As we just into Spring here in San Diego the belly dance events pick up pace. The week of March 26th & 27th kicked it off with a show sponsored by Art Dance Academy and Lucia Enterprises. This show featured the amazing musical talent of Fadi el Saadi. He is a Lebanese born musician now residing in Mexico. This was his first trip to the U.S. The show was held at Habibi's Mediterranean Restaurant in Escondido, CA. The restaurant is a good size with beautiful decore but our meal was very salty and not me or the other dancers I was with could finish it.
The show began with music, Fadi on keyboard and Walid Assaf on tabla. The dancing didn't start until about an hour later. The Oriental Jewels opened the show with a lively Lebanese choreography by Margo Abdo O'Dell. There was many solo performances and a performance by the Sands of Arabia. The second half of the show was opened by Talia and closed by Lucia. Unfortunately, the show ended up being about 3 hours long and most of the audience had left by the time Lucia danced, even with the amazing music of Fadi playing on.
On the 27th there was a 75th birthday celebration for a special man in our belly dance community. DJ Paul who has a weekly belly dance showcase at Kolbeh Persian Restaurant in Mira Mesa, CA turned 75! The show was started by on one of Paul's favorite and most loyal dancers Takiko. Performing a few different folklore numbers she dazzled the audience again and again! Then a dancer named Nahira did a solo returning to the stage after a 6 year lull, but you would of never known it! She looked and danced amazing! Monika and Talia danced with local drummers Natan & Roger and ended by bringing out a lovely birthday cake for all to enjoy.
As the audience nibbled on the cake the show continued with American Tribal dancers Elena and Anna. Anna was new to Kolbeh but wowed the audiences who look forward to seeing more of her! To end the evening with a bang Kolbeh presented well known San Diego dancer Ana.
DJ Paul was delighted by his birthday celebration and a show to remember and so was his friends who celebrated with him.
On Friday, April 1st was a great annual fundraiser show but on by Tina Enheduanna of Laguna Hills, CA. It was a full theater production with amazing talents from all over the area raising money for Women to Women International. It took place at the Laguna Hills Community Center. From San Diego dancers included David and Talia with the Oriental Jewels. The show featured a little of everything and was a huge success!
The following Friday, April 8th was the Oriental Jewels' much anticipated Dreams of Dance show featuring the talents of Nadege of Washington State and Sumra of Utah. The show setting was fabulously set at the Carmel Mountain Ranch Country Club which set the stage for one amazing show. The Oriental Jewels started off the show with Kashmere a Led Zeppelin toon that got everyone in the mood. There was 3 dances by the performance team of Dance FX Studio from San Marcos. Those young dancers were amazing and very professional! Other dancers to wow the audience was Tara dancing a fusion theatrical number, Nahira, the mystical Aini of Temecula, the very lovely and graceful Vilia and Tina Enheduanna with her group Rhythms of the Desert who blew away many with a fun Persian dance and some classical Egyptian dances. The show also featured the Cairo Beats, four drummers who got the audience grooving on 3 different occasions. To end the show, our guest artists graced the stage both featuring what they would be teaching in their workshops the next day. All in all it was a magical evening which left guests with lots to talk about.
The next night, Sumra and Nadege did an Encore Show at the Birdhouse Grill in Encinitas, CA. It was a full restaurant chowing down on the amazing food. Money was flying for the dancers and the BYOB drinks were flowing! Again, it was so great to have Sumra & Nadege here in San Diego teaching and presenting their talents!
Belly Dancing, Belly Dance Events, Dance Classes in San Diego, Professional Dancing Shows, SanDiego Dance Lessons
Wednesday, April 20, 2011
Sunday, March 20, 2011
Gluten Free Mediterranean Stuffed Peppers
I came across this recipe in a brochure from Ralphs grocery store and thought I'd share it with everyone! YUM!
4 yellow or red bell peppers
3/4 cup pomegranate juice
1/2 cup dried figs, stemmed and chopped
1 1/2 cup cooked wild rice
1 cup diced yellow squash
1/2 cup nonfat feta cheese, crumbled
1/2 cup chopped walnuts
Preheat over to 400. Cut tops off peppers to use as lids. Scrape out seeds and ribs from peppers. Combine pomegranate juice and figs in large saucepan and cook over medium heat 7- 10 mins or until figs soften and juice reduces and becomes syrupy. Remove from heat and stir in rice, squash, feta cheese, and walnuts. Fill peppers with mixture and set in 13x9-inch baking dish. Place tops on peppers. Add 1/2 inch of water to pan and cover with foil. Bake 30-40 mins or until peppers are tender with slightly wrinkled skins and filling is hot.
Enjoy!
4 yellow or red bell peppers
3/4 cup pomegranate juice
1/2 cup dried figs, stemmed and chopped
1 1/2 cup cooked wild rice
1 cup diced yellow squash
1/2 cup nonfat feta cheese, crumbled
1/2 cup chopped walnuts
Preheat over to 400. Cut tops off peppers to use as lids. Scrape out seeds and ribs from peppers. Combine pomegranate juice and figs in large saucepan and cook over medium heat 7- 10 mins or until figs soften and juice reduces and becomes syrupy. Remove from heat and stir in rice, squash, feta cheese, and walnuts. Fill peppers with mixture and set in 13x9-inch baking dish. Place tops on peppers. Add 1/2 inch of water to pan and cover with foil. Bake 30-40 mins or until peppers are tender with slightly wrinkled skins and filling is hot.
Enjoy!
Monday, March 7, 2011
Workshop with Issam Houshan
This past Saturday I went to my second beginning drummer workshop with Issam Houshan. It was sponsored by Frank Lazzaro and held at the Kava Studio in San Diego.
Issam first started off with how to make the correct sounds with the drum. Going over hand positioning and how to move the arm or hand to get a clean sound. Each person took a turn at the sounds so he can correct them on an individual basis. He went over different drills to do at home to build speed, finger flexibility and forearm strength.
He went over different ways to do rolls and explained how to build strength and stamina for keeping them going.
Issam stressed the importance of not going over your own abilities, keeping the sounds clean, doing the exercises daily and doing small things that help like breathing!
Issam also has an amazing ear for hearing each individual person in the workshop and helping them get back on track when needed. He is patient and you can see his love for Arabic music and sharing it with others is a clear passion for him.
Toward the end of the workshop he had us play a basic beledi rhythm and then showed us how to put in the new techniques we learned on top of it. He demonstrated his amazing drumming skills with rolls and syncopated accents on top of us playing the beledi rhythm. Something to strive for!
I have dabbled in Arabic drumming for about 15 years and took my 13 year old son to this workshop who has recently started learning drumming with Frank. Even I learned new techniques I had never seen before and was inspired to do more drumming than I have been.
I highly recommend Issam's workshops for dancers or drummers looking to expand their knowledge about Arabic drumming.
A little bit about Issam:
Most everyone knows Issam Houshan from the Bellydance Superstars. Known as "King of the Drum", Issam was born in Syria and had his music training in the Damascus Academy of Music. He is also the only remaining disciple of the legendary Arab drum master Mahmood Salahadeen.
In the U.S. Issam has performed with Sting on the Grammy's and with the BELLYDANCE SUPERSTARS in over 400 shows in 16 countries. He also has a number of CD's and DVD's available for purchase.
http://www.bellydancesuperstars.com/content/issam_houshan.html
http://www.tablabyissam.com/
Issam first started off with how to make the correct sounds with the drum. Going over hand positioning and how to move the arm or hand to get a clean sound. Each person took a turn at the sounds so he can correct them on an individual basis. He went over different drills to do at home to build speed, finger flexibility and forearm strength.
He went over different ways to do rolls and explained how to build strength and stamina for keeping them going.
Issam stressed the importance of not going over your own abilities, keeping the sounds clean, doing the exercises daily and doing small things that help like breathing!
Issam also has an amazing ear for hearing each individual person in the workshop and helping them get back on track when needed. He is patient and you can see his love for Arabic music and sharing it with others is a clear passion for him.
Toward the end of the workshop he had us play a basic beledi rhythm and then showed us how to put in the new techniques we learned on top of it. He demonstrated his amazing drumming skills with rolls and syncopated accents on top of us playing the beledi rhythm. Something to strive for!
I have dabbled in Arabic drumming for about 15 years and took my 13 year old son to this workshop who has recently started learning drumming with Frank. Even I learned new techniques I had never seen before and was inspired to do more drumming than I have been.
I highly recommend Issam's workshops for dancers or drummers looking to expand their knowledge about Arabic drumming.
A little bit about Issam:
Most everyone knows Issam Houshan from the Bellydance Superstars. Known as "King of the Drum", Issam was born in Syria and had his music training in the Damascus Academy of Music. He is also the only remaining disciple of the legendary Arab drum master Mahmood Salahadeen.
In the U.S. Issam has performed with Sting on the Grammy's and with the BELLYDANCE SUPERSTARS in over 400 shows in 16 countries. He also has a number of CD's and DVD's available for purchase.
http://www.bellydancesuperstars.com/content/issam_houshan.html
http://www.tablabyissam.com/
Monday, February 28, 2011
Karim Nagi Visits San Diego
I ran across a Facebook post by Cassandra Shore a few months ago with a YouTube video of an Egyptian man playing zills. Curiosity compelled me to click play and that single action led me to the discovery of a true Master Artist. I was just absolutely stunned and amazed at the rhythmic skill and coordination this gentleman had. Immediately after watching the post, I went on a Youtube search to find more on this mystery man who floored me with his performance. Each video I found was another display of sheer greatness. Not only is he a master at zills, to my pleasant surprise, he is also a master at Tabla, Riqq tambourine, Buzuq, Tahteeb & Dabke dancing. It is a very rare combination indeed to find one so talented and versed as both a musician and dancer. One video led to another and I stumbled upon a glimpse of this man as a passionate educator on Arabic Music and Dance. His name is Karim Nagi, Egyptian Master Percussionist, Master Arabic Folk Dancer, and creator of Turbo Tabla. As luck would have it, Morwenna Assaf of the Art and Dance Academy in Oceanside announced shortly there after she was hosting Karim Nagi for workshop. I immediately signed up for it without even reading what the workshop topics were. I just knew whatever he had to share was going to be awesome based on the YouTube videos I had seen and it most definitely was.
The first two hour session was a lecture on the musical introductions called "Muqadamat" in Arabic of Egyptian pieces sung by the legendary Oum Kalsoum. Morwenna's studio provided the perfect intimate setting for such a lecture on the music composed for the great Kalsoum. Karim played the buzuq, an 8 stringed Egyptian lute similar to the Greek Bazouki, and went through the musical scales known as Maqam each piece used. With the patience of a father teaching his children, he described in detail how the notes in the Maqam emotes certain universal feelings such as happiness, sadness, and the bittersweet nature of love itself. Karim, a native of Cairo, displayed a very witty sense of humor and the "Itsy Bitsy Spider" song was used as the example of the Maqam called Ajam to set the basis and differentiation of how the other Maqams sound by comparison.
Each "Muqadim" was also broken down by rhythmic changes accompanied by Karim playing tabla and teaching us to clap the rhythm while singing the tune of the song. He also described the difference between the single instrument sections and the orchestral sections in addition to describing the feelings and meanings behind each song. His explanations added a depth and richness to the pieces I've heard many times but never really knew in this way. I equate it to having a decadent dessert that looks so delicious you can almost imagine how it tastes before it even touches your lips. It's not until you've actually taken a bite you discover the full spectrum of what your mind began to process by sight. Karim's lecture opened my mind to the colorful palette in the music I listened to for years and I now realize have only heard with a limited black and white understanding until his explanations.
The second workshop was a challenge of physical stamina and rhythmic timing as we plunged into the Arab Folk Dance Intensive. Karim displayed such a strong presentation of the dabke which was equally matched by his enthusiasm to share his knowledge with us of stylistic differences between regions in the Arab world. The energetic spirit of the dance was moved through the group as Karim led us in the line dance around the studio. Dabke was followed by an introduction to Tahteeb, an Egyptian cane dance. We explored the history of the dance and basic moves with cane being careful not to accidentally destroy fragile merchandise in the studio. At the close of the workshop we were introduced to the trance educing dance used by Sufi mystics called Zikr. It was in this portion of the workshop you were exposed to the powerful spiritual connection Karim Nagi has in his music and his dance. Like a great electrical transmitter, he spread the spiritual energy through the group as we moved to the Zikr music. The result was a state of reverent silence at the conclusion of the dance.
Karim has a great ability to convey and communicate the workshop material in a manner understandable to those of us who have not been born into the culture. His teaching methods reinforce your learning experience by presenting the subject using live music, drumming, group participation, and a dimensional concept of the relationship between music and dance. Karim has a unique expressiveness and genuine desire to expand your knowledge creating a learning environment that is uplifting and radiant with a very positive energy. I walked away feeling more confident not only in my understanding of the music but in my dance as well.
Morwenna Assaf will be bring Karim back Fall of 2011 for another workshop. Stay tuned for the opportunity to study with this Master Artist.
For more information on Karim Nagi, visit his website, www.karimnagi.com
by Maya Jewel
The first two hour session was a lecture on the musical introductions called "Muqadamat" in Arabic of Egyptian pieces sung by the legendary Oum Kalsoum. Morwenna's studio provided the perfect intimate setting for such a lecture on the music composed for the great Kalsoum. Karim played the buzuq, an 8 stringed Egyptian lute similar to the Greek Bazouki, and went through the musical scales known as Maqam each piece used. With the patience of a father teaching his children, he described in detail how the notes in the Maqam emotes certain universal feelings such as happiness, sadness, and the bittersweet nature of love itself. Karim, a native of Cairo, displayed a very witty sense of humor and the "Itsy Bitsy Spider" song was used as the example of the Maqam called Ajam to set the basis and differentiation of how the other Maqams sound by comparison.
Each "Muqadim" was also broken down by rhythmic changes accompanied by Karim playing tabla and teaching us to clap the rhythm while singing the tune of the song. He also described the difference between the single instrument sections and the orchestral sections in addition to describing the feelings and meanings behind each song. His explanations added a depth and richness to the pieces I've heard many times but never really knew in this way. I equate it to having a decadent dessert that looks so delicious you can almost imagine how it tastes before it even touches your lips. It's not until you've actually taken a bite you discover the full spectrum of what your mind began to process by sight. Karim's lecture opened my mind to the colorful palette in the music I listened to for years and I now realize have only heard with a limited black and white understanding until his explanations.
The second workshop was a challenge of physical stamina and rhythmic timing as we plunged into the Arab Folk Dance Intensive. Karim displayed such a strong presentation of the dabke which was equally matched by his enthusiasm to share his knowledge with us of stylistic differences between regions in the Arab world. The energetic spirit of the dance was moved through the group as Karim led us in the line dance around the studio. Dabke was followed by an introduction to Tahteeb, an Egyptian cane dance. We explored the history of the dance and basic moves with cane being careful not to accidentally destroy fragile merchandise in the studio. At the close of the workshop we were introduced to the trance educing dance used by Sufi mystics called Zikr. It was in this portion of the workshop you were exposed to the powerful spiritual connection Karim Nagi has in his music and his dance. Like a great electrical transmitter, he spread the spiritual energy through the group as we moved to the Zikr music. The result was a state of reverent silence at the conclusion of the dance.
Karim has a great ability to convey and communicate the workshop material in a manner understandable to those of us who have not been born into the culture. His teaching methods reinforce your learning experience by presenting the subject using live music, drumming, group participation, and a dimensional concept of the relationship between music and dance. Karim has a unique expressiveness and genuine desire to expand your knowledge creating a learning environment that is uplifting and radiant with a very positive energy. I walked away feeling more confident not only in my understanding of the music but in my dance as well.
Morwenna Assaf will be bring Karim back Fall of 2011 for another workshop. Stay tuned for the opportunity to study with this Master Artist.
For more information on Karim Nagi, visit his website, www.karimnagi.com
by Maya Jewel
Sunday, February 20, 2011
What's in Your Performance Bag?
Here is a list of things I like to make sure are in my belly dance performance bag every time I dance.
- 2 copies of my music with an additional set just in case they want an additional performance.
- A spare costume, sometimes a zipper will break or something doesn't fit suddenly like it should so a back up costume is good to have. Plus, if they do want you to do that extra show set you have a new fresh costume.
- Shoes: I ALWAYS wear shoes in restaurants. There are health codes to remember and in some restaurants, especially Greek restaurants, glass on the floor. Many injuries can be prevented by wearing shoes.
- Sweat towel, this is of course handy for after you perform to dry yourself off.
- Emergency Sewing Kit: things like small scissors, needle with basic white or black thread, an extra hook and eye can come in handy for simple repairs on finger cymbals, costumes and accessories.
- Travel Size Deodorant, Lotion, Hair Spray, Body Spray/Perfume
- Extra Safety Pins of all size
- Bobby Pins, hair clips and rubber bands.
- Nail Clippers, Clear Nail Polish
- Business Cards
- Body Glitter
- Jewelry
- Touch up make-up with red lip stick to freshen up before or after your performance.
Monday, February 14, 2011
New to Restaurant Performing
So you've decided to perform at restaurants? You will find it is a world all of it's own. Do they already have dancers or will this be a first time thing for them? If there already have dancers it is a good idea to check out their shows. Note how long they dance for, is it live music or recorded, what is the flooring/lights/decor (are there any obstacles such as chandeliers, heat lamps, etc), do the shows begin on time and how may are there, is there a style or particular kind of music the restaurant owner likes? Try to talk to some of the dancers ask what they like or don't like about performing there. Ask them what the pay rate is to see if dancing there is even worth it for you. Plus, you don't want to undercut dancers or other restaurants. Find out about the dressing room situation as well. Who does the booking for the restaurant?
Then when approaching the restaurant about performing there, do it at a time when they are not busy. Bring a current photo of yourself, a business card, as well as a DVD of your dancing. I do not suggest doing a free "audition" or "trial show". They should be able to judge your dancing from the DVD just fine. You might want to bring a portable DVD player just in case they don't have anything to pay it on.
Lastly, be careful if the owner wants you to do all the advertising for the show. Ask him/her where or how they regularly advertise Ask if you can pass out coupons or have a printable coupon put on your website to attract customers. If you make fliers for the show be sure to bring some for the restaruant to pass out as well. Before you do any expensive advertising be sure to ask the owner if you will get any reimbursement and if so up to what amount.
Don't give away your services, remember to set the bar high for payment if this is a new show. You can always negotiate from there. Tips are not guarantied so I don't recommend considering them as part of your payment.
Then when approaching the restaurant about performing there, do it at a time when they are not busy. Bring a current photo of yourself, a business card, as well as a DVD of your dancing. I do not suggest doing a free "audition" or "trial show". They should be able to judge your dancing from the DVD just fine. You might want to bring a portable DVD player just in case they don't have anything to pay it on.
Lastly, be careful if the owner wants you to do all the advertising for the show. Ask him/her where or how they regularly advertise Ask if you can pass out coupons or have a printable coupon put on your website to attract customers. If you make fliers for the show be sure to bring some for the restaruant to pass out as well. Before you do any expensive advertising be sure to ask the owner if you will get any reimbursement and if so up to what amount.
Don't give away your services, remember to set the bar high for payment if this is a new show. You can always negotiate from there. Tips are not guarantied so I don't recommend considering them as part of your payment.
Wednesday, February 9, 2011
Used Belly Dance Costumes for Sale
This royal blue beauty is absolutely stunning but it is just too big for me. I bought it from the Egyptian dancer Faten Salama for about $700 and it now just hangs in my closet.
The hip "belt" and skirt are all one piece. The "belt" is stretch velvet - with looping beading along the bottom and tasseled fringe through out. Will fit hips 36" to 42"- skirt length from hip to floor is about 40" long.
Bra will fit up to a C cup, 30" to 35" around.
Light catching large rhinestones are AB. All beading and sequins are silver.
Includes a head band & gauntlets
Asking $350 OBO
This one was bought from Sakti International for I believe around $600. It is flawless - great craftsmanship, fabulous colors but I just don't care for the belly belt on me. The veil and the arm cuff have never been used. The emerald green fabric is stretch velvet, very comfortable and easy to get into. I added the inserts in the leg slits but they can be easily removed. The beads are large with both beads and sequins in a array of different greens and silver.
Skirt length is 35" long, Hip is 32"
Bra is 30"-36" around and would fit up to a C cup, rhinestones along top
Comes with 3 yard veil, headband and 1 arm cuff
Asking $300 OBO
If you would like to know more about these lovely costumes or are interested in having them in your closet please email Talia taliamedance@yahoo.com
The hip "belt" and skirt are all one piece. The "belt" is stretch velvet - with looping beading along the bottom and tasseled fringe through out. Will fit hips 36" to 42"- skirt length from hip to floor is about 40" long.
Bra will fit up to a C cup, 30" to 35" around.
Light catching large rhinestones are AB. All beading and sequins are silver.
Includes a head band & gauntlets
Asking $350 OBO
Skirt length is 35" long, Hip is 32"
Bra is 30"-36" around and would fit up to a C cup, rhinestones along top
Comes with 3 yard veil, headband and 1 arm cuff
Asking $300 OBO
Monday, January 31, 2011
Dreams of Dance Show and Workshops!
If you haven't already heard the Jewels is putting on a fantastic show Friday, April 8th at the Carmel Mountain Ranch Country Club in San Diego to showcase the amazing talents of Sumra of Utah and Nadege of Washington state! It is going to be great with local dancing by Tara, Vilia, Talia & the Jewels, Nahira and lots more plus tons of live drumming!! Tickets are now on sale!! $15 in advance/$20 at the door 509-475-0683 or taliamedance@yahoo.com for more info.
The workshops will be held in Encinitas, CA at Dance North County on Saturday, April 9th. Each one is two hours long. Nadege will start with a double-veil workshop for all levels of dancers. Nadege has a great talent for braking down the movements in simple easy to understand form. Sumra will be teaching a sassy sexy 1960's retro choreography to a George Abdo song! It is going to be so much fun! This workshop it geared more toward the intermediate level dancer. You can sign up now for both workshops for only $60.00, this is a advanced sale option only! It is $35.00 for one or $40.00 at the door. Don't miss these great workshops that will surely enhance your performance and technique in many ways!
Monday, January 24, 2011
Video Review of: Cassandra’s Conditioning Class
Anyone who knows me knows I am a huge Cassandra Shore fan. For years now I have been studying with her and now structure my own classes after her teaching syllabus. One thing I have always enjoyed about her classes is Cassandra’s detail to body awareness & conditioning for dancers, so imagine my excitement when she finally released her Conditioning Class DVD.
The video was produced by Turquoise International and includes 2 volumes running 85 minutes long. Cassandra talks in the beginning of the series about the importance of keeping the body in shape for performing, to prevent injury, as well as to extend the length of your dance career. Both volumes include work for the whole body: feet, legs, spine, back, abdominals, hips, thighs, gluteus, upper body, and general stretches.
Volume 1 is on Foundational Techniques. It has a series of warm-ups, strengthening exercises and stretches. Cassandra takes the time to explain each movement in detail so you, the viewer, can correct yourself. She also provides great depth into body awareness and breathing. You will learn how to better relax your body to get more out of each exercise. Cassandra made these DVDs with teachers in mind. She openly tells viewers to incorporate these techniques into their own classes and/or to use them when preparing themselves before a performance.
Volume 2 has the same format as volume 1 but moves a bit quicker and includes more advanced techniques. This one isn’t for the beginner dancer but gives you something to build towards.
There are also two added bonuses with an amazing Oasis Dance Camp performance by Cassandra at the end of each volume. Seeing her performance at the end of the workout inspires one to practice, practice, practice!
Overall, the video is nicely done with good sound quality and helpful side and front views of the harder movements. It is sometimes obvious that there is choppy editing and some microphone issues but these are minimal and don’t distract from the overall workout. Cassandra ends telling viewers that there will be another more advanced series coming soon, I can hardly wait!
Using these unique conditioning exercises are sure to improve dancer technique, strength and performance skills. If you are interested in making your body a dancer's body and extending the length of your dance career, this DVD set is for you. I highly recommend it! You can find out more about Cassandra or purchase Cassandra’s Conditioning Class DVD set on-line at www.jawaahir.org or www.turquoiseintl.com
The video was produced by Turquoise International and includes 2 volumes running 85 minutes long. Cassandra talks in the beginning of the series about the importance of keeping the body in shape for performing, to prevent injury, as well as to extend the length of your dance career. Both volumes include work for the whole body: feet, legs, spine, back, abdominals, hips, thighs, gluteus, upper body, and general stretches.
Volume 1 is on Foundational Techniques. It has a series of warm-ups, strengthening exercises and stretches. Cassandra takes the time to explain each movement in detail so you, the viewer, can correct yourself. She also provides great depth into body awareness and breathing. You will learn how to better relax your body to get more out of each exercise. Cassandra made these DVDs with teachers in mind. She openly tells viewers to incorporate these techniques into their own classes and/or to use them when preparing themselves before a performance.
Volume 2 has the same format as volume 1 but moves a bit quicker and includes more advanced techniques. This one isn’t for the beginner dancer but gives you something to build towards.
There are also two added bonuses with an amazing Oasis Dance Camp performance by Cassandra at the end of each volume. Seeing her performance at the end of the workout inspires one to practice, practice, practice!
Overall, the video is nicely done with good sound quality and helpful side and front views of the harder movements. It is sometimes obvious that there is choppy editing and some microphone issues but these are minimal and don’t distract from the overall workout. Cassandra ends telling viewers that there will be another more advanced series coming soon, I can hardly wait!
Using these unique conditioning exercises are sure to improve dancer technique, strength and performance skills. If you are interested in making your body a dancer's body and extending the length of your dance career, this DVD set is for you. I highly recommend it! You can find out more about Cassandra or purchase Cassandra’s Conditioning Class DVD set on-line at www.jawaahir.org or www.turquoiseintl.com
Sunday, January 16, 2011
Tip of the Week: Choosing the Right Costume
Have you ever stood in front of your closet full of costumes and couldn't decide which beauty to wear? Well here are some things to consider when choosing what costume to wear.
First of all, be sure to practice in all new costumes. You don't want to bring them onto the dance floor until they have been tested for malfunction. Check older costumes for any problems, places that need mended or washed. Also, check to see if the size needs to be adjusted.
Now think about the show your about to do. What is the style you will be dancing? Of course you want your costume to reflect the dance style you will be doing. If you claim to be dancing a Turkish dance you want to be sure to add in some Turkish style costuming. Are you going to do cabaret, fusion or folkloric? Be sure to keep everything consistent: style of dancing, music, costume and props used.
What types of props will you be using? Some props such as veil can be used with pretty much any style of costume, but what about things like arm bands or sleeves that might catch the veil. Some head pieces or rhinestone brackets might also catch the veil. Think of sleeves also when dancing with the cane. Traditionally Saidi dresses have long or belled sleeves, remember to practice holding them up while twirling the cane to prevent dropping the cane or hitting yourself with the cane or with the sleeve!
Will you be doing any floorwork? Usually full skirts work better for floorwork. Practice in the skirt and note how open the leg slits are so you don't give your audience an whole other kind of show! Sometime the spandex style skirts constrict leg movement. Practice practice practice getting down and up in your skirt!
Who is your audience? If you are dancing for a more conservative crowd who are unsure of belly dance or maybe at a wedding you will want to try to cover the body more than you would at your local restaurant gig. If your dancing at a birthday party they might be looking for the "Classic Belly Dancer" look. Lots of coins, full skirts and color.
Inside or outside? When dancing outside be sure to think about wind. That is #1 thing that can throw a dancer off her routine. You don't want to be thinking about your skirt flying up while your dancing. You might also think about your hair when you dance outside. Your hair whipping in the wind and sticking to your lipstick or to your eyelashes can be a real distraction to both you and your audience.
Raised stage or even with the crowd? When dancing on a raised stage you will want to check that no one can see up your skirt and/or that the slits of the skirt are not revealing more than a little leg.
What time of day is the show and what will the lighting be? Stage lighting will pick up rhinestones more than regular lights. If dancing on stage with colored lights remember those lights can change the color of your costume to your audience. They can also wash you out. Research stage lighting to see what colors look best in what lights or talk to the theater lighting tec to get the best look.
All these questions will help you narrow down your selection to choose the best costume for your next show.
First of all, be sure to practice in all new costumes. You don't want to bring them onto the dance floor until they have been tested for malfunction. Check older costumes for any problems, places that need mended or washed. Also, check to see if the size needs to be adjusted.
Now think about the show your about to do. What is the style you will be dancing? Of course you want your costume to reflect the dance style you will be doing. If you claim to be dancing a Turkish dance you want to be sure to add in some Turkish style costuming. Are you going to do cabaret, fusion or folkloric? Be sure to keep everything consistent: style of dancing, music, costume and props used.
What types of props will you be using? Some props such as veil can be used with pretty much any style of costume, but what about things like arm bands or sleeves that might catch the veil. Some head pieces or rhinestone brackets might also catch the veil. Think of sleeves also when dancing with the cane. Traditionally Saidi dresses have long or belled sleeves, remember to practice holding them up while twirling the cane to prevent dropping the cane or hitting yourself with the cane or with the sleeve!
Will you be doing any floorwork? Usually full skirts work better for floorwork. Practice in the skirt and note how open the leg slits are so you don't give your audience an whole other kind of show! Sometime the spandex style skirts constrict leg movement. Practice practice practice getting down and up in your skirt!
Who is your audience? If you are dancing for a more conservative crowd who are unsure of belly dance or maybe at a wedding you will want to try to cover the body more than you would at your local restaurant gig. If your dancing at a birthday party they might be looking for the "Classic Belly Dancer" look. Lots of coins, full skirts and color.
Inside or outside? When dancing outside be sure to think about wind. That is #1 thing that can throw a dancer off her routine. You don't want to be thinking about your skirt flying up while your dancing. You might also think about your hair when you dance outside. Your hair whipping in the wind and sticking to your lipstick or to your eyelashes can be a real distraction to both you and your audience.
Raised stage or even with the crowd? When dancing on a raised stage you will want to check that no one can see up your skirt and/or that the slits of the skirt are not revealing more than a little leg.
What time of day is the show and what will the lighting be? Stage lighting will pick up rhinestones more than regular lights. If dancing on stage with colored lights remember those lights can change the color of your costume to your audience. They can also wash you out. Research stage lighting to see what colors look best in what lights or talk to the theater lighting tec to get the best look.
All these questions will help you narrow down your selection to choose the best costume for your next show.
Thursday, January 6, 2011
Tip of the Week: Choosing the Right Teacher
Back in the day there wasn't that many teachers to choose from, but now days there are many! How do you know which teacher will be right for you? Do your homework. What style of dance are you interested in? I suggest to go to a belly dance event or to some local shows in the area and watch as many local dancers as you can. Find the style you like and then ask the performer your most impressed with if he/she teaches and where. If he/she doesn't doesn't teach ask them who their teacher is. If the class is not in your area it might be worth the drive. I don't know how many times I've heard of people learning from bad teachers and then having to re-learn the dance all over again because the technique they learned wasn't good or the teacher just had no idea how to teach and correct their students.
The second step is to try out the class. Buy a session of classes and see what you think. Keep in mind that belly dance is only made to LOOK easy but it actually isn't! I don't know how many times I have had people come into my classes thinking it was going to be easy and didn't make it past the 3rd class!
The teacher should be able to explain the movements and technique in multiple ways to meet the needs of all different types of learners. The instructor should be able to correct students without yelling, belittling or putting down students. You want someone who can help slow learners, who is understanding yet will be firm when needed.
Last, don't be tied to one teacher. I was always encouraged to take from as many teachers as possible because you can learn something new and different from each one. That is what will make you have your own unique style. So if you come across a teacher who forbids you to take from other teachers - something is wrong!
Lastly, once you get your basics down don't be stuck to one style of belly dance - try everything - I try to learn at least a little of as many different styles as possible. This allows you to respect other styles more and when people ask you about them you will know a bit of background, especially if you plan to become professional or if you ever plan to teach classes yourself!
The second step is to try out the class. Buy a session of classes and see what you think. Keep in mind that belly dance is only made to LOOK easy but it actually isn't! I don't know how many times I have had people come into my classes thinking it was going to be easy and didn't make it past the 3rd class!
The teacher should be able to explain the movements and technique in multiple ways to meet the needs of all different types of learners. The instructor should be able to correct students without yelling, belittling or putting down students. You want someone who can help slow learners, who is understanding yet will be firm when needed.
Last, don't be tied to one teacher. I was always encouraged to take from as many teachers as possible because you can learn something new and different from each one. That is what will make you have your own unique style. So if you come across a teacher who forbids you to take from other teachers - something is wrong!
Lastly, once you get your basics down don't be stuck to one style of belly dance - try everything - I try to learn at least a little of as many different styles as possible. This allows you to respect other styles more and when people ask you about them you will know a bit of background, especially if you plan to become professional or if you ever plan to teach classes yourself!
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