. All I can say is read it if you are looking for something new to take you to the next level of womanhood.”

Autumn Lesson 3: Unifying Our Energies

Autumn Lesson 3 in The Season of Cups: Unifying Three Essential Types of Vital Energy

In autumn, we focus on cultivating our intrinsic vital energy, or ch’i. The suite of Cups (from the Minor Arcana) is associated with autumn, and with the metaphysical element of water. Thus, when we put our attention on Cups (water) energy, we are really seeking to develop our internal cup, or energy basin.

Stephen Covey, in The Seven Habits of Highly Effective People, identifies the second habit as: Begin with the end in mind.

Paper

Kindle

We previously saw a visual depiction of our goal: Being able to bring our energy up and have it “fountain” or “flow” down around us. We saw this in the classic Rider-Waite interpretation of this card.

Our desire to “fountain” our energy is a normal and natural one, especially once we gain some proficiency with energy work. I learned about this energetic practice from Medea, my first teacher in Oriental dance.

“Medea had studied yoga. Her lover was also her guru. He had, she explained, taught her to bring up her energy during love-making – and to give it to him! Then they broke up. What, she wondered, was she going to do with her energy, if she wasn’t going to give it over to a man? She finally figured it out. As she told us, ‘Instead of giving it to him, I’ve learned to bring it up, and then to “fountain” it back down and take it in again!'” [Unveiling: The Inner Journey, pp. 402-403]

In last week’s class, we got more specific. We began our energy-study in earnest, with an etude (study piece) cultivate the two vital energy streams that come up on either side of our primary energy pathway in our spine. That is, we focused on the Ida/Pingala energy channels. We saw these two energy channels symbolized by the picture for the Two of Cups.

In this Two of Cups picture set, we see a consistent theme – a man and a woman come together to share their energy.

In the central picture, we see that the man and the woman each are holding a cup, and are each extending their cup towards each other. We connect this to the first step of the Ida/Pingala energy raising. We note that the two persons seem just a bit tentative; this is their first experience of bringing their unique energies to “cross over” and join with the other. This is where Ida (left) and Pingala (right) cross over at the base of the spine, at the root chakra.

Now, “begin[ning] with the end in mind,” we take a look at the final card for the Suite of Cups. The Ten of Cups similarly shows a man and a woman, and again each holds a cup.

The big differences? Their wrists wrap around each other, and their cups are upraised. There is energy flowing into and out of their cups (the rainbow). The signs of “cups” are all about them; the union of these two energies has resulted in a happy, positive overflowing abundance – complete success!

This is our end-goal for our Ida/Pingala energy-raising exercise, and in fact, for the entire Autumn Quarter, when we focus on Cups.

Keep in mind that when we look at imagery such as this – strictly in terms of how these images represent steps and challenges (and overcoming challenges) in our personal growth and mastery – that each person or being represents an aspect of ourselves. In the pictures showing a man and a woman, they represent our masculine and feminine psychological poles, and/or our different energies – in this case, specifically the Ida/Pingala energy channels, or nadis.

In this context – of knowing our overall goal for the quarter – we look at the Three of Cups.

Images for the Three of Cups traditionally show three woman, often dancing together. The middle image here shows them bringing their cups (energies) towards each other, and intertwining their arms.

This brings to mind what we learned last week; the Ida and Pingala are on either side of the primary energy channel, the Sushumna. This week, we remind ourselves that our deeper goal is not just to bring energy up the Pingala and Ida channels, but also bring up our primary energy (up the Sushumna channel); this becomes a kundalini awakening – a very advanced step. In our classes, we focus on prerequisites – on the “beginner steps” towards this very advanced goal.

One of the most basic, and important, practices for energy cultivation is pranayama. We introduced a “baby pranayama” exercise together with energy raising in the etude that we have set to Rasa’s Gayatri Mantra. (Hereafter, for simplicity, we’ll refer to this as the Gayatri Mantra energy-raising etude, or simply the Gayatri Mantra etude.)

In this Gayatri Mantra etude, we do three things:

  • Bring energy up our spines, where we anchor (drop our body weight) and allow our hands to come up each time we “bring up our energy,”
  • Coordinate the energy-raising with specific mudras (hand gestures) and with vibrating the words that go with each mudra, and
  • Coordinate all of this with a simple (baby-level) pranayama breathing pattern.

This is only complicated until it’s not.

By the end of this quarter, we should be proficient with:

  • Bringing energy up to each of seven different chakra-levels (actually, six nadis on the spine and then our crown chakra),
  • Coordinating this with seven different mudras and their respective “intonations,” along with the ability to do some baby-level pranayama, and
  • Some awareness of our Ida/Pingala energy channels, which interweave about our spinal column.

Also, by the end of the quarter, we should be much better at:

  • “Containing” our energy in our pelvic “energy cauldron,” as opposed to spilling it out,
  • Minimizing “holes” in our “energy cauldron” (making it a “cauldron” and not a “sieve” or a “colander”), and
  • Protecting our energy boundaries (yes, “setting boundaries,”) so that we don’t unintentionally give away all this lovely energy that we’re cultivating.

The end result is that we should approach winter solstice with a strong, vibrant energy – ready to share at our discretion as we spend time connecting with friends, family, and colleagues. We should be energetically “insulated” against winter, and be strong for the next aspect of our inner journey.

Most of all, we should be feeling “juicy.” As in, downright fabulously “delish”! Here’s to a great autumn season for all of us!

Namaste! – Alay’nya

Filling Our "Energy Well" Using Oriental Dance

Filling Our “Energy Well” Using Circular, Rolling, and Snake Movements with the Chifti Telli Rhythm in Esoteric Belly Dance

Julia Cameron, in her book The Vein of Gold, talks about “filling the well.” She writes, “As artists, we must learn to be self-nourishing.” (p. 21)

Paper
Vein of Gold

Paper
Walking in the World

Water: The Energy of the Season of Cups

As we move into Autumn, the Season of Cups, we shift both our dance and our life-focus. Summer was the Season of Rods, and dealt with fire energy. If we had progressed in our energy cultivation path well over the previous year, we had plenty of “energy to burn” by summer time – and that’s exactly what we did!

Now, though, with the heat of the summer waning, we are ready for something different. Our bodies – and our psyches – seek replenishment.

Energetic Anatomy

Because we are doing esoteric belly dance, or Oriental dance (belly dance) with an energy component, the idea of replenishment has very specific and practical meaning for us. We focus on drawing energy into our “energy reserve centers,” and to building and strengthening this energy.







Be the first to know about upcoming events, valuable online tips and training guides, and all that will help you create yourself as the jewel in the heart of the lotus!

We respect your email privacy

Powered by AWeber Email Marketing Services


As a first step, we look at one aspect of our energy anatomy – the various energy channels that come up our spine.

In many of our energy exercises, we draw energy up our spine. Very often, we bring energy straight up our spinal column.

However, in this lesson, we pay attention to the fact that the energy currents up our spine are more complex.

Energy channels going up tNada, ida, pingala, & sushmna energy channels
Energy channels going up the spine: nada, ida, pingala, & sushmna

There are really three channels, or nadis (a Sanskrit term), as recognized in the yogic tradition. These are:

  • Pingala: The nadi carrying the “active” aspect or prana (this is our vital life-force, or ch’i)
  • Ida: The nadi carrying the “passive” aspect or apana
  • Sushumna: The nadi carrying the Kundalini energy

These energy channels have been recognized in our own Western medical tradition – in a very subliminal manner – for thousands of years. Specifically, the cadeceus – our emblem for the healing arts – is a stylized depiction of these energy channels.

The tantric tradition of kundalini yoga has been to awaken the energy flow through these nadis, culminating in a fully awakened and energy-vitalized state.

Relating Energetic Anatomy to Western Esoteric Tradition

In our studies, we use this time of year to “fill our well” energetically. In fact, we opened this quarter by giving attention to energy dancing with a water feeling.

Now that we’ve introduced our theme, we move from the overall feeling of water energy (the Ace of Cups) to the lesson in the Two of Cups. Margaret Wells, who has developed interpretations for the various Tarot cards, describes the Two of Cups as bringing forth “a moment of shared feeling.”

"Two of Cups," by Melvis
“Two of Cups,” by Melvis

Look closely at the imagery in this card, designed especially by Melvis, in a project organized by Margaret. See how the two cups are blending together? And they’re both receiving droplets of water.

This is what we’re doing. We’re bringing “droplets of energy” to both our prana (Pingala) and apana (Ida) origination and storage points at the base of our spine. This is the starting point for our exercise.

Practicum: Second Week of Autumn

Pingala/Ida Nadi Tracing

We will return in this week’s class to the Cabbalistic Cross exercise that we began last week, using the music Anahat (by Kairo by Night, on the Zaman CD).

We are going to use the opening phrases of this music (about a minute or so, before the “melodic line” kicks in) to trace the Pingala and Ida circulation lines up our spines. This acts as a reminder to ourselves that these two nadis play a role. Even though many of our other energy exercises will bring the energy straight up our spines, we acknowledge the different “currents” or nadis as we begin our practice.

Please note: The Cabbalistic Cross is not an “energy-building” or “energy circulation” exercise. Rather, it is the first step in aligning ourselves with certain “realms of consciousness” (Sephiroth in the Kabbalistic tradition), and is a preliminary to an “energy boundary” exercise, the Lesser Banishing Ritual of the Pentagram. We are inserting the Pingala/Ida here – because it works – and we’ll insert it into other exercises/etudes as well. Keep in mind the distinction; energy-building or cultivation vs. energy circulation vs. protection/boundary-creation.

Other exercises for the Second Week of Autumn

  • Diaphragm stretches: We’ll begin paying more attention to each of our three diaphragms, allowing them to release, so we can bring in more air. This is an important precursor to learning undulations, both upper and lower body.
  • Circular Movements: Hip circles and rib cage circles help us to “feel out” the fullness of the energy basin that rests in our pelvic girdle.
  • Snake Arms: We’ll introduce some exercises that will help you move your arms and hands gracefully. These are necessary precursors to candle dancing, which is an optional study for Winter Solstice.

As always, we’ll do veil work – both in place, and moving across the floor.

Music/Rhythms

We will listen to and move with various chifti telli pieces, which are the focal rhythms for this quarter.

Principles

  • Lotus Flower: This is a Static Principle, and is the second one that we learn in our sequence. It is the natural corollary to the Anchoring Principle that we studied last week.
  • Expansion/Contraction: This is a Dynamic Principle that we’ll study in greater depth over time. We use the Expansion/Contraction method, combined with breathing (even a little pranayama) to fill our energy cauldron (the “basin” in our hip girdle, where we build and store intrinsic energy, or ch’i). This is a natural accompaniment to – and adds to the energetic value of – movements such as hip circles.

Using Unveiling: The Inner Journey as a Study Guide for Autumn Dance Classes

Textbook References

The following chapters in Unveiling are relevant to this week’s study:

  • Chapter 25, “Sex Secrets of Belly Dancers”: All you need to know (and more) about our various diaphragms. Also a write-up on why we do those horrible abdominal exercises during our warm-ups. (Strengthens our internal and external obliques.)
  • Chapter 22, “Looking Like a Dancer (Even If You’re Not)”: Includes a very brief description of the Anchoring Principle, which I learned from martial arts master Peter Ralston, along with a brief mention of the Lotus Flower Principle (which I simply call “reaching up” in the text).

Related Personal Pathworking Steps:

At the beginning of this post, I referenced author Julia Cameron, who talks about using images to feed our artistic souls. I build on her ideas in my recent book, Unveiling: The Inner Journey. (Look at the Personal Pathworking at the end of Chapter 3, “Bedtime Stories for Grown-Up Girls.”)

Paper

Kindle

Studying with Alay’nya

It is still possible to join us in the Alay’nya Studio in McLean, VA. Beginners meet on Sundays from 11:30 to 1PM. Learn about the Beginner’s Dance Package, and email me for an invitation to join us for a complimentary introductory class: alaynya (at) alaynya (dot) com.

Related Posts for Using Water Energy in Dance

Energy Dancing with a "Water Feeling": Flowing and Swirling Motions

Playing with Water Energy in Dance: Flowing and Swirling and “Fluid” Motions

The Autumn Equinox marks the transition from the fire energy of summer to the water energy of fall. The notion of having different “elements” (air, earth, water, and fire) comes from our classic Western European esoteric tradition, which teaches that each quarter is governed by a “suite” (swords, pentacles, cups, and rods), and that each of these “suites” is respectively associated with an “element.”

This is important for us not just because of our Western European cultural heritage, but because these various “suites” also connect us to growth stages identified in the Kabbalah, which is the earliest known “roadmap” for personal growth (leading, potentially, to God-realization). In a much more immediate and practical vein, these various “elements” connect us to a feeling of what is going on in our environments, and to how our bodies react to the changing seasons.

 

The “Ace of Cups” – the ultimate symbol for water energy.

It makes sense for us to invoke water energy into our lives after the fire energy of summer. This often correlates with what is going on in our weather, as well. After a late summer drought, we get rains once again. September is, in fact, a prime time for hurricanes!

And whether or not we’ve quenched the fire energy of our summer by going to the beach (getting a water energy infusion), by the end of summer, we’re often “burned out.” We desire not only the coolness, but the “swirliness” of water.

Practically speaking, how do we take this into our dance?

There are certain kinds of movements that almost shout water energy to us:

  • “Rounded” movements such as hip circles, rib cage circles, and figure-eights,
  • “Snakey” movements such as snake arms,
  • “Flowing” movements such as many veil patterns – whether done around our bodies while we are in one place, or as we move across the floor.

There are also certain rhythms – or musical sections – that speak a “watery” language to us:

  • Chifti tellis,
  • Taxims, and
  • “Lyrical” beledis.

This autumn, we’ll be studying and building choreographies with each of these different “watery” feelings.

Spring Quarter – Season of Air – Spins, Turns, Movement Across the Floor

Dear Ones –

I need your help.

Can you recommend good YouTube links and even DVDs for dancers who make good use of space in their dances?

If you would, please send me your suggestions, to alaynya (at) alaynya (dot) com. Also, I’ll post your name (if you’ll allow me to) as the person who recommended a link; and if you have a website, I’ll post that also. So please give me the name that you’d like used when I post the link and reference you, and give me your website, and whatever title you have (“Professional Dancer,” “Artistic Director of Troupe Whatever,” “Dance Teacher,” etc.)

Thank you, and I’m looking forward to getting your inputs!

The starter-webpage for the Spring Quarter is up, please visit at Spring Quarter Studies. Not done yet, but a “working draft.”

I’ve got a starter set of “recommended resources” in terms of music and DVDs, and even books (for the academic part of the study). But I don’t have a good set of YouTube links on the various themes for Spring.

The first theme I’d like to get going is that of “using space” intelligently in our choreographies. Do you have any favorite YouTubes of dancers whose choreographies make good use of the space in which they dance?

By this, I mean: Do they have a good opening sequence in which they define and claim the space? Do they have a variety of movements-in-space, such as big circles, diagonals, etc? Do they intelligently use the depth of the space, so that when they come forward, it has an emotional meaning, and when they withdraw, it also means something?

I’m interested in a variety, ranging from good artistry and technique, to good conceptualization, to good emotional understanding of how their movement in the space of the stage communicates to the audience.

I’m also interested in posting links to YouTubes that show different sizes of stage environments; from small and intimate to large, and even the open-air types of spaces.

Alay’nya with veil – photo courtesy E.J. O’Reilly

Spring, in our Judeo-Christian heritage, is the Season of Air. (Think, “the March winds.”) It corresponds to the Suite of Swords, where swords represent our intellect and ego. And of course, being the Season of Air, it’s time for us to move forward.

During winter, we practiced grounding. Over these next three weeks, as we transition to spring, we’ll introduce movement patterns that help us “transition” between stationary dance techniques and those that take us across the floor. We’ll also work with our veils; learning veil drapes, framing ourselves, and how to “unveil” ourselves as we move into a light and airy veil dance.

yours in dance – Alay’nya

Did you feel the energy shift at Beltaine?

Dear Ones —

Here it is, Tuesday, May 4th. About a week ago – Thursday, April 29th – a sort of “energy shift” started. Do you remember, for those of us on the East Coast, that we had a relatively dry few days, and that it got very warm from Friday the 30th to Saturday, May 1st?

It wasn’t just the physical warmth though; there was a distinctive “quickening” or “enlivening” that happened. Nothing on a grand cosmological scale; I’m not talking about something millennial (or even centennnial). Rather, the simple, annual cycling of energies. In this case, an intensification of the emerging “spring” energy and a transition into “summer” energy.

Most of us – very naturally – get caught up in the energy patterns themselves, and don’t really notice the energy-feeling as something distinctive. I was caught up, myself! (You’ll note that I haven’t blogged in over a week.) And even when two days of rain followed that lovely Saturday, the energy-feeling continued, and continued further as the beginning of this warm, dry week emerged.

The thing for us to notice – as dancers and as energy workers – is when there is a transition.

One of my household members had a May 1st birthday, and threw a great big party. And – appropriately enough for Beltaine – there was a wonderful “bonfire” in our fire cauldron!

I celebrated Beltaine by being drawn into re-developing a fire dance.

This is the same fire dance that I had done several years prior; using Mosaic (the first cut) on Sandstorm.

This is one of the first works by Farzad Farhangi. So fortunately, I already had a detailed set of notes on the musical structure, and some previously-developed base choreography.

What is different now, is that I’m seeking to work with the fire energy itself, not just to do a dance. And this means – yes – doing more than just a “candle dance,” which is how I interpreted this dance earlier.

In short, it’s not enough to just do an impressive choreography and even to work with candle flames. For energy work, there are two whole extra dimensions.

The first dimension has simply to do with feeling the “energy” of the element with which we’re working. For a fire dance, I want to feel that zingy, enlivening fire energy. (This is Level 3 in our practice.) And Level 4 (the second new dimension) is what we create with the fire energy – how we hold it, shape it, and purpose it – at an energetic level, while we are doing the dance on the physical level.

Kind of like walking and chewing gum at the same time, although a good deal more complex.

And I’ll admit – I’m a beginner at this sort of thing. Doing this is as complex, and as challenging, as it was many years ago, when I tried to do a veil dance with zills for the first time. It is REALLY a new experience to seek to get the physical movements so down-pat (even if they are improv), so that my conscious attention is on the energy-experience, and I’m not focused on the details of technique and choreography.

But this is where the art is becoming brand-new, all over again – and this is enormously exciting.

And back to the energy-shift of Beltaine – the transition. What happened at Beltaine was an introduction of fire energy – very different from the quickening of life-energy that brought us all out to our gardens around Vernal Equinox; this had a qualitatively different feel.

So if you would care to take on an exercise, start to notice (perhaps even record your impressions) of the energy shifts, especially as we come to the cross-quarter days as well as the seasonal quarters. (This means: the Summer and Winter Solstices, the Vernal and Autumnal Equinoxes, and the cross-quarter days of Beltaine, Lammas, Samhaine, and Imholc.) Feel the energy, and observe how your natural instincts respond. Then see how you can transition that into your dance!

Also, Waverly Fitzgerald has a lovely and inspiring website, schooloftheseasons, and an associated blog; livinginseason. I’ve been following her site for years, and reference it within my own web – and am delighted with her sensitive, insightful blog postings!

Candlemas Countdown – The "Real New Year" Starts Now!

Dear Ones —

Early in the morning, with the light just turning tree branches into lacy silhouettes. We’ve resumed classes, just in time to have class schedules interrupted by the sleet/snow/ice that comes to Northern Virginia during late January and throughout February each year.

Officially, our “New Year” began January 1st — following “twelve days of Solstice.” (Count it — Dec. 21st to the end of December is 12 days, then we start the new year!)

Energetically, our “New Year” begins right about now.

How do we know that it’s new?

We start feeling it in our bodies.

If we were very internal over the Christmas holidays and early part of the new year, we find ourselves less internal now — more energy, more extroversion, more desire to get out, no matter what the weather is doing.

Those of us that just wanted to cocoon during the “darkest days” of winter are now saying, “When does class start again? I’ve just GOT to get back to class!”

And my inbox starts filling up with new inquiries.

Even the nature of our workouts change.

During the Christmas holidays, I worked out — but mostly mat work — floor work of various sorts. Everything from pushups to Pilates, from oblique crunches to yoga. But now, my body is also aching for much more active and expressive movement. In fact, I’m heading into the studio in the next few minutes.

But that leaves us with the occasional quandary: We want to move, we’re ready to move, and classes are fully started — but weather gets in the way. The kind of weather where we are really and truly “snowed in,” or sleeted in, or whatever have you.

So — over the next few days, I’ll share with you some extracts from what we’re doing to build up a “study at home” core curriculum for dancers, both at Beginner and Early Intermediate levels.

Until then, happy dancing!