just like a woman

It is a well-known fact that movies that at least try to portray belly dance in a fair way are not that many. In fact, I can only name one that I know of. Then there's Just Like a Woman (SPOILER AHEAD). 

This movie came out in 2013, directed by Rachid Bouchareb. It's about two acquaintances, Marilyn (Sienna Miller) and Mona (Golsfhiteh Farahani) who are forced by circumstances to get on a road trip from Chicago to Santa Fe in Marilyn's car. Marilyn goes to Santa Fe to audition for a belly dance company (as recommended by her belly dance instructor, Peter). She's hesitant at first, but then she's fired from her job and comes home to catch her deadbeat husband cheating on her with a pizza delivery girl.

Mona, on the other hand, is an immigrant, and a wife of a very loving husband (Mourad, played by the ruggedly handsome Roschdy Zem) and an overbearing mother-in-law (Chafia Boudraa) who demands to have a grandchild and accuses Mona of being infertile. One night, Mona spills her mother-in-law's pills and yet serves them to her anyway. The mother-in-law dies in the morning, and Mona, overcome with guilt, runs away. She has no idea where to go, but kismet brings her bus exactly where Marilyn is parking her car. The two meet, and Marilyn decides to take Mona with her.

Marilyn (foreground) and Mona (background) dancing at their first gig. 

Peter (Marilyn's instructor) gives several recommendations for restaurants Marilyn can dance at. Her first gig actually needs two women (how lucky!). Mona, being a Middle-Easterner, is (supposedly) a natural belly dancer, so Marilyn asks Mona to accompany her dancing at restaurants (one of them looks like a really seedy bar).

Mona belly dancing to flirt with her husband in their convenience store as Marilyn watches in the back.

The first song they danced to is Hisham Abbas' Nari Narayn and they seem to be just wiggling around. They get paid and the tip money is good, and they think everything is fine and dandy until the Arab patron comes to their rooms (apparently they stay at his place) and demands to sleep with Mona. Marilyn answers for Mona and says she's not interested, then the patron asks to sleep with Marilyn, who, of course, refuses. The patron gets angry and Marilyn decides that Mona and she has to leave. One thing, though, the patron says his clients do not like blonde dancing girls, so from then on, Marilyn wears a wig (this wig later becomes important because near the end of the movie when Marilyn gets physically abused by two rednecks and unable to audition, Mona takes her place and disguises as Mona, wears her wig, and is accepted into the dance company).

Marilyn dancing at a bar for their second gig. 

In the mean time, Marilyn's deadbeat husband wants her back (I don't think he knows that she doesn't have a job anymore) and Mona's loving husband wants her back too (with two police officers who start off sounding important and adding tension to the movie but somehow just fade in the background).

In the middle of their journey, Marilyn learns that Mona is on the wanted list and she confronts Mona. Mona tells her what happened and Marilyn abandons her at a gas station in the middle of nowhere America, and Mona, not knowing where she is (she's not American, she's never been outside of Chicago, the only path she knows is to get from her house to the store that her husband runs) just stays put in desperation. Marilyn then changes her mind and comes back to get Mona.

I don't know where to start. Some of the costumes just look cheap (but then again, Marilyn is trying to be a professional dancer, so that explains the cheap-looking costumes). Then the very typical music choices... But let's begin.

Mona auditioning as Marilyn.

There's no sense of progress in the story. The music and the dancing skills don't progress. Mona shows Samia Gamal to Marilyn, but I don't think that inspires Marilyn. At one point, Mona tells Marilyn to use another song (thank God) and to dance with abandon (YES!) but nothing comes of it. I was hoping that Mona shows Marilyn a thing or two about dancing, about music, about being in touch with the dance itself (so many Middle-Easterners pride themselves for being able to dance to Middle-Eastern songs because those are their songs and so they can be really in touch with their dance because everything flows naturally while non-Middle-Easterners struggle to achieve this kind of flow, this kind of tarab that is discussed in Whatever Lola Wants). Mona doesn't even smile when she auditions and yet she gets the part.

There's no tension when there should be lots of tensions. You have an immigrant (and not just an immigrant, but from the Middle-East, forpetessake, in the USA!), you have the stereotypical Arab people who always blame and degrade women, you have a loving husband desperately searching for his missing wife (who later says she doesn't want him back because she thinks he's failed to stand up for her), you have two cops (one of them is perhaps a racist bastard) whose roles just disappear.

Angles and editing. You know, I have no idea why this movie is rated R. You can hardly even see the dance. The story itself begins way too slow.

The ending. Which is so anticlimactic.

The dance. The dance itself is just meh, most likely because we don't really see what's happening. Then there's also no progression. Actually it gets worse (from an Arab restaurant to a seedy bar? Or is the movie trying to show what the belly dance scene in the USA is really like? Which, if it's true, then it's another missed opportunity).

There are good moments in Just Like a Woman, though. When Mona is left in that gas station and she takes off her coat and stands there while still in a belly dance costume, now that's desperation. The wide shots really inform the audience that she is in the middle of nowhere. Then there's tender moment between Mona and her husband as she flirts with him in the store. Then Samia Gamal. Then Natacha Atlas' Adam's Lullaby (although really, Natacha Atlas? It's been used). The male belly dance instructor (yes!). The fact that there are women of all shapes and sizes and some are even tattooed in his class (YEAH!). Although, both the male belly dance instructor and the other-sized women don't really have a role in this movie.

Well, I'll just leave you with this image. Here's Mona's husband doing something I don't know what, unfortunately not from Just Like a Woman (ya think?). 

where i stand on this cultural appropriation thing

First of all, let's just make it clear of what I mean with "cultural appropriation".

noun /əˌprōprēˈāSHən/ 
appropriations, plural

1. The action of taking something for one's own use, typically without the owner's permission; the appropriation of parish funds
2. The artistic practice or technique of reworking images from well-known paintings, photographs, etc., in one's own work
3. A sum of money or total of assets devoted to a special purpose

These definitions are from Google Dictionary. For this case, let's discard the third definition and add the word "cultural" in front of it, thus making the meanings of "cultural appropriation" something like this: 

1. The action of taking someone's culture or subculture, typically without asking for permission from those who are culturally or subculturally related or understand said culture or subculture. 
2. The artistic practice or technique of reworking art (including but not limited to: dance and movement composition, literary composition, musical composition, visual composition like painting - mixed media - jewelry design - graphic design - tattoo - pottery - sculpture) in one's own work. 

For the first definition, many have also added that those who culturally appropriate belong to the dominant cultures (typically the Caucasian), but sometimes, I don't think that's the case. 

The thing is, during my free time, I don't go out and take long walks or run or enjoy the great outdoors. I'm not an outdoors person. The sun ruins the skin. During my free time, I browse the internet. Sure, I get caught in the weird part of the Internet from time to time, but anything's wonderful as long as I don't come across pictures or stories of animal abuse. 

Time and again, I found posts that disrespect (that's a really pejorative term in many cases) belly dance, its culture and origin (which no one really knows), and those who perform the dance. 

Time and again, I found posts that disrespect (again, that's a pejorative term) American Tribal Style® and or Tribal Fusion belly dances. 

Let's focus on the Tribal bashers (the Trishers? Tribashers?). What's really disheartening is that if you go on forums like Bhuz or Tribe.net, you'll see Oriental style dancers bashing Tribal, saying that Tribal is not belly dance. And it's cute (okay, it's not) when you see that in some of their posts, these dancers refuse to call themselves bellydancers because they think the term "belly dance" and "belly dancers" are demeaning. They do Middle Eastern dance. They do Oriental dance. They go to Egypt or Turkey to study with the greats and try to keep the art form intact. They don't like the term "belly dance" yet they tell Tribal dancers to use whatever name but not belly dance. 

But wait, turns out, these Oriental dancers actually use "belly dance" to promote their work, albeit with a cringe, because it's easier to get their point across. 

I won't discuss that in detail and I don't really pay attention to those posts because, well, the posters have made themselves look and sound ignorant. 

The thing that really gets me is the constant telling that Tribal style belly dance and especially ATS® are considered cultural appropriating. 

Okay, I get it. ATS® has indeed borrowed lots of elements from different cultures across the globe. The Puja for one is an adaptation of East Indian prayer, then Megha Gavin from Devyani Dance Company expanded it (I don't know Ms. Gavin that well, but I do know that she is knowledgeable in Indian culture and philosophy) and FatChanceBellyDance® adapted the extended Puja, which I have yet blogged about. I'M SO SORRY. IT'S COMING ALONG!

Then there's the jewelry (Afghani, Yemeni, Pakistani, Kohistani, Turkoman, Kuch), make-up (facial tattoos inspired by the Berber, the Ouled Nail; bindis from Indian culture), costume (India, Middle East), music selection (too many to mention, from folkloric Bedouin to contemporary Balkan to modern beatboxing, and we play finger cymbals too), and of course the dance itself.

Full disclosure: I'm an ATS® belly dancer. I don't have that much money, but when I do, I use it to take dance classes and buy dowry (which includes jewelry and costuming bits and pieces).

For the jewelry, again, since I don't have that much money but I need to get that chunky, more is more look, I sometimes have to opt for cheaper jewelry. I mix and match cheap and plain silver bangles with the monster ones that I've carefully tried to research. I own several pieces of Assuits, only one of them is more than fifty dollars including shipping. My prized possessions include a Tuareg spike and dome ring that I bought from my friend, the amazing dancer/photographer/hair-flower-creator Shelly Swanegan Hamalian, a gold-washed Turkoman ring from Sirik.com, a Carol Felley cat with Amethyst ring (my birth stone is Ruby, but I'm really drawn to Amethyst), and a silver hip chain from NakaRali (I bought this one at TribalFest 11 and I'm still broke now). I wear the cat ring because I'm crazy about cats. Plus, it's silver, it's huge, and it fits in the more is more aesthetics.

For facial tattoos, I use the chin line and the three dots near the outer corner of each eye. I stopped wearing the dots over my eyebrow because I learned that it's used for Indian brides. I'm not a bride, nor am I Indian, although you know, when (I'm not using "if") John Abraham proposes, I'll be one, and y'all are invited to the wedding. In this video, Ms. Nericcio clearly states that bindis and facial tattoos in ATS® are purely ornamental. Also, go here for more information on facial markings. 

I wear turban when I dance because my hair is short (and I've a small head) and I need something to stick the flowers on. Also, as androgynous as I want to be, men do wear turbans, and in a way, my turban can both conceal and show that I'm a dude. 

Does that make me, an ATS® belly dancer, a cultural appropriator? I guess for some people, yes. But I do know my limits, because I know which elements I need to use, which elements I can go without, and not only because of aesthetic reasons. Having knowledge and information on the things we wear and create (and for some, the things we eat) is one of the ways to adopt a culture and promote its beauty. If you go to FatChanceBellyDance® studio, you'll see stacks of books about tattoos and jewelry and textile. Those ladies, especially Ms. Nericcio, know their trade.

ATS® is not an authentic representation of Middle-Eastern dance. That fact was established a long time ago. Some people are ignorant of that, and that's also another fact. So let me write this again: ATS® is not an authentic representation of Middle-Eastern dance. 

But many ATS® dancers (I'm not saying all) are well aware of the origins of the jewelry they wear. Some of them can even point the places out on the world map. Some have even been there. These dancers help expose the world to a culture rich with tradition and exquisite jewelry (and then some), which means more production, more income, and eventually more revenue to the craftsmen and the overall tourism industry. 

At the Indian and Vedic Culture miniseminar several months ago, Ms. Colleena Shakti said that the NakaRali silver supplier and craftsmen had doubted that their products would sell well in the USA (and subsequently, the world), because they had low demands in India. More and more young people in India prefer the more modern (and sometimes cheaper) jewelry. This stroke a chord. Many Indonesians, I for one, don't wear traditional clothings or promote the traditional jewelry, which by no means is less exquisite than Indian jewelry. 

In Evolutions: The Exotic Art of Tribal Bellydance, Zoe Jakes talks about her costume and jewelry inspiration. One of the pieces she wears is a heart-shaped pendant from Java. Is it a religious symbol? I don't think so. What if it is? Should I care? I don't think so either. Is she culturally appropriating one culture from my country? Maybe. But here's what I do know: when I heard Zoe said "Javanese", my heart leapt with pride. She's an international performer and I don't care that I sometimes don't like her style, but she promotes something from my homeland. Also, every time I hear songs that incorporate musical instruments from Indonesia, I feel honored, I feel respected.

Heck, I was ELATED when I saw Kecak dance in The Fall (frigging awesome movie, by the way. Very beautiful, very strange, very surreal, very emotionally exhausting, with Husband #16 Lee Pace in it). 

Also, another thing. There's this Tumblr blog that bashes people wearing Native American headdress. I get it. The thing is, the same writer said that he celebrated Halloween, which is a Celtic tradition and is nowadays commercialized (like Christmas and Easter and the Eid). So, double standards? 

My friend Julia sent this link to a great article (the conclusion is, it's hard to draw the line as to what exactly is "cultural appropriation", but the rule of thumb is to not wear something that has a deep symbolic meaning like a war bonnet, nor something that has religious meaning like the Rosary, and always make sure that the craftsmen get respectable cut because, well, they need the money to keep producing those gorgeous items. By the way, in terms of turbans vs. war bonnets, you know, many turbans are worn because of the functional purposes). 

Well, I'm beat. I was supposed to do my homework, but I really felt that I needed to get this one out first. 

Addendum: I've also written about the Balinese-inspired performance by Zoe Jakes and Marci Ann at Tribal Fest 13.

***

Man in orange and green turban photo is taken from Pink.City.Mag and check out its page on Turbans!

Photo of Carolena Nericcio by Kristine Adams. 

Photo of me taken by Shelly Swanegan Hamalian.

tribal spark

A few weeks ago, on Sunday, 8 January 2012, Tribal Babes Indonesia hosted Indonesia's first ever Tribal Belly Dance and Fusion Festival. They were having a special guest coming over and it's none other than the lovely Ms. Cinzia di Ciocco of Les Soeurs Tribales (LST). I've seen LST's videos and I have to say that I'm most impressed with their fluidity, creative transitions, and very, very pretty skirt work. And as far as I know, in the videos, everything is Improv Tribal Style (ITS).

I danced two numbers, using FatChanceBellyDance® American Tribal Style® Moves and Steps to Caravan by Raquy & the Cavemen for the first one, and Tribal Fusion to Linetzky and Romeo's Sentimientos. I gotta tell you, though, one is the loneliest number in ATS®. There's no sense of the tribe. Nonetheless, I was happy because I got to dance with my Banjara Skirt and my old headdress. So, yay to power in costuming!

I wish I had pictures of me dancing to Sentimientos, but for now, those photos will not see the light of day. HA. I wore my white Tribal garb for that one in case you're curious.

Anyway, I was telling you about one being the loneliest number in ATS®. Well, guess what, at the end of the show when all the performers were called on stage, Ms. Ciocco took my hands and we danced together to none other than Shakira's Ojos Asi. Yes. We danced using the basic American Tribal Style® vocabulary (Egyptian, Arabic, Arabic Shimmy, Pivot Bump, Turkish Shimmy, and of course the luxurious Taxeem). I had seen her doing Double Back and Chico 4 Corners during her performance so I threw them in as well. I also threw in the Chico 4 Corners passing and she caught that. Some of the moves didn't "translate" well between us but it all made sense because later she told me that she did Gypsy Caravan.

Still, it felt really good to dance with someone I'd never danced with before, and we did it quite seamlessly. Of course I blundered by doing Slow Moves when the song was still fast (I hadn't listened to Ojos Asi in ages), but still, doing the on-the-spot improv felt so natural. After the song ended, Ms. Ciocco encouraged me to explain to the crowd that we had never danced together ever and then we shouted, "That's the power of Tribal".

Oh, and yeah, I also made another blunder by CHANGING INTO MY STREET WEAR. Haha.

It was a fun night, although I really wish we could see more Tribal and Fusion belly dance.

***

Photo credit:

All photos courtesy of Tribal Babes Indonesia.

In the third photo: (left to right) The emcee of the evening, Ms. Vina from Kalimantan (!), Ms. Nabila from Sahara Dance Jakarta, Ms. Miftahul Jannah from velvetRAQS / Dancewave Center (yep, that's my boss... and her ankle boots...), Ms. Enna from Sahara Dance Jakarta, Desi from Tribal Babes Indonesia, Ms. Cinzia di Ciocco from Les Soeurs Tribales, Ms. Christine Yaven from Bellydance Jakarta, Ms. Patricia from Star of the East / Interlude Dance Academy, Yours Truly, and Yulia Bollywood. Quite a lot of line-up, huh?

breaking the brick wall

Yes, this is still about the brick wall.

Princess Farhana wrote an excellent article about choosing the music to dance to. I only have a few things to say about it.

The first one is: I agree with everything she wrote.

Whenever I see people who work hard to do what they do and do it so beautifully, I can't help but feel envious. I can never sing as good as Sarah Brightman or do melisma as precise as (the recorded) Beyonce. I was feeling nostalgic and watched Sister Act 2: Back in the Habit (RIP Mary Wickes) and I realized that, just like in the first movie, those people could sing well, and it broke my heart that when I tried to sing along, I marred the song.

The same thing also happened in writing. I'm not talking about the big, published names. I'm talking about my classmates. There were times when I just closed my eyes when they read their piece and then heard great lines and thought, "Crap! That was an awesome line! Why didn't I think of that?"

Then there's the dance.

There are dancers with clear and precise pops and locks (Kami Liddle, Ela Rogers, April Rose, Samantha Emanuel). There are the dancers with spins and turns to die for (Zoe Jakes, Petite Jamila). There are dancers with incredible gymnastic skills and flexibility (Rachel Brice, Frank Farinaro). There are dancers with killer shimmies (Amar Gamal, Alexey Paraschuk, Bozenka, Dondi Dahlin). There are dancers who are amazing choreographers (Jillina, Sabah Saeed). There are dancers with effortless grace (Colleena Shakti, Devi Mamak, Sonia Ochoa, Mihrimah Ghaziya, Maria Aya). There are dancers with such posture that command the room (FatChanceBellyDance, Tamalyn Dallal).

But most all, these dancers (and more whom I didn't mention) can move the way I want to move. Every time I see the pops and locks and every time I listen to songs that move me and inspire me to do the pops and locks and ticks, I get frustrated and hit the brick wall. Why? Because I can't do them.

Every time I listen to Bollywood songs and then get to my feet and want to move, I get frustrated and hit the brick wall. Why? Because I know nothing of Hindi moves and mudras and what have you.

There's a little Tribal get-together that Tribal Babes Indonesia hosts right the next day after The Dance Within 3D: One World. Cinzia di Cioccio of Les Soeurs Tribales is going to have a workshop and then she's going to dance in the get-together. I was asked to dance two numbers and there are already a million songs to choose from.

Finally, I chose two songs and just sent them to Desi, the organizer from Tribal Babes Indonesia. I told her that I was sending the songs to her so I could stop making it harder for me to choose the songs I wanted to dance to. By sending the songs, I could concentrate on practicing with the two songs. I'll be dancing an ATS solo for the first one and Tribal Fusion for the second one.

I'm taking Princess Farhana's advice. No matter how hard I want to do pops and locks and ticks, I'm going to do what I can do with my body, at least for now.

hitting the brick wall

Earlier this week I was thinking how time had gone so fast. How I had landed in San Francisco this year on that cold January night and then had struggled to get into a university in the USA. Now my first semester as an MFA student is almost done and I'm a quarter closer to earning my degree.

Then just this morning, a friend told me how she felt time had gone so fast - as if she had blinked herself into the end of the year. And it's true.

Let me tell you my deepest, darkest secret. It won't be my deepest, darkest secret anymore after I've told you, so at least that's one out and millions more to share. What can I say, my life is an open book and the secrets are there, waiting to be revealed to anyone who cares to read it.

Now, about that deepest, darkest secret: I sincerely wish I could stop time. I sincerely wish that I could take the happiest moment of my life with the people I care about and just freeze it and live it forever and a second. Maybe that's what Heaven is. Possibly.

The point is, as I'm getting closer to earning an MFA, that means my days of taking classes at the FatChanceBellyDance studio are also numbered. I had already complained about not being able to go to Thursday classes next semester (February until May) because of the new school schedule. This means I'm only limited to the Saturday classes and Dance Conditioning sessions. This means I'll be missing my friends who usually come only on Thursdays.

Then there's the physical limitations. There's so much that my brain has to process. There's so much that my muscle memory has to take in. There's so much that my reflexes has to train themselves to remember. I've been away from the weekly velvetRAQS practices for less than a year and now whenever I try to do the Turkish Shimmy or the Arabic Shimmy with my left foot as the dominant one, my shimmies will get stuck. Shimmies have never been my best friend. Layering movements on regular Oriental shimmies has been so hard. Doing the sharp pop, lock, and hit with my body has been almost impossible.

The fears and paranoia are the cherry on top of the cake. What if when I go back home to Indonesia, I can't find anyone to dance ATS with? This is not about the invested money and energy and time and what have you, this is about not being able to do the dance that you love so much. This thought scares the bejeebus out of me. The fact that this dance demands so much and the fact that I, as a teacher, also demand so much because I want to keep the purity of FCBD ATS, posture and all, they may not be appealing to many people.

Then I realized, heck, if I can get only one or two people to dance with and they give their best like I do, I will be happy. Then I realized, I am a human, there's just so much that my body can do. But I will work with my strengths and my flaws and I will learn to love myself and accept that probably I can never shimmy while doing a full split. And these realizations came after watching this video:

That is Oskar, the blind cat. I wrote earlier about Ms. Wendy Allen's three-legged dog, the sweet Abby Noodle Bumskooter. And I have to repeat myself: it's amazing how animals (some, like Oskar and Abby, aided by kind humans) can constantly amaze and inspire me to do more and never give up, even when I'm hitting a brick wall.

the dance within 3d: one world

Well, I'm excited.

I'm half way across the galaxy, inundated with school work and classes at the FatChanceBellyDance Studio, trying hard to keep the insects from occupying my apartment, and making the most of the Thanksgiving break. All this while my fellow dancers back home at our dance institution Dancewave Center are plotting and toiling our third annual recital, The Dance Within 3D: One World.

The Internet is really making our lives easier. I'm not just talking about posting events over at Facebook or tweeting the latest updates, or uploading pages of information to DancewaveCenter.com, it's also the convenience of reviewing drafts of designs for the posters, fliers, tickets, and other promotional materials, the Messenger chats with Ms. Miftahul Jannah, velvetRAQS director and general manager of Dancewave Center, as well as conversations with Monique Chai, co-general manager of Dancewave Center and director of the Hip Hop and Burlesque troupes of Dancewave Center.

The result is this:

The Dance Within 3D: One World is Dancewave Center's third annual recital. It's going to be held at the prestigious Gedung Kesenian Jakarta, on Saturday, 7 January 2012. It features signature dance-theatrical performances with dances from around the globe: Hip Hop, Oriental (Folkloric and Modern), Tribal (American Tribal Style and Fusion), Burlesque, Bollywood, and Contemporary.

This year, after reminding our beloved audience of the importance of Dance (2009), and the Dream (2010), it's time to remember the Duty. Hence the 3D: the Dance, the Dream, the Duty.

And this Duty is to our beloved blue planet, to the great Mother of all: Earth.

Tickets are on sale now. For more information, go to the website.

arabesque: a journey into the world of belly dance

Okay, Boys and Girls, I am proud to present: Arabesque: a journey into the world of belly dance... Also known as: Yuska's only 2011 performance in Jakarta, Indonesia. Also known as: FINALLY, after SIX MONTHS, I get to put on PROPER STAGE MAKE-UP!

I know, I'm sad too. There's a darn good possibility that I won't be joining this year's The Dance Within by Dancewave Center, what with school and all.

So, here's the plug: this event features performances from Dancewave Center's Oriental classes (managed by velvetRAQS), the velvetRAQS (showcasing Oriental, Tribal Fusion, and Bollywood dances), and special guest dance performance!

Best of all: IT'S FREE! Come one, come all! Oh, and this is a family-oriented show, in that the entertainment is for all ages.

If you manage to come, don't forget to say hi to me!

props to props

For the first time in a long time, I'm going to blog about something other than FCBD. Well, it's ATS-related (okay, so it's also FCBD-ATS related!), but not in a direct kind of way. Oh, alright, in a somewhat direct manner.

A couple of years ago, I read an article that compared and contrasted classic Egyptian set and classic American Oriental set. The article mentioned that both sets were 45 to 60 minutes long, but the similarity ended there. One thing that caught my attention was that a dancer in a classic Egyptian set might use his/her props in different ways from a dancer in classic American Oriental set.

Egyptian-style dancer uses different veil - heavier, more opaque, smaller, with trimmed edges. The dancer comes in with the veil covering his/her body, and after about 2 eight counts, sheds the veil and starts dancing (Sarah Skinner, in her Bellydance with Veil DVD by WorldDanceNewYork, also confirms this information). American Oriental dancer comes in with a veil wrapped around the neck and waist and usually doesn't unwrap it until the second or third song and even dances with the veil for one whole song.

Ms. Christine Yaven from Bellydance Jakarta said that Egyptian dancers weren't so big with playing zills. It wasn't that they were unable to play finger cymbals, it was more because the dancers wanted to show that they could afford to pay the whole orchestra - including zill players. So, instead of playing the zills, they would just focus on dancing. Meanwhile, zills for American Oriental dancers are like rice for Asians (if you think that's a stereotype, that's what I'm aiming for). For all intents and purposes, zills do catch attention and bring texture to the music, even if it's a canned one.

I think I've written somewhere in the blog that I asked Ms. Nericcio if an ATS troupe could call themselves ATS if they weren't dancing with zills, and she said that zills were mandatory for all ATS troupes. In last year's Devotion Show, there was one number when Sensei Kae and Kristine Adams danced without zills, but it was because the song was so fast that they just forwent the idea of dancing with cymbals. It was also understandable because they came in just to dance to that one song, whereas when FCBD dances to a set, they keep their zills on from beginning to the end, even when they're not using them during slow songs.

American Oriental dancers use more props (veil, zills, tray, sword, pot, Isis Wings, skirt) and actually incorporate those props in the performance because the dancers need to grab the audience's attention and maintain it. The US audience, thanks to MTV, has shorter attention span and can get bored in 5 minutes, let alone an hour. The Egyptian audience is somehow more resistant to boredom. Although I'm not really sure if it's still like this, since MTV (and stupidity) seems to be prevalent everywhere.

Did you know that despite the name, Isis Wings are actually an American invention? Loie Fuller was the first person to ever dance with "Isis Wings" in her "Danse Serpentine" number. Not sure why she called the performance that way since she looks more like a fluttering butterfly than a snake.

As for me, I'm a sucker for props. I love dancing with veils, zills, sword, and Isis Wings. I don't know if I'm still going to use veils and Isis Wings now that I'm dancing ATS almost full time. However, there's one prop that I don't think I'll ever use: Snake.

It's not that I'm scared of snakes. I love animals, and although I don't think I want to handle reptiles (or insects, for that matter), I still don't believe animals should be used for entertainment. That's not the only objection I have, though. I really, really don't want to buy poor little rodents to feed the snakes. The thought of that really makes me sick. However, seeing the Serpentessa video really made me aware that dancing with snakes is not an easy feat.

Shira wrote that Jamila Salimpour was the first person to ever incorporate snake in a bellydance performance, and that it was unintentional. You can read all about it here.

of dance and dreams (and manners in watching art performances)

First of all, let me just say that I thoroughly enjoyed Harry Potter and the Deathly Hallows. Partly because of this scene below where Harry and Hermione dance to relieve the tension. That's such a propaganda coming from me, I know. But dance does things, and one of them is relieving stress.

And I almost cried three times during the movie, something that never happened during any of the Potter movies. And Beedle the Bard really makes me understand why many people think JK Rowling is a genius. I can't wait to see the conclusion!

Now, on to some notes regarding The Dance Within 2: Beyond the Dream that was finally wrapped on November 27th, 2010. The show took place in Gedung Kesenian Jakarta and was the culmination of the hard work of all cast and crew. More on that later.

One thing that I have to highlight is the fact that you have to be prepared for replacements (dancer, crew, etc). Our music technician got ill just a few days before the show and thank goodness the replacement did the whole thing just as well.

I know it would be another thing to replace a dancer, especially the lead dancer, but fortunately that didn't happen. It would be a lot harder because that means compromising many things, including artistic vision.

That being said, honestly, this year's recital leaves a somewhat different impression on me. Everything happened so fast. Last year, I had the opportunity to watch other numbers from the side when I was waiting for my turn. This year, it was all about costume changes. I danced seven numbers with different props that were new to me (cane and Isis wings). And I had to spend the last minutes before the end of the show as a blind-mute.

Honestly, I was worried about my sword routine. Lilith fell so many times during the rehearsal, and she even cut my fingers and palms at one time when I tried to catch her. But I guess I did an okay job as she didn't fall although I was practically blind when dancing in the show.

Unlike The Dance Within, The Dance Within 2: Beyond the Dream is a lot more gloomy and depressive. Yes, there were quite a few happy highlights like the Bollywood number, but in all, I felt gloomy. I played Azrael, the Angel of Death, and in the end I had to kill The Dreamer, the main character. Although the finale took place in Heaven (with "When Love Takes Over" by David Guetta feat. Kelly Rowland, no less), I still feel it was less festive than the first.

The cast, in the finale scene.

Gedung Kesenian Jakarta did a pretty good job with the lighting. We had positive reviews from the audience and from members of the media who attended the event. There are some inputs as well that we need to share during the post-mortem meeting.

But this is what got me on my nerves: the ticket was sold out a week before the show. We even decided to sell the tickets that were intended for the press when they said they wouldn't come. Some people were actually waiting to the very last minute to purchase the tickets. I even took the time to deliver the tickets myself and there was more than one time when I was ready to deliver and I didn't receive any confirmation message whatsoever. So I sold the tickets to someone else and got complaints from the person who was supposed to purchase them first.

I hope next year I won't have to deal with that.

The next thing I'd like to blog about is manners in watching art performances in theatres or art centers.

The first one is of course: do not be late. Dancewave Center has the habit of starting things (quite) on time. The Dance Within started 15 minutes late and The Dance Within 2: Beyond the Dream started 7 minutes late. That was an improvement. Whoever came in fifteen minutes after the first act had begun had to wait until the intermission to be allowed to enter.

The second one is taking photos and videos. Holly Hallelujah... We've specifically told the audience on the ticket, the flier, the playbill, and the voiceover that taking photos and videos are prohibited. We stated that IN TWO LANGUAGES! And yet I still saw people with handycams videotaping the event. We should've confiscated that. It was very, very rude. I promise you, next year, the security will be much more strict. When we say no video and no photo taking, that means no video and no photo taking.

The third one is: READ THE PLAYBILL!! It's theatrical, and sometimes it's not that easy to comprehend what's happening. The playbill helps you to understand the dances and the story-line. Come on, even in Ballet, the playbill serves as a guide to understand the story.

But apart from that, our audience was the loveliest. I sat sandwiched between two very talkative groups (in front of me and behind me) during Bellydance Jakarta's fifth annual recital. And to make matters worse, the woman in front of me kept leaning to the right to talk to her friend during the show, and she raised her hands to take photos of the dancers. Now that was downright rude and inconsiderate.

And oh, this is the best part: thank you, whoever brought small children and taught them to behave. I didn't hear any crying babies or children during my frightening dance.

Our audience dressed well. That was one highlight. Although I couldn't help but notice a foreigner, who happened to be a hip hop dance instructor from another dance institution in Jakarta, sitting with his CAP ON and his FOOT UP on the back of the chair in front of him. This was after the show ended, I know. And he has long legs and Gedung Kesenian Jakarta has little leg room, I know. But come on, Dude. I thought you knew better.

The Dance Within (1 & later 2) has always been about the culmination of hard work from everyone. I believe that's why we refuse to open (or end) the show with a speech and giving flowers or some other type of ego-fest. We were just glad everything was over and we did all the best we could. And the effort was everyone's.

I can't wait for The Dance Within 3.

Photo credits:

Lilith & me by Diana T. W.

Cast finale by Si Troy

the dance within 2: beyond the dream

It feels only like yesterday that Dancewave Center worked on our first annual recital: The Dance Within and garnered praises from audience and media alike. It feels only like yesterday that I could finally say I had done something worth while in my life (I co-originated the idea of The Dance Within and chaired the whole shebang... Of course I couldn't have done it without my team and the brilliant resources outside the team).

This year... Well, let me tell you about the whole thing. But before that, I gotta stuff my face with ice cream. We've been practicing at least 5 hours straight and my legs are on fire. I need happiness.

... After a few spoons of Chocolate Haagen-Dazs ... I feel so fresh and ready for... ADVENTURE!!!! Flapjack style. (Did you know that the amaaaazing Dan Cantrell writes and plays the music for The Marvelous Misadventures of Flapjack?? I think I'm in love...)

Now... In case you forgot, The Dance Within was shown on Saturday, November 21st, 2009. This year, we're going with the November tradition again and found an empty slot in the historical, vintage, and prestigious Gedung Kesenian Jakarta on Saturday, November 27th, 2010.

Dancing in Gedung Kesenian Jakarta has been my personal obsession. Well, I know that many people in our team also share the same obsession cum ambition. So this year, we're gonna do it. We're gonna follow the footsteps of great (and serious) artists before us and perform in the hopefully-not-haunted place *worried giggles*.

Dancewave Center aims to provide dance education to everyone, regardless of social background, race, age, sex, size, sex size, sexual orientation... We're like the utopia of dance! Not all kinds of dance, though. Dancewave Center specializes in Hip Hop (East Coast, West Coast, Korean, and derivations such as Krumpin' and Burlesque / Sexy Ladies), Oriental (Cabaret & Folkloric), Tribal Fusion, and just very recently, Bollywood.

Like last year, the challenge is to put all these dances in a show, but not just a mesh of dances, they have to flow and follow a storyline. These dances have to become an integral part of the plot. What makes The Dance Within unique was the fact that it was presented theatrically with a strong message: nothing can stop us from dancing (external forces).

After feeling lost for a few months and desperately trying to come up with a story, I thought about someone who actually loves dancing but can no longer dance. The first drafts consisted of a gypsy fortune teller and a genie, but we scraped those off. The later drafts (that were approved) simplified the whole plot. I worked with Monique Chai to finalize the story. This year, the dancers will deal with the internal forces, the things that stop them from dancing (or whatever their passion is). And thus, The Dance Within 2: Beyond the Dream is born.

Here's the offical story:

The Dance Within 2: Beyond the Dream tells the story of an ailing dancer who lies in comatose, suspended between dream world and limbo. In the dream, the dancer travels the world and sees dances from different cultures, even dancing in some of the dances. Will the dancer wake up, recover, and dance once again? Or will death embrace the dancer?

With The Dance Within 2: Beyond the Dream, the dancers wish to remind the audience that sometimes we have to stop and evaluate ourselves and do what we are really passionate about, before everything is too late.

Scary, isn't it?

Yours truly here will not, I repeat: NOT, be playing the main character (The Dreamer). We had an audition for the part, all students and members of Dancewave Center were welcome to audition, and we chose Pasha Praz with his wicked contemporary number to dance. It was... needless to say, heartwrenching. He's our Dreamer, with dashed dreams.

Not only will this dance-theatrical show present a myriad of dances from around the globe (Dancewave Center will be collaborating with guest stars to bring the art of Indonesian Traditional Dances such as Jaipong and Papuan dance, Capoeira, and Wushu), it will also feature a vast of songs. I'm mentioning the likes of Michael Jackson, Beyonce, Elissa, Cheb Mami, Saltillo, Filastine, Lady Gaga, and loads others.

Tickets are only Rp. 120,000 (VVIP), Rp. 100,000 (VIP), and Rp. 85,000 (Balcony). Part of profit will go to charity (like we did last year). Early bird discount is 10% (ends October 24th, 2010) and bulk purchase (3 tickets or more) gets 20% discount. Click here for further information and seating arrangement. Call / send a message to 0811 93 99 06 if you have questions or ready to order.

As of this entry is written, the tickets are selling fast. LIKE HOT CAKES!!

drunk dancing doorglass dork & cool husbands/boyfriends/fiances of bellydancers

Things have been going on quite nonstop this past week. We had "1001 Nights", our second annual hafla last Sunday at Club O1, that featured not only Dancewave Center Jakarta's students of Oriental classes but also Desi of the Orchid and Aiza of Malaysia, bringing drum solo number and crazy-isolation-wicked-layback-drop-precise-with-every-beat-drum-solo-Tribal-Fusion respectively. The show was opened by Dancewave Center Jakarta's students of hip hop and sexy ladies classes who totally rocked the night.

I created and taught a choreography to students of beginner class. It was a veil number to "Tamally Maak" by Amr Diab. You know, these girls learned fast. Veil can look good but it's also not that easy to master, and these girls did it in less than two months and I'm rarely proud of anyone, but I have to say, I almost cried with joy when they did the dance sooo gracefully (and ALMOST flawlessly... HAHA).

Asih, Inez, Tari, Yuka - Dancewave Center Jakarta's Beginner Oriental class students,
dancing with American Oriental with veil to "Tamally Maak" by Amr Diab.

And then the continuous general and private classes. One private class got postponed and frankly I was quite relieved because had it not been cancelled, I would've spent a long day driving from one place to another.

I substituted my teacher, Ms. Mifta today, teaching three classes at Dancewave Center Jakarta, all new choreographies for our end-year recital on Saturday, November 27th, 2010 in Gedung Kesenian Jakarta. Yes, we've paid for the building, so it's ours. Make sure you come!

Ms. Mifta had an afternoon show today at a birthday party. And we met later in my house to go together for an evening performance. It was a housewarming party.

The really nice hostess offered us drinks, you know, wine and champagne and all, and I said I didn't drink. She jokingly said, "You don't drink? Wow, you're such a no-fun!"

I got drunk once when I was still a wee lad (19 years old, which was... quite a long time ago). And I hated the feeling. I got sleepy but my mouth didn't stop talking and I kept doing stupid things. I didn't fall on the floor and couldn't get up, though. But I just slurred and babbled.

And then I became the designated driver whenever my friends and I went clubbing (I rarely club anymore because of the smoke and, ahem, old age), so I don't drink because 1) I get drunk easily and 2) OMFG, do you know how much a tequila shot costs? Or any booze costs?? And it doesn't even taste good!

They dilute the sweet wine during eucharists at church, and even I get drunk on that small dose of diluted wine!!

And so we danced. First a duet, then continued with me doing veil solo, Ms. Mifta with her drum solo, and lastly us, with zills, freestyling and getting the crowd up to dance. And tonight, the tip was so good. Yeah! I can use some to fix my desktop's broken monitor.

We danced at the poolside and after the last dance, we... Well, I hurriedly went inside to change. I was sweating like hell. And I was almost running that I didn't see the glassdoor and my head met the glass with a loud bang.

Yep, my forehead and my upper right lip just crashed into the glass. Thank goodness it was a thick one (the glass that is) so it didn't shatter. Imagine, a dancer breaking a glass door, A NEW GLASS DOOR, after dancing for a HOUSEWARMING PARTY.

Everyone laughed, I laughed, and just said loud, "Oh, wow, it was sooo clear that I didn't even see it. You guys must have really good maid!"

So much for diva moment.

And so Ms. Mifta went home with full belly (they didn't provide vegetarian meal so I had to be content with my iced tea) while I came home with a bloated right forehead. Well, not forehead, I hit my right brow bone.

And I still have an early class in the morning and an evening solo performance at the Four Seasons Jakarta for a wedding. I could sure need a break.

And an assistant.

Mr. Udin, Ms. Mita's fiance (and all around cool husband-to-be of a bellydancer) almost always comes with us to help with our shows - well, that is whenever Ms. Mifta is dancing too. And he gladly accompanies her to watch haflas and recitals from other institutions, giving objective and valuable feedback from an "outsider" and "client" point of view.

He helps with carrying the costumes and our make-up compartments, sets up the music, giving the cues, handing props (he handed my zills this evening), and takes pictures.

Well, this entry is also meant for the guys - the male significant others of ours - who have helped and supported us a lot: Mr. Anton Ireng - the fabulous photographer, Mr. Udin - the all-around-guy, Mr. Danang Joko Panuntun - MY all-around-guy, and Ms. Inez Kath's husband (?) who always supports her and comes to every one of her performances.

Oh, and "1001 Nights", Dancewave Center Jakarta and the velvetRAQS were featured on Jakarta Globe's Saturday/Sunday, June 12/13, 2010 edition. Go here to read the details.

Good God, I could sure use some rest, right now. Well, laterz!!

on taking workshops (and being stupid)

One thing that most people hate about taking workshops is that they will look stupid in front of other people. Again, for most people, it's okay to be stupid in front of classmates (except for me. I'm *that* competitive). But workshops, especially a regional one like the Bellydance Festival Asia that I recently took, could be challenging in that you get to learn to dance with other dancers with varying degrees of intelligence.

I'm a bottom-feeder, nuff said. And by saying that, I mean to tell you that I am reallly stupid in classes, especially when doing steps and all.

Sharon Kihara corrected my "tribal" posture. I HATE doing ATS postures (because my muscles would burn!!) but after awhile, I kind of get used to it. I took three classes with her (the killer SharK as I called her because she made us all do a one-hour of yoga for warm-up and that nearly killed all of us... but I found neat stuff!).

She said something that I will cherish for the rest of my life, "We are bellydancers, that means we're athletes, and dorks." Hear, hear (especially on the dork part)!!!

I took two classes with one of my heroes, Elizabeth Strong. Bwaaaaaaa... She's just so... I really wish I had her toned arms and abs and attitude! We learned the Turkish Rom fusion (so cool!!!) and she added gorgeous jazz steps and postures to it. Something that I normally wouldn't do, but okay if I find a flirty song that I can dance to. And the Traveling Tribal class was so neat (I could finally do the Suzy Q with maya stuff that SharK taught in the class the day before).

The Haremqueen dancers (the organizer of the Bellydance Festival Asia) did a "Road to Bellydance Festival Asia" pre-event, the velvetRAQS danced there and we got a free two-hour class. I chose Bollywood Fusion with Heather Aued. OMYGOD. That could most certainly be one of the most fun classes I've taken in years! Deer hands! Lotus hands! Steps and positions! I gotta start taking Kathak class at the Indian Cultural Center near home.

With Elizabeth Strong after the Traveling Tribal class. Picture taken by Flory (an Oriental teacher from the Philippines)

For the closing night on Sunday, we were treated with outdoor buffet-style dinner and a dance-theatrical show by the Bellydance Evolution. It rained just before the show ended... *sigh*. It could be more gorgeous, though. I didn't move when I watched Elizabeth Strong dancing with her scimitar, Sharon and Kaeshi working it out Tribal fusion style, and Kaeshi dancing with a tray of candles on her head, and doing floorworks on wet dancefloor (yes, the rain got there too).

Soaked-wet after the Gala Dinner & Show.

But the most fun night was the Saturday night we all went to Khaima, a middle-eastern eatery in Seminyak. I asked my boyfriend about it and initially, it was only going to be the two of us, but I asked the other girls if they wanted to join, and they all tagged along.

It turned out to be one of the best nights of our lives. We danced with the Yamina, the Australian Oriental dancer who also took the workshops at the Bellydance Festival Asia and won 2nd prize on her Bellysamba Fusion at the Gala Dinner. Yeah! We also danced with Ika (?) the house dancer of Khaima (who also took the workshops). They were so fab. We got two free drinks and two desserts for dancing along.

At Khaima, picture taken by... was it my boyfriend?

During the Gala Dinner, the emcee announced that there will be World Bellydance Festival next year. So... I guess I'll be coming back to Bali, huh?

YEAH!

Shout-outs to: Deasy (Indonesia), Yamina (Australia/France), Sahara Dancers (Indonesia), Crystal & Flory (The Philippines), Allison (Australia).

That's one of the best things about taking workshops. You get to meet other dancers and be friends with them.

velvetRAQS: the professional bellydancers

This entry marks the cyber birthdate of the velvetRAQS and this blog having a new label post: velvetraqs (doh, what else?). Okay, so the second one is probably a lot less important than the first one. *rolls eyes*

Now let me tell you a bit about the velvetRAQS.

The velvetRAQS is the one and only Jakarta-based bellydance troupe that specializes in American Oriental and Tribal Fusion bellydance styles.

Our repertoires include flashy usage of veils, Isis wings, zills, and scimitar, with very distinct floorworks (yes, I'm proud of our floorworks) and theatrical presentation.

Another thing that makes us stand apart than most other bellydance troupes is that we actually know what we're doing, we have (quite) an extensive knowledge of songs and range of movements. As for the costume and our dance styles, well... You be the judge.

The website itself will feature a one-of-a-kind on-line store that will ship to anywhere in the world, but especially all around Jakarta and Indonesia. Plus there will be a resource center with articles that will hopefully be helpful to other dancers and those looking for enlightenment to the dance.

I'm sooo excited! Yeah!

(parts of my) dreams are coming true... soon - belly dance festival asia 2010: shimmy in bali

One of my friends who also belly dances sent me a message through the ever-practical-really-useful Facebook *sighing longingly at Mark Zuckerberg's picture*.

Apparently, the Belly Dance Festival Asia 2010, which was originally going to take place in Malaysia, is relocated to... *drumroll...*

INDONESIA!!!!

Well, not exactly in Jakarta, though. I mean, come on. Jakarta's filled with big yaks of hypocrites. Where else would a belly dance festival take place but in Bali?

The perfect excuse to get on a plane and see my boyfriend (he lives in Denpasar).

Jillina, Sharon Kihara, Elizabeth Strong

So, on February 25th until 28th, Indonesia will host Jillina and the Belly Dance Evolution. That's like... four freaking days of workshops. I'll obviously be taking lessons from Sharon Kihara and Elizabeth Strong. There's one particular workshop by Louchia - the Armenian Dance that I'm interested in joining. And for the closing is the gala dinner and show by Jillina and the Belly Dance Evolution.

To tell you the truth, I'm happy. Really, I am. I mean, I get to see Sharon Kihara and Elizabeth Strong! And learn from them! I pass Jillina's workshops. I mean, seriously, I'm not on her level. I'll let my teacher, Ms. Miftahul, learn from her (she's a big fan of Jillina's) and cascade the lessons down to us. Hopefully Jillina won't be as gruesome as Sadie. Earlier this year, Ms. Miftahul went to Malaysia to take Sadie's workshop and she came back drilling us like crazy. I'm telling you, the amount of sweat and pain almost killed us all.

However, yeah. I'm happy but I'm not ecstatic. I was already planning to go to Malaysia for the Belly Dance Festival Asia 2010 and a huge reason was because of Ansuya. I don't know why, but she's not coming to Bali for the workshop. Ozzy's going to be there, but no Ansuya.

I've said this many times before and I'm going to say this again. Ozzy is a hottie.

But then again, NO ANSUYA!!!

She's like... the epitome of American Oriental. Okay, I don't know where she's heading with all her cabaribalusion thing, but I really enjoy her dancing. Just like I enjoy Anaheed's and... well... Most American Oriental dancers in general.

The Belly Dance Festival Asia 2010: Shimmy in Bali is proudly presented by The Haremqueen Dancers and Magnificent 9 Production. I've heard about Haremqueen for sometime now and I'm so happy that they're doing this for the sake of Oriental (and Tribal) dance in Indonesia.

To all belly dancers in Indonesia, I'm not going to overrate Jillina or the Belly Dance Evolution, but this is the time to really spend your hard-earned money and invest on the workshops.

next stop, las vegas!

"The Dance Within", the first annual recital of DanceWave Center Jakarta, was a success. We danced in front of a sold-out audience. It was just too bad that some who had bought the tickets didn't come to the show.

There were mishaps with the lighting and the sound, but in overall, the audience was impressed. We got great reviews and we're currently attaining the feedbacks from people for the post-mortem evaluation.

That evening, I danced three times. The first one was in the first act, I danced with our professional troupe, The Velvet Raqs, with veils to "Eternal Cry" from Kamasutra's Soundtrack and "Ice Queen" by Paul Dinletir. Up next was Lilith and I dancing a Balkan number to "Fanfara Mocvara" by Figli di Madre Ignota. The third one was a hip hop vs. oriental dance battle to a Middle-Eastern influenced hip hop song by Che'Nelle called "Teach Me How to Dance".

In the battle song, the hip hop and the oriental troupes demonstrated that there are several movements in hip hop and oriental that look alike and follow the same principles. These movements, although alike, are fairly different, yet can move together in harmony.

Okaaay, so I danced four times. The last one was a cheesy dance number that I choreographed as the closing dance for all performers to dance to. It was cheesy, really fun, and really easy. It was so High School Musical type of dance to "Dance Little Lady Dance" by Tina Charles.

I got flower bouquet from a dear friend, three kisses from my boyfriend, a big hug from Mom when I got home (the entire family watched the show), and loads and loads and loads of fans who asked me to pose for a picture with them. Of course I tagged Lilith along. She deserved the credit as well!!

Anyway, I'm glad we can put the show behind us and still bask in the afterglow of the spotlight. Here's a picture of me balancing Lilith on my head.

Photo by Troy Norman (2009)

Next stop, Las Vegas!

fusion confusion and the trouble with tribal...

... Is that people think it's just doing the ooey-gooey stuff like Rachel Brice, or dressing up with flowers stuck in their hair and big chunky bracelets and armlets, or doing that crazy layback drop (again) like Rachel Brice, or having tattoos (preferably on the stomach area), or mixing styles from all over the world and call it Tribal Fusion.

To me, "Tribal" is not that easy. I don't care if people call me a Tribal Purist. Heck, I don't think I even want to take "Tribal" workshops from dancers except from The Indigo Girls, Naimah (yeah, right, when is she coming here), Elizabeth Strong (she's coming to Malaysia next year! Aaarggh, gotta save money!!), and possibly some of the BDSS Tribal Dancers, but just because I've seen them dance. God knows how much I want to study from Zoe Jakes and Mardi Love.

The thing is, when I had that crashcourse on "American Tribal Style" (ATS) and "Tribal Fusion" with Ms. Joe in Tokyo, I was exhausted. Especially my upper body parts like the shoulder blades and my arms. The posture kills me! But That's why I love ATS.

And then we began training on "Tribal Fusion". She had prepared two choreographies: one Tribal-Jazz and one Tribal-Hip-Hop. We didn't have time for the Hip Hop one, so we tried out the jazz. Did I like it? Yes, a lot. Although I've two left feet for jazz. But I liked it because the choreography was so rich. The repetitiveness was minimal and 98% of the movements is oriental.

Yes. You read correctly. "Oriental".

In my opinion, it's really important to step in on the right track at the beginning, and that first step is Oriental.

There's nothing to argue, really. Even ATS is largely influenced by oriental dance. Where else will you find figure eights, shimmies (particular shimmies, not like the salsa ones), and camels but in Oriental?

Ms. Joe constantly reminded me to always ground myself and make the movements look earthy, by doing things flat footed (doing flat-foot maias look so different than doing them while lifting your heel alternately) and not being too bouncy. Unmata dances to fast music so they couldn't help but being bouncy, but there's still the earthy quality in their dance (possibly because those girls don't shave their armpits, but hey, why should they anyway?)! And I find Sharon Kihara the bounciest, at least in her performances in the Tribal Fusion Fundamentals and her Instructional Video. And I don't like that.

And some people think "Tribal" is... "Tribal". They praise the dance without even knowing the very existence of ATS's Tribal Pura (FatChance Belly Dance's collaboration with Devyani Dance Company) or "Improv Tribal Style" (ITS), the more international form of tribal cues.

As for fusion... Personally, again, call me a purist (although I am definitely not one), maybe this is why I opt not to take Hip Hop or Salsa or Capoeira, because I know for a fact that some people are so Hip Hop that they look Hip Hop when they're doing Salsa or Oriental. I know for a fact that some people are so Salsa that they look Salsa when they're doing Hip Hop or Oriental. I greatly admire Zoe Jakes. She does that pop & lock thing without looking like Hip Hop pop & lock.

But one thing is certain. You can't wear a bare-midriff outfit and do whatever style it is, throw in figure eights for eight counts in a song that's five-minute long and call it "Tribal".

Sorry for being so bitter, but I just can't stand people who say that they do "Tribal" just as an excuse not to learn about Oriental, or worse, not to learn about ATS. Granted, there's no ATS class here and you have to have at least one partner to perform ATS (or ITS), but at least know where "Tribal" sprang from, forgodssake.

And I'll bet lots of "tribalists" have never even heard of Jamila Salimpour, Bal Anat, Masha Archer, or Carolena Nericcio.

Jamila Salimpour (seated middle with black dress) with her Bal Anat troupe

Just for your information, Carolena Nericcio has been doing that layback-drop way before Rachel Brice. And don't get me wrong, I love RB and have a lot of respect for her. She's clearly taken Tribal Fusion (or as she labels herself and the Indigo now, "Burly Fusion") to a new level and helps promote Tribal, Tribaret (Tribal Cabaret), and ATS and ITS to a new level.

I feel so bitchy right now.