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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.

"Geek to Gorgeous" in 60 Seconds – Two Opportunities in September, 2012

Learn Alay’nya’s Sixty-Second Geek-to-Gorgeous Body Transformation Secrets in September, 2012 – on Channel 10 Cable TV and in Alay’nya Studio Open House

Do you feel (let’s be honest here) just the slightest bit frumpy? As in, stressed, harried, hunched down, worn out? Do you feel that – no matter what you put on in the morning – you’re still wearing last year’s clothes?

And do you sometimes feel that no matter what treatments that you get at the spa, and no matter how hard you “hit it” at the gym, and no matter how many supplements you take, or affirmations that you say, that there is a vital something missing in your life?

If so, you’re probably right. You probably ARE missing something. And there really is a “secret something.”

The reason that most of us don’t know about it is that it can’t be packaged as a pill, or provided as a “treatment.” There’s no advertising money to be made with this “secret.” No doctors will get you to come back for repeated injections or laser “therapies.” And the major cosmetics houses are not able to sell this to you.

There is, however, a “secret” that has been known for thousands of years. It’s not something you can buy, and you can’t pay someone else to “provide” this to you. However, you can learn this. And with sufficient determination, you can master this skill and transform your life.

But let me “come clean” – at least a little bit. There’s really not just “one secret.” Rather, there are layers. There is a whole art and science to this. While you can learn it, this is not an “all-at-once” process. It involves learning some new things, unlearning others, and practicing a whole lot.

And sometimes you – like I – have more time to practice than at others.

But you know what? I’m just like you. I’ve spent much of my lifetime studying these “secrets,” and have achieved some fair proficiency. In fact, I’ve devoted a whole chapter of my recent book, Unveiling: The Inner Journey, to some “frank talk” on this subject.

But despite all my knowledge, and years of practical experience, I’ve had (probably just like you), the occasional down-dip in my personal energy. That’s when I’ve really had to go “back to the basics.” I’ve had to practice what I’ve preached.

For several years, writing Unveiling consumed my life. My body and energy practice was still there, but it was at “maintenance level.” And I stopped teaching while putting attention onto finishing the book. It was a lot like having a new baby.

But now the “baby” is a year old. In fact, it’s actually “weaned” a bit. It doesn’t require my around-the-clock care in terms of getting the reviews, building the readership base, and all those other things that brand-new authors must do.

You’ve probably heard that old adage, “We teach that which we need to learn.”

Well, I’m excited about teaching again. I’m excited about the Open House that we’ll be having on the Sunday after Labor Day weekend; Sunday, September 9th, from 12 – 2PM. And I’m excited about sharing some of my favorite “secrets” with you.

In particular, we’re devoting this Open House (the first in several years) to one of my favorite topics, the “Sixty-Second Geek-to-Gorgeous Body Transformation.”

Imagine it. In one short session, you’ll learn my seven-step “transformation checklist” that will let you totally revise how you “are” in your body – how you “organize” your body from the inside out.

The results?

Immediate transformation. Once you’ve mastered the “seven point checklist,” you can apply it within 60 seconds (or less). And you will immediately:

  • Go from frumpy to fabulous,
  • Develop a compelling personal presence, and (perhaps most important)
  • Establish a “baseline” so that you can start learning – and applying – the “secrets” of increased vitality, energy, and the ability to command life to conform to your desires and wishes.

Are you ready for this?

Are you ready to become a Master of the Universe?

Join me at the Open House – the Sunday after Labor Day this September.

And if you can’t be with me on that date – or even if you just want quick reviews – I’ll be demonstrating the “Sixty-Second Geek-to-Gorgeous” body transformation on John Monsul’s Communicating Today, which will air three times that week.

Related Posts:

Anahid Sofian Labor Day Weekend Workshop – Beautiful "Patterns in Space"

Anahid Sofian, Master Teacher of Oriental Dance, Hosts Four-Day Intensive Starting Thursday, August 30, in New York City

If you’ve read Unveiling: The Inner Journey, you’ve read about Anahid Sofian. She’s responsible for several of my most significant breakthroughs in Oriental dance – both in the technique and the “psychology” of the dance.

Here’s just a sample:

“… What she had just shown me was not something new. I had not only known it: I had taught it to my students. And here I was, taking my new creation in to my master teacher, and realizing that I’d forgotten the basic lessons.

“What was it that Anahid had, and that I had totally forgotten?

“Simply, it was the power of holding something back.” (Unveiling: The Inner Journey, Chapter 26: “Unveiling: Selective Revelation,” p. 359)

This week, from Thursday, August 30 through Sunday, Sept. 2nd, Anahid will be holding an Intensive Workshop in her studio in NYC. This will be a magical time!

One of the things that Anahid teaches, and which I’ve learned from very few others, is the mystical, elusive art of creating beautiful, flowing patterns in space as you move with your veil. Most veil work that we see today is stationary. Anahid excels at the earlier version of veil art – the kind that is mesmerizing, captivating, and infinately memorable.

 

Alay’nya showing veil techniques that she learned from master dancer teacher Anahid Sofian

Anahid will be teaching her special veil movements this coming Sunday, Sept. 2nd. There’s possibly still room for one or two more to join her class.

On Saturday, Eva Cernik, Anahid’s protege and a master teacher in her own righ, will be teaching, and this is another stellar opportunity. I’ve adored every single thing I’ve learned from Eva, and have watched her videos time and again. (Showing an Eva video, and then trying to capture her “essence,” is a staple part of my class curriculum.)

If you live in the Greater DC Metro Area, or in Baltimore or anyplace up the I-95 corridor, you can get to Anahid’s studio easily using Amtrak. It’s a bit of a long day, but very doable. And totally worth the doing!

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Kindle

"Energy Dance" Deserves Its Own Respect

“Energy Dance” – Oriental Dance Combined with Energy Work – Requires Special Handling, Care, and Respect

This last Sunday (just five days ago), I resumed regular “dance class.” It was “class with myself” – doing all the things that I usually do (and teach) when holding regular classes: warm-ups, technique drills, choreographies. At the end of two fairly intense practice sessions, I was tired. In fact, my muscles were stiff and sore for the next couple of days. This isn’t unusual when getting back into Oriental dance (belly dance); we use large muscle groups, and the workout is not necessarily more intense, but it’s often deeper.

Yesterday, after morning chores and during morning journaling, a piece of music kept coming to mind; “Dark Fire” by Light Rain, on the <a href=”http://www.amazon.com/Dark-Fire-Light-Rain/dp/B000008R22″>Dark Rain</a> CD. I followed a strong intuition that I should start working with this music. Several hours later (of very intermittent efforts), I had a bit of choreographic overview, some intense practicums (lasting only a few minutes, but still intense), some small sections of more specific choreography, together with costume ideas. I’d even selected my veils – two 4-yard pieces of subtly patterned and deeply toned silk chiffon.

In addition to playing with the physical aspects of this dance, though, I did something else: I started working with the energy aspects. This was entirely different from Sunday’s “classes.” This was a deliberate, intentional effort to infuse energy (ch’i) collection and direction with the dance movements.

And then, being somewhat tuckered out, I went to bed. I didn’t fall asleep right away, and so started listening to a book on CD. And that’s where I made the mistake. In fact, my intuition (or “guidance”) was telling me not to listen to that book, and I did an override – I wanted the story, and so I indulged.

I awoke a couple of hours later from a nightmare. For me, any form of nightmare is really unusual. My dreams are usually interesting “adventure stories.” Maybe not always fun (and usually strong on the “adventure” aspects), but almost never unpleasant or scary. In this dream, though, characters similar to the book’s villains showed up – people who were being hurtful, cruel, or simply very mixed-up.

This experience brought me back to recognizing that energy work – even when just practicing or developing something (that is, not being done with full-out magical intention) is still very powerful. I’m likening it to being in a fast-flowing, full stream of water.

Most of the time, we have an “energy flow” inside ourselves, but it is relatively low-level. This is like walking through a stream that is just trickling around our ankles, and isn’t moving very fast. When we deliberately start ramping up the “energy work” aspect of our practice, then it is like being in a stream of water that is much higher – imagine thigh or waist-deep – and is swirling and moving with some vigor. This kind of stream can easily pick up and move around stray, random things such as tree branches and any loose debris.

The difference between the energy flow (ch’i) that we create and move through our bodies during intentional practice and being in a stream of water is that when we do the energy work, the “stream” is really inside us – and when we ramp it up, it is also outside us a bit as well.

When a big rainstorm causes a stream of water to swell, it not only moves faster, but also rises in volume – picking up all sorts of stream-bank debris. This extra debris, along with dirt washed into the stream, make it full of extra “stuff.” Similarly, when we expand our personal energy, we not only attract more thought-forms from our vicinity, we “swirl them up” with extra energy. We give them more “oomph” and power in our lives.

Usually, this extra “stuff” doesn’t do any damage; the waters subside and the “stuff” gets left along the streambank once again. But if part of our intention and goal is to actively work with our internal energy, then it makes sense to keep our energy-stream as pure as possible, doesn’t it? Simply put, why add unnecessary junk?

There’s a notion called “magical chastity.” While it technically refers to a time of sexual abstinence unless using sex for magical purposes, this is actually a more broad-reaching concept. The idea is that when we are focused on creating something, we keep our attention and energy pure and focused solely on that desired creation. I’ve done this a lot when getting insights for a new invention, or when seeking clarity on a writing project. Athletes will often do this as they approach a significant competition or game. It’s all about focus.

The lesson here is that even relatively low-key energy work is still energy work, and deserves respect. It’s like shifting from using a couple of batteries to a full-scale generator. The higher the voltage (or more accurately, stored energy content – thus creating “potential”), the more we should be careful with our thoughts. Our thoughts function much like “connection wires” – they guide where the energy goes. And if we allow our thoughts to be randomly corroded with material from books, TV, or movies – just as we’re ramping up our energy store – then we’ll sometimes get a bit of “energy leak-over” as the energy that we’ve built up combines with the thought-forms that have caught our attention.

Usually, there’s no real damage. In my case, having an unpleasant dream is not a severely damaging experience. But the more proficient we become with energy work, the more important it is to be careful. Especially, we need to be careful with our thoughts. If we must read for entertainment, it’s important to choose something uplifting. I’m right now in the midst of my first pass through A Course in Miracles, which emphasizes love and forgiveness. These are better thoughts to have in my head than the actions of some villain in a novel!

One final thought: when we’re in a ramped-up energy state, it is much easier for us to influence “reality.” This is a good time to bring to mind those people, events, and organizations that are on our prayer list. Is there a person or group of people for whom you have kind intentions, but cannot give the time or money or attention that this person or group would like? Give them your loving thoughts while in a heightened energy state, and let the cosmos “do its thing.” Remember the foremost adage of basic New Age thinking, “That which is like unto itself is drawn.” (See the works of Abraham-Hicks for expositions.) When we are in a heightened energy state, and create a thought-form of love, respect, good-will, and appreciation for someone or something, and then (with gentle intention) send that thought-form to that person, then – because this thought-form has been created both with clarity and an extra energy-oomph, it will attach to the object to which it was sent. That is, it will attach if it is in synchrony with the energy-essence of the person or group. So then, it will cause other similar thought-forms to attach – resulting in good things happening! (A simple form of creating reality through intention.)

Best wishes, much love, and see you in dance class!

How to Prepare for Your First Class in Belly Dance

Advance Preparation Makes All the Difference in Learning Oriental Dance (Belly Dance)

Darlings – I have a confession to make.

If you’re tracking this blog at all, you’ll know that we’re having our first Open House in over two years. For all practical purposes, I had closed the Alay’nya Studio while doing the final rewrites, edits, proofs, and publication of my most recent book, Unveiling: The Inner Journey. And then, a first year of guiding it through public introduction. Think of it has having a baby, where the last three months of “gestation time” that we need for a human child transferred into 2-3 years to bring Unveiling from raw draft to finished product.

Now, of course, it is not only available (in both trade paper and Kindle download form), Unveiling is actually the first required reading for people who want to study with me.

Obviously, though, this is a dance class. And I’m having to get my “dance groove” back on, just as you will when you join me. (Mark your calendar NOW for our Open House on Sunday, Sept. 9th, and contact me for directions and details.)

So I’m practicing. And in addition to the yoga, core, and conditioning basics, I’m back to practicing dance (and developing lesson plans, reworking choreographies and practice pieces, and all sorts of things necessary to launch a great season).

One of my favorite training DVDs is Kathryn Ferguson’s Mid-Eastern Dance: An Introduction to the Art of Belly Dance.

Years ago, this was my most significant instructional tape; then available only in VHS form. During a summer when my dance teachers took a break, I had just refinished my living room. This empty room beckoned as a new “dance studio.” The big challenge was: could I get myself to practice all on my own, without the structure and security of a dance class to guide me?

My next big question was: could I ever look like Kathryn?

I was entranced and inspired by her tape. What was most mesmerizing about her presentation was that after each (well-explained and well-demonstrated) technique section, she’d have a little vignette in which she used those techniques in an improvisational dance.

I wanted desperately to look like her, to dance like her. Even after finding my “master teachers” (Anahid Sofian and Elena Lentini; read about them in Unveiling), Kathryn remained an icon. And her VHS tape was always my reference standard for introductory teaching.

Now, I’m using her material again. This time, she’s (so thankfully!) released it as a two-volume DVD. You’ll have to contact her to get a copy; it’s not available through Amazon, and not even as a “store item” from her website. But contact her directly. (I may place a bulk order for the class, once everyone has registered for the first quarter.) The extra effort is worth it. This still remains, by far, one of the most fascinating, beautiful, and useful introductory DVDs to this beautiful and gracious art.

But my confession? Right now, I’m looking nowhere near the way that Kathryn does in her teaching DVD. Full circle. I’m back to being a student before I can be a teacher again.

Rejuvenation Secret #1: Improved Mood, Increased Energy, and Better Stress Resistance

Disaster Recovery – Using the Ancient Chinese Silk-Weaving Exercises

This last week, like so many of us in the Mid-Atlantic area, I was without power for several days. As with many of you, I carried through the actual power-outage itself well enough. Adrenaline kicks in, and our survival instincts take over. We solve problems, come up with creative fixes, and simply deal.

It’s the aftermath that is toughest.

The adrenaline surge fades away, and we’re left with clean-up. Messy, nasty fridges and freezers. Things strewn all over the house. More dirt and grime, wear and tear. This is when – all too often – it seems overwhelming.

Like many of you, I’ve had a post-power-outage personal energy and power drop. This morning, I was barely able to do a yogic downward dog. What makes this even more challenging? When we’re stressed, we tighten up. That takes a further toll, and it’s even harder to do those “stretch and release” things that we know will help us feel better.

Rebooting our personal power and energy is like rebooting any system. We do the simplest and smallest things first.

My personal “power-up” sequence uses a special movement/energy/breathing sequence: the silk-weaving exercises. These are essentially a “pre-kung-fu” movement series – not as full-fledged as T’ai Chi, but movement-and-breathing-oriented. Sort of like a martial arts version of yoga warm-ups. Very powerful and effective.

A good video preview showing extracts of these silk-weaving exercises. Another good web resource gives detailed instructions for the Eight Pieces of Brocade, which is another term for the silk-weaving exercises. Here is one more YouTube demonstration video for the Eight Pieces of Brocade.

My results:

  • Better energy (I was indeed able to get into some yoga and other stretches),
  • Improved mood, and
  • Reduced stress along with a better attitude about dealing with the post-power-outage clean-ups.

Overall, a really big impact from just 40-60 minutes of silk-weaving exercises, followed by yoga and a Western esoteric energy-practice called circulating the body of light. (See Donald Micheal Kraig’s book, Modern Magick: Twelve Lessons in the High Magickal Arts, referenced in my previous blogpost, Creating Personal Energy.

Michael Minick’s The Kung-Fu Exercise Book: Health Secrets of Ancient China is the book that I used many years ago to teach myself the basic silk-weaving exercise patterns. Since then, having studied T’ai Chi and Oriental dance for many years, I’ve been able to decipher the secrets that were NOT put into the book. That has made my technique more powerful and effective. Minick’s book is now (sadly) out of print; used copies are available through Amazon.com.

For information on circulating the body of light, read Donald Michael Kraig’s excellent book: Modern Magick: Twelve Lessons in the High Magickal Arts

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Best wishes, and more power to you!

Related blogposts:

The "Latest Greatest" from Julie ("America’s Mindset Mechanic") – Worth the Read!

Julie Rahm, “America’s Mindset Mechanic,” on “Dead Languages”

A couple of weeks ago my dear friend Julie posted an insightful dead languages on her blogsite. These “dead languages” were not “dead” in the sense of Latin or Sumerian, but “dead” in terms of the energy-impact that it had on both the speaker and the hearer.

Now you’ve heard me mention Julie before. She’s in Unveiling: The Inner Journey (see the tail end of Chapter 21, “Dressing the Part.” You may have followed my link to her post two years ago, when she described her “mindset tools,” particularly the “plumb bob.” (Great analogies, by the way; you might even want to re-read.)

Her blogs are always good. This recent one, though, on how (at least in some parts of our country) we use “dead language” really got my attention. Words like “no problem” (and what they convey emotionally) are an example of “dead language.” They lack vitality, life-force, and connection.

If you haven’t been tracking her blog, add it to your feed. In particular, read this post.

And think about how “dead language” terms have crept into our vocabulary.

Or even worse – how some people may say things like “Shut up!” or “Get outta here!” when what they REALLY mean is “How fantastic! I am so thrilled and happy for you!”

When we’re happy for someone, let’s say it.

And by all means, when someone has good news to share, let us NOT tell them to “Shut up” or to “Get out”! Especially when what we really want to say to them is, “Fabulous, tell me more!”

Let’s do the “golden rule” and speak to others the way we’d like to be spoken to.

Karen McLane’s “Crowning of the Woodland Queen” – Beautifully Danced, with Grace and Power

Karen McLane’s The Crowning of the Woodland Queen – A Suitable Repertoire Work for Any Dance Company

The Crowning of the Woodland Queen, choreographed and produced by Karen McLane, Founder of the Ancient Rhythms Dance Troupe, introduces a powerful, versatile, and beautifully effective full-length work that can be used, adapted, and performed by a wide range of dance schools and troupes throughout the world. A lovely Youtube Teaser effectively captures the spirit of this performance.

In structure, style, and format, this work is similar in many ways to the much-loved Tchaikovsky Nutcracker:

  • Seasonally-themed, centered on spring instead of winter. (This alone makes it a useful construct for many dance companies who present a dance recital or major work each spring, highlighting their dancer’s talents.)
  • A few main powerful characters, supported by a dance troupe with diverse performance abilities. The all-female cast relieves many dance directors of the need to scout for male dance talent. (If such were available, a “role” could easily be created and inserted into the work without greatly altering its structure or theme.) Three strong dancers are needed to carry the named roles.
  • Adaptable vignettes showcase individual, duo, and small group performances, fitting well into the storyline of the woodland spirits, nymphs, and sylphs dancing before the Woodland Queen. Essentially, within a dance theater group, all dancers worthy of performing can be cast into at least one role, satisfying the Dance Director’s need to provide performance venue for all of her troupe members and senior students.

In short, this work is a Dance Director’s dream; a cohesive and magnetic storyline, adaptable enough to be worked within almost any substantial troupe’s size, stage, and budget. The opening dance vignettes can be altered nearly at will to accommodate available talent and to showcase their strengths. (Or to hide their weaknesses, as necessary.) To a reasonable extent (and as evidenced in Ms. McLane’s choreography and production), a diverse range of dance styles can also be incorporated. (We again can thank Tchaikovsky for inspiration along these lines.)

To be effective, this work does require at least three very strong female leads. In this performance, these lead roles were capably and beautifully carried out by dancers strong enough to give their characters power, meaning, and depth.

  • The Shadow Queen, danced by Charise Hoge,
  • The Moon, danced by Troupe Director and Producer Karen McLane, and
  • The Woodland Queen, danced by Giulia Prati.
Ancient Rhythms Troupe Soloist Charise Hoge
Ancient Rhythms Troupe Soloist Charise Hoge, who danced the role of ‘Queen of Shadows'”

The most challenging and exciting role is actually not that of the Woodland Queen, bur rather that of the Queen of Shadows. It is always more difficult (and interesting) to portray a villain! Charise Hoge’s interpretation drew on her core strengths; she infused her role with powerful elements reminiscent of warrior-movements from kung fu and T’ai Chi forms. Deep plies, low-to-the-ground weight shifts, and a strong whole-body connection all gave Ms. Hoge’s character the requisite feeling of “dark power.” Her background in yoga, modern dance, and jazz was readily apparent – all these were necessary to carry out a role that would have been diffused if the dancer had only classical Oriental dance training on which to call. Ms. Hoge’s compelling portrayal brought the Queen of Shadows to a real and menacing life.

Giulia Prati, formerly with Columbia University, graciously and gracefully danced the role of the Woodland Queen. Ms. Prati’s background includes Jazz Dance, Modern Dance, and African Dance. While the majority of her moves were lyrical, in the last-to-final Transformation dance with the Queen of Shadows (Charise Hoge), she proved an able match for the Shadow Queen, in both the deep work and the more flowing movements that ensued as the Shadow Queen was brought into alliance and integration.

Najwah, Founder and Artistic Director
Najwah, Founder and Artistic Director of Ancient Rhythms Dance Troupe

Finally, Karen McLane’s performance (under her dance name, Najwah) lent a delicate surreal nature as she portrayed the Moon. She was lyrical and graceful, shimmering in flowing gold sequins as the Moon come down to earth to bless the now-integrated (and thus more powerful and knowing) Woodland Queen, who had just healed the Queen of Shadows and brought her into her “Woodland” retinue.

Numerous other dancers, from both the Ancient Rhythms Dance Company and troupes both local and farther afield, enriched the Crowning with lively and beautiful performances.

Why We Suck at Dancing, and What We Can Do About It

A Very Rare Vent from Alay’nya – “Why We Suck” – and (Most Importantly) “What We Can Do About It”

OK, darlings. Let me come clean. I’ve been dancing for almost thirty years. Teaching for over twenty. And during that time, I’ve seen a whole lot of belly dance. And very most likely, you have as well.

And now that I’m moving out from the “writing Sabbatical” (the three years that it took to move from a raw draft to a published book, and the first year “soft launch” of marketing), I’m back to dancing again. And to watching you dance. And watching our friends, our teachers, and whomever else we can find.

And I’m back with one of my original opinions of the quality of our performances. Overall, we kind of suck.

The best that we can say – the kindest word – is that most of us are “enthusiastic hobbyists.”

Claudette Dessorgher says this much better than I could – or would – until inspired by reading her article in Gilded Serpent, Beyond the Restaurant: How Can We Bring Bellydance to a Wider Audience?:

However if we stand back and watch most hafla and showcase performances objectively, we have to be honest and say that, in comparison to other dance genres, the standard is very low.

Of course this is largely down to the fact that most bellydancers come to the dance fairly late in life, unlike other dance forms where children start training in their early years. By far the majority are hobbyists with full time jobs, so are unable to take the daily class that mainstream dancers expect, and even if they could, there are precious few advanced classes available in most towns and cities.

Ms. Desorgher goes on to make a number of useful points, and she offers suggestions on what we can – and should – do as a community. (This really is a good article. Go read it.

But to elaborate on her point: Most of the time, our shows are simply boring.

There’s a reason for that.

Dance is not just a “visual” performing art. When we go watch a dance performance, unless it is really very technically good – and visually engaging – we’re not going to be greatly enthralled. If we want a simple “visual” performance, we should watch the American Ballet Company performing one of George Balanchine’s classic works.

But you know what? Balanchine is cold. His work is abstractly beautiful, but it doesn’t engage me emotionally – even when the music is lively, and when the dancers are smiling and sparkly. And even watching interesting patterns as they move and fancy choreographies – that doesn’t do much for me either.

That’s because there is a real difference between Oriental dance (belly dance) and classic ballet. Oriental dance is meant to be an emotional expression – an emotional communication between dancer and audience (or dancer and musician and audience). And it is also a kinesthetic – a visceral – experience.

Ms. Desorgher suggests that one reason that our overall “community-level” performances are not as exciting as they could be is that many of us start late in life. Also, many of us don’t have access to advanced classes.

All true.

But that still misses the point.

We don’t look as good as we might because, by and large, we’re not present in our bodies as we dance. We’re way too often in our heads. (I’ve seen dancers count their way through choreographies; haven’t you?) Dance is meant to be in our bodies, not our heads.

All too often – actually, most of the time – we’re not “connected” in our bodies, either. That means, we are separately moving around our body parts. We may move an arm at the same time as we do a hip drop or a turn, but for most of us, the two movements are not “connected” inside our bodies. And it shows. It really shows. We look a whole lot more as though we’re following the leader in an aerobics class than we are doing a dance.

Finally, we are – as a community – seriously deficient in three major areas. First, we don’t have a “principles-based” approach. If we take a look at our sister art (actually, our “brother art”), T’ai Chi Ch’uan, we’ll see that it comes out of Principles. At least, if you’re studying with a really great teacher, it does. (For an example, check out Peter Ralston.)

Second, we’re deficient in understanding and consciously using our “emotional vocabulary.” Instead, we have a set of stylized gestures. By and large, we don’t know or understand how various movements – whether a gesture or a movement in space – communicate very specific emotional messages.

Third, we’re by and large still locked up in our bodies. Most of us have not yet done the emotional release work that allows us to effectively convey dance to our audience, and to experience a dance movement throughout our entire being. So if we’re locked up, if we’re not released, then our audience gains nothing by watching us.

Ideally, though, we take our audiences into a different state of being. We take them on an internal, magical story-ride, and they find a certain sense of release – an emotional experience – in watching us dance.

How to get there?

Well, I’ve just committed to Lynette Harris, Founder and Editor of the Gilded Serpent, to do a series of articles on just this topic. And because dance is visual/kinesthetic, I’m going to have to follow up with video. So this is a commitment, from me to you.

But one tiny little first step that each of us can take?

Do yoga. Get those hips, pelvis, and lower back released. Then do your hip shimmies and figure eights.

Also, the next time you’re going to perform – warm up before you go on stage. You’ll look a whole lot better if you do. Really. Seriously. Take my word for it. It will help you look better, feel better, present better, and minimize the likelihood of injuries.

Classic Cassandra – Review of "Cassandra Live" DVD, Vol. 1

“Classic Cassandra” in “Cassandra Live!” DVD – Elegant, Intelligent, Witty!

Let me just come out and say this right away: I just love Cassandra! I’ve been to her Oasis workshops a couple of times, and have treasured the videos (yes, it was video technology back then). I’ve studied them time and again, shown them to my students time and again, and am very much in danger of wearing them out.

So it’s been a healthy and refreshing step to finally get copies of her two performance vids, remastered into DVD format, Cassandra Live!.

Three things characterize Cassandra’s work: Her ebullient, effervescent joie de vivre, her magical sense of humor and whimsy, and her natural grace combined with flowing and connected movements. Taken together, it’s no wonder that she’s widely regarded as one of the world’s greatest exemplars of classic Oriental dance.

This collection of seven dances presents the full gamut of early Cassandra dance styles, ranging from a well-crafted opening Danse Oriental to a deeply moving and dramatic Zar (folkloric dance depicting an exorcism ritual). For a tongue-in-cheek approach, there’s the witty take on the early (mid-1980’s) rock videos, “A Atala Khadra.”

My absolute favorite, though, for showing Cassandra at her warmest, wittiest, and most tongue-in-cheek best, is her second “Danse Orientale” piece (Cut #6), shot in an outdoor location (possibly an early Minneapolis Renaissance Fair). Her “zill duel” with the drummer is both funny and technically inspiring. Her dance, done with live musicians in the relaxed and comfortable setting of a summer festival, is both lively and relaxed, technically flawless and yet supremely comfortable and endearing.

This is why I watch Cassandra – performing as Cassandra Live – time and again.

Her DVD is available through her company website, Jawaahir.com, although not yet on Amazon. On her website, she offers a 1 1/2 minute “sample clip” – from her “Drum Solo” (Cut #2). Lively and upbeat, this “Drum Solo” gives a great sense of how to improvise with the music, show a full range of emotional expression, and create an exciting moment with the audience. Careful study will reveal many little technical details and subtleties that will enrich the practice of any dancer.

P.S. Cassandra has had hip surgery, and is requesting support from the dance community until she is “back on her feet” once again. Honor Cassandra, and yourself, by supporting her – visit the Cassandra page on the Jawaahir website, and contribute generously today!