Venus Uprising Bellydance New York City

NYC DRUM SOLO WORKSHOP REPORT :: blanca

Carmine and I taught our NYC Drum Solo workshop this past Saturday. The group was lovely, look at all those beauties!

We had so much fun... Thanks to all the dancers who attended.

Here are a few of the comments we received:

"I have been taking BD lessons for over 2 years now and until Saturday, the rhythms were a total mystery to me. I loved the sound but had no idea what they were about. I feel like a whole new aspect to BD artistry was opened up for me."

"I wanted to tell you both how much I enjoyed the workshop yesterday.  It was just what I needed to help get my creative juices flowing again after the cold winter.  I think you are both excellent teachers with good explanations and very warm personalities.  You both make the class very enjoyable and personal.

"Blanca, I love your notes!  They are very well organized and thought out.  I will use them as reference for a long time to come and share your ideas with my students as well."

"I really enjoyed the workshop.  Very straightforward and thorough.  Breaking down those riffs and hearing the drummer's perspective is invaluable.  You are both great teachers."

"Dear Blanca, The workshop was really great.  I had a lot of fun and it was a real treat to meet Carmine (he's so funny!) and to learn to "listen"...  I learned so much.  Please, more workshops!!!!!!"

Our next workshop in NYC will be Saturday September 6 2008 at 3:30 PM - Dance Forum, 20 E 17th St, 2nd Floor. Sign up Now!

VASARIA! :: tanna

It was my privilege earlier in the year to be invited to perform with NYC's premier goth metal band Vasaria at their Europa Club show in late February.   The timing was tight because the gig was right after I returned from my California trip, but I was very interested in doing the show.  First of all, I had never danced live to this type of music, and it was too good of an opportunity to pass up.  Second, I LOVE the Europa Club!   This great, multi-use (art gallery/stage/bar/ dance floor/etc.) Brooklyn venue is one of my all-time favorite clubs.   Lastly, but most important, I was sincerely impressed with Baron Misuraca, the multi-talented front man for Vasaria.   Despite his initially intimidating presence, Baron is an extremely pleasant person, and a serious, dedicated professional.   It is always a pleasure to work with competent and organized people, and despite the novelty of the situation, I felt very comfortable preparing for this gig.

When show time came, my expectations were actually exceeded.  It was a total blast!   Vasaria and their fans were wonderful!  I enjoyed myself tremendously throughout the entire evening, which included a very late dinner at Planet Thai after the show with my dear friend Lina Jang.    Of course, it is thanks to Lina's talent (and high-end equipment) that I have some photos to share!  The venue was obviously quite dark, and I had some difficulty staying in my spotlight.  Still, another benefit of this show was that it gave me the opportunity to wear my beloved "snake priestess" costume, AND to use my leopard-print wings for the very first time.

DRUM SOLO :: blanca and carmine

Back in the days when I started I was fascinated by live Drum Solos. To me, they are the ultimate bellydance improvisation. I loved the moment when the dancer turned from a floating cloud into a sharp, articulate instrument... and a fun one at that! Even then I could sense that there was a method, an underlying structure that put together dancer and drummer and something told me that the day I was able to give a good Drum Solo I could consider my dance skills to be up on the next level.

Last year Carmine and I started talking about Drum Solos. Over lattes, we had many conversations about improvisation, performance and how Drum Solos are put together. We shared our own experiences from the viewpoint of a musician and a dancer, talked about how we found Drum Solos very challenging when we first started and noticed how often we've encountered students who are afraid of them.

Since we share a taste for analytical thinking and a passion for teaching, our conversations centered around ways to provide students with tools that would accelerate their training. We talked about ways to give in one workshop all the insights and techniques that we've come up with through our years performing. We taught our ideas in several cities in Mexico (we've been asked to go back and teach more) and have been preparing our first NYC workshop.

Carmine believes that listening is an essential skill. For him it's not enough to tell the dancer to listen; he teaches what to listen for: cues, changes, hints... and of course, the rhythms.

"We hear that Drum Solo is about dancer and drummer communicating —says Carmine— but what does that mean? The dancer should be listening to the drummer and the drummer should be watching the dancer, giving each other feedback, so they do what works for the Drum Solo, and provide a good show."

In the same vein, I encourage my students to communicate with the audience. What we feel when we are dancing not always translates the way we think it does, so I pinpoint common weaknesses and teach them how to turn potentially awkward moments into highlights.

Carmine and I think it's very important for a belly dancer to be really familiar with the rhythms. He explains that even if the other elements are too complicated, even if the drummer is playing phrases the dancer can't relate to, there's always the rhythm to fall back on. I think that for us dancers having a real understanding and appreciation of Middle Eastern rhythms is like finally being able to hear the music after having danced wearing earplugs the whole time. Also, understanding rhythm is essential if you want to create your own choreographies and if you want to feel joy and have fun when you improvise.

Another one of the tools we'll be teaching is a series of connected phrases that the dancer can draw from as she improvises. As they become ingrained in the dancer's body, she no longer has to think about them when she is performing. By connecting the movement phrases with the rhythms, they become memorable and the dancer gets a clearer understanding of them.

In Carmine's words: "Often after I play for dancers, people from the audience will say: 'You and your wife were great!'
They see us so connected they assume we must live together and practice all the time. The trick is to make it look like we practiced even if we didn't. I really want to teach drummers and dancers how to do this".

So far we have taught our workshops in New York City, Rhode Island and several cities in Mexico. Next are New York (again!), Connecticut and Rakkasah East. We are very excited to share many "Ah ha!" moments and surprises with you soon...

Our upcoming workshops:
NEW YORK CITY
CONNECTICUT

LUSCIOUS - THE BELLYDANCE WORKOUT :: neon

Yesterday was a big day for Blanca, Sarah Skinner and myself: We filmed "Luscious - The Bellydance Workout." The rehearsals marathon over, the day of the filming everything went fine; we took turns leading workout segments, gossiped in the dressing room, marveled at the twists and turns of our fast-paced lives, and consumed organic coconut macaroons provided by - no doubt - Satan himself.

The workout is made 100% of bellydance moves, it is beginner level, but it offers a perspective of challenge and growth. Each section of the workout consistently builds on the dance vocabulary introduced in the previous section through combinations. It's an "instructional workout" because of the method of introducing dance vocabulary and because there is an extensive tutorial section breaking down each move used in the workout.

The program is designed to be "very bellydance." We hope that it will be lavish, overflowing with deep, rich and feminine movement - so that it can be enjoyed as a beauty ritual.

My personal conviction is that workout programs like this (where dance experience is not compromised by the imperatives of the fitness aspect, but intertwine organically) are the best form of technique practice for dancers, a functional "drill". "Functional" because the moves are not practiced in isolation, but in the contexts of combinations or transitions in which they are actually used in dance. This creates an extra layer of muscle memory, which isolated drills/practice don't provide.

Thinking of our work on "Luscious," I must admit that being involved in a group project is a more rewarding experience than the solitary activity of working on solo video projects. I will miss it!
One of the moments of unbridled fun was putting together our workout costumes - which occurred during a shopping spree at the SharifWear sale. Our pants, shirts and hip scarves are by Sharif Wear; bras and belts - Blanca's and mine are by Totally Creative NYC, Sarah Skinner's are Sarah's design.

ANDY TROY ON THE TYRA BANKS SHOW :: neon

Andy Troy, personal trainer and author, with whom Tanna Valentine and I have collaborated on 5 fitness DVDs, has recently published a book "Living Young: 32 Habits of Ageless People" (order it at Amazon.com). The book is a fabulous resource on healthful lifestyle, nutrition, exercise, and emotional well-being, full of current research and great insights. Andy himself is proof of his method of achieving agelessness, so it's no surprise that he is an attraction for talk shows.

Here is a link to an episode of the Tyra Banks show, "Stuck in a Single Rut" cleverly exploiting Andy's remarkably good looks and young spirit.
http://www.youtube.com/watch?v=RYjP_BX30So
Watch it if you have a moment, it's quite enjoyable. If the link is not there, here is an illustrated summary.

Tyra Banks says that currently in the US more women are single than in a relationship because women became too picky.

Jamie, one of the guests of the show, can't find herself a soulmate because she tends to date guys much younger than her. She is 44, but she thinks that men her age don't look good enough and behave too old, so she goes after men in their late 20s and early 30s.

Jamie's best friend says: "I love you, but I don't approve of your dating strategy!"

So, the producers of Tyra's show found a guy for Jamie to date - Andy, and since she wants only men under 35, they told Jamie that Andy is 35...

Jamie and Andy go on a date to Chelsea Piers to try mountain climbing. Jamie is a cocktail waitress in Atlantic City. Andy says he is a bartender (not true!)

"I am not a good lyer," Andy says ruefully to the producers of the show.

Jamie asks Andy how old he is, and he says "35" - he is transparently lying, his hand on his heart.

Jamie shares with the show crew that she thinks Andy is lying about his age: she thinks he is more like 28!!!... She likes him a lot. He is a charismatic date.

So, as Jamie is sitting on stage at the Tyra Banks show, she is watching a movie of herself and Andy on a date, and just as they arrive at the mountain climbing location, Tyra Banks announces Andy's actual age: He is 50!!!!!!!.........

Jamie's jaw drops and stays that way to the end of the show.

Andy is invited to join Jamie onstage. "I never lied about my age," he says, "And the very first time I have to do it, it's on national television..."

Tyra asks Jamie if she thinks there are eligible men her age and older. Still in disbelief, Jamie says hesitantly: "Well, all I can say is: They are out there!"

World Dance New York DVDs featuring Andy Troy:

Bellydance for Body Sculpting: Abs (Neon)
Bellydance for Body Sculpting: Buns & Thighs (Neon)
Bellydance for Body Sculpting: Total Body (Tanna Valentine)
Bellydance for Body Sculpting: Floorwork (Tanna Valentine)
Perfect in Ten: Abs (Tanna Valentine)

ALYRIAN SWORD WORKSHOP - RESOUNDING SUCCESS! :: neon

Last night was the conclusion of Alyra's 4 week Sword Maiden Workshop and here at VU headquarters we have reviewed the evaluations and are happy to report another terrific success for our fellow VU Member.  Attendees ranged from 11 year practitioners to 1 year gutsy students who were ready for a real challenge and they offered spectacular responses to Alyra's program!
 
Being 4 months pregnant certainly didn't slow Alyra down! Feedback resounded on her extensive knowledge of this specialty subject, high energy during her demanding and challenging drills, her imaginative and creative techniques and whole body movement. Also known for her strength in audience engagement, the evaluations praised her committed focus on mastering the art of true performing by engaging the viewer with suspense, drama and innuendo.  "Clear and precise instruction" along with "Super fun teaching style" were a couple of Alyra's other reviews.
 
Working her students through the foundations of sword dancing with athletic drills, layered movements and diverse direction change movements, some difficult floor work and lots of attitude left everyone for the last 4 Tuesday nights sweaty, sore and sometimes shaky. Not a student walked out without a deep sword head dent and lots to digest. Included also were ad hoc explanations on  "as seen on TV" type questions where Alyra de mystified tricks of the trade that were seen by her students from the internet or video. The final class wrapping up with sessions on spinning, posing, removals and handwork that concluded with sword improvisation from start to finish.
 
And what could have been improved (cause we ask that too!). Well, all the way around, everyone just wanted more classes and more time! Alyra admits herself that if her Doctor didn't tell her to wrap it up, she would have definitely extended class another 4 weeks because they were all having such fun. She also assures us that we can anticipate an extended 8 week course next Jan/Feb once she and her husband are settled in with their new little one.
 
Well, Alyra, the world will be waiting!

TWO FISH SWIMMING IN TWO DIFFERENT DIRECTIONS :: jeniviva

Welcome to my first reflective rant, I mean blog post!!!
: )
According to certain Buddhist beliefs, "through suffering comes transformation".
Never before in my life has this statement held more truth for me than now.
It has been a long year (I measure a true new year from birthday to birthday) and a very curious road I've travelled down, but the time has finally come when I can finally rest, breathe, and clearly reflect upon it.
As a dancer, a girl, and a myriad of other strange incarnations, I had come to a crossroads.
So much to be, so much to do, so many ideas brewing inside the walls of who I am supposed to be as wished upon by others, and finally who I am now. These have been the contents of my head for some time now and needless to say it has been awful struggling!
I have struggled with what I should be, how I should represent myself "out there in the real world" as dancer and as a thinking woman. I have been frustrated with who I am for too long.
But in the solemnity and the misery of solitude I have come to some conclusions.
These are a few:
Never cave in to the desires, the constrictions, conventions, and negative criticisms of others....even if they guilt you into it!
Never compromise who you are as an Artist...as dark, as macabre, as luminous, as blinding, as awkward as you may be at times.
Allow yourself to grow in every direction, become a glowing orb of energy beaming outward from every cell in your being. Allow this to direct you in your dance...and make no apologies once you've gone there...EVER!

The most relevant finding I have come across in this long year is that yes, there CAN be balance between my artist side and my academic side.
I have managed to put my fears aside (and the fears projected upon me by others!) and put my insecurities on permanent vacation and tried to be both things simultaneously.
Essentially the two sides of me are the same...
Scholar and Artist are fueled by the same fire:
PASSION.
I spent a long while pushing one side down and nourishing the other; the results sparked an awful uncomfortable mess in my Soul.
Those who are close to me, saw into me; I was wrestling, fighting, even self-sabotaging myself. Ultimately I became depressed.
It was not until I was all alone in a dark place that the truth came...
I can be both...unapologetically and at the same time!
I wondering what took me so long to reconcile the two, but I know now that the rough road was worth it.
So here I am, some time later, doing the things I love...passionately.
As a dancer I began learning new styles of dance and embracing long forgotten ones.
As a writer I began collecting the stories of my Great Uncle Salvatore...stories of the old country and how to make it in the new one in the early 1900's (good stuff, food for the Soul). I am taking writing classes to strengthen my skills as a would be biographer and lastly later in the year I will be applying for Graduate School to claim my PhD in English (roarrrr!).
No longer will I be afraid to do the things I love or sacrifice one part of me for another.
I am whole, the two fish swimming together upstream, at long last.
What is next you may ask?
Well I reckon talking is nothing without doing... so...
I will teach!
I will dance!
I will teach dance!
and if they're lucky I'll even dance for teachers!
Im silly. It is late.
I promise no more long reflections or missives to God. I just thought a first post up here should be something of interest to both reader and writer. Its me. Its real.
I hope you've enjoyed the view from that small crack in the window.
Welcome to the world of lil ole me.
: )
Evermore,
JeniViva

BDUC 2008 :: tanna

Subtitle:  Bellydancer of the Universe Competition 2008, or, How I Spent My Winter Vacation.

Succumbing to a rather unusual whim, this President's Day weekend in February found me in Long Beach, California, for the 18th Annual Belly Dancer of the Universe Competition.   This was unusual for me because competitions are not really my bag.  Admittedly, in 2004 I did compete in the East Coast Classic in Virginia Beach, which was a very satisfying and worthwhile experience.  In addition to achieving the personal goals I had set for myself, I was fortunate enough to walk away with a 2nd place finish in the Grand Champion category.  However, despite these positives, I obviously did not choose continue with similar events.

Until this February in California.  For some reason, I developed an insistent bee in my bonnet to experience this event, which, at least to the best of my knowledge, is the biggest and most glamorous bellydance competition in the country.    As with the ECC, I did set personal goals for myself, but, unlike my ECC experience, I went to the BDUC knowing that I had already failed to meet those goals.  Quite simply, I bit off way more than I could chew, and I just did not have sufficient time to properly prepare myself or my material for the level of competition that I knew would await me.  This knowledge caused me huge anxiety during the month before I left, and I thought about dropping out so that I would not make a complete fool of myself in front of so many dancers.  Furthermore, being slightly insane, I had also determined to make several new costumes specifically for this event, complete with custom-dyed silk veils.  Really, I need therapy.  People think I am kidding when I say that, but I know that I am not.  The financial aspect of this decision weighed on me, as did the fact that I really don't like to fly, and a 6.5 hour non-stop flight is something I have not attemped in years. 

So, with all this baggage of anxiety and drama (and bellydance costumes!), how was my winter vacation? 

 

Honestly, it was another very satisfying experience, and I am really glad that I followed through with it.  The weather was lovely, and the Convention Center area of Long Beach is quite attractive.   What truly made it all worthwhile however was the human element.  First of all, this event is MASSIVE!   I am in awe of the amount of time, labor, and attention to detail that goes into the production of the BDUC.  It is like having Rakkasah (including workshops & vending), plus a huge international competition, plus two big stage shows all rolled into one.  Despite this heavy load, everyone that I met working this event was wonderful.  The ticket ladies, the dressing room assistants, stage crew - every single person was helpful, friendly and supportive.  They dispelled anxiety, and made being there comfortable and fun.  My not-quite-finished costumes were held together with strategic safety pins, but I got very good feedback on them from dancers and crew alike.  It was particularly flattering to my designer-ego that several people came up to ask me if my black and rhinestone costume was an Eman Zaki.   

Tonya and Atlantis, the mother-daughter duo that created the BDUC were amazing.  Serene and gracious at all times, they never missed a beat or lost their composure.  Atlantis in particular was unfailingly cheerful as she solved whatever problems arose (not that I saw many) and moved throughout the venue with her gorgeous mane of auburn hair floating behind her.  They both welcomed me with such warmth and sincerity that I really felt accepted as a newcomer to the California scene. 

My fellow competitors were another revelation.  The atmosphere in the dressing rooms was always pleasant and relaxed, and sometimes quite silly as like-minded dancers bonded and had fun (guess which group I was with!).  BDUC veteran Regine started me on a positive note by taking me under her wing as we waited on line to check in before the competition began.  During that first morning, I met the lovely and elegant Jane Yee Shan who had travelled all the way from Taiwan, and the sexy, earthy Turkish dancer Dilek from San Diego.  By evening we added my homegirl Nialee (from Montana) and Laila from Illinois to the crew.   On Sunday I met Lisa Zahiya from North Carolina, who kept me laughing at inappropriate times.   These girls were great, and I am sorry that we are so scattered geographically.

It wasn't all a bowl of cherries.  A tiny percentage of the dancers were a little scary under their veneer of politeness.  They wanted to WIN!  The serious competitors spend the whole year working on a single routine.  I had to laugh as dancers would claim that they did not really have a set choreography, then proceed to plug their Ipod into their ears and rehearse a routine where every beat had been carefully calculated.  I was embarrassed to admit my lack of preparedness.  The event itself was rather grueling, and it was difficult to get any sleep at my miserable hotel, especially since there was some type of reggae convention in town and EIGHT male reggae afficionados checked into the room next to mine.

So, while I was glad that I went to Long Beach, I was even happier to pack my bags and come back to NYC.   And yes, my bags were a little bit heavier on the flight home.  I had the tremendous good fortune to win the veil competition (by strange coincidence, this was the most prepared of my pieces!).  I had even more good fortune as I won two Miss Congeniality awards.  Considering how fun and nice I thought the other girls were, these two awards truly make me feel honored.

Photos by: Carl F. Sermon