hot and bothered

Let me say this up front: I am a very sexual person. The only fetishes I'm not interested in are scat and permanent scarring. Oh, and leather, since I'm vegan. And I cannot stand the smell.

For decades, belly dancers have been trying to fight the stigma of belly dance being a sexy dance, and by that I mean dance of seduction, this is especially true in a muslim-dominated country like Indonesia. Three years ago, my troupe mates from the velvetRAQS were set to perform a belly dance show for an outdoor festival in the Monas area. Then the Jakarta governor at that time, that asshole jerk corrupt Fauzi Bowo (who went to the same all-male Catholic high school that I did which made me think he was different but turned out he wasn't) came and specifically ordered the belly dance show be removed or else he would not want to attend the event (he was the guest of honor). My troupe got paid in full anyway, but still.

I don't do Salsa, but from what I know, Salsa nights are more common than belly dance nights, and people here are very enthusiastic about the dance. I've seen how touchy-feely Salsa is and the ladies usually wear really short skirts (with great respect to Salsa dancers, I love what you're doing, but I don't understand how Salsa can get more respect than belly dance. Maybe it's the name?). This also goes to Tango.

One of my teachers at FatChanceBellyDance®, Ms. Sandi Ball, also does Polynesian dance. One time, she posted a photo of her teacher and his troupe dancing on stage. And all I could see were his body. I mean, I've seen videos of male Hula performers and I have to stay, they got me hot and bothered, awkay? Here, have a looksee.

Seriously, if you're a straight woman or a gay man, how can you not? Unless of course they're not your type. But bloody hell. Picture taken from this page.

Here's the thing: I am guilty of making lewd comments about those hunks, and for that, I am sorry. Okay, so maybe "lewd" is not the correct word to describe what I wrote (it was more along the lines of exclamations like "yummy" or "hot" and I kept the nasty thoughts to my own nasty self), but it is not the dancer's fault if the audience member's member gives him a standing ovation (I can't believe I just wrote that).

Last year, when I performed in Bali, I had an audience member (an Arab male) asking me for a photo. I obliged. Then for the second photo, he asked me to sit on his lap. I declined. I told him that he could look but he couldn't touch. He backed off.

I danced Oriental and from time to time I dance Tribal Fusion, and I know that there are songs that require our faces to be flirty and playful, and they are translated by the audience as seductive (and our costumes are also less covered than ATS®). It is up to us as dancers to let the audience know that they can look (and take photos) and talk to us, but nothing more than that. I had a long discussion with my male American friend  about that incident with Beyonce, and I said that she was an entertainer and although she wore a body-hugging suit and danced the way she did, it didn't mean that the guy could touch her in any way at all.

Male belly dancers have been present throughout the ages. We hear names like the late John Compton to Tito Seif to Mohamed Shahin, then there are Zadiel and Eliran Amar. Here's one of Eliran's very popular videos.

It is his right to wear those skimpy panels. It is his right to show off his yummy bod. However, to be honest, it could've been covered just a teensy bit more. I was hoping to be flashed. When that didn't happen, I was both relieved and disappointed. Relieved because no wardrobe malfunction occurred. Disappointed because, well, I'm a perv. This is where costume choice comes into the equation. In the video, his facial expression is far from seductive, but yours truly here still fans himself whenever he sees this clip.

My point is, there are things we can do to control how we want the audience (and the world) to perceive what belly dance is, and those things include pre and post performance attitude, costume choice, and make-up, and to some extent our facial expression (which is essentially related to the song we dance to). Yet it is alright (and expected) to be angry whenever an audience member "cracks" a slut "joke" and becomes touchy-feely.

There's a huge difference between thinking lewd thoughts and actually doing them. There's also a huge difference between doing those lewd things with consent and doing them without consent.

Fact of the matter is, there are still people who don't know the difference. I guess I'm a polite perv, or I have good self-restraint.

There are belly dancers who try their best to fight this slutty dance label and at the same time there are those who get bashed on this hilarious Tumblr. These people have helped perpetuate said label. Perhaps unknown to them. Hopefully unknown to them. (Addendum: okay, so perhaps that Tumblr isn't hilarious and the writer gets defensive from time to time, and thinks s/he knows what belly dance is or not, but who am I to say what is or isn't belly dance?).

Back to Salsa and Tango. Maybe they get more recognition (and by recognition I mean serious dance movies like Take the Lead and Scent of a Woman, the former has this really seductive dance scene). See how the female dancer has that "look but don't touch" attitude and that air of aloofness? That's what I mean.

I don't know. I'm blabbering all over the place. I guess I'm just jealous of the recognition that other dance forms have received and enjoyed in the mainstream media while belly dance is still stuck in being hoochie-koochie and cheap. I mean, come on. Even Twerking gets more respect.

an artist's attitude

My admiration for Zoe Jakes is apparent. I adore her spins, her pops and locks, her make-up, her jewelry, her energy. She is a skilled dancer and theatrical performer.

In my previous post, I've written about how I felt elated when she said that a piece of jewelry she wore was Javanese. That particular blog post is about cultural appropriation and what I think about it. Then yesterday, I saw this video.

I am not an authority on Balinese dance (or any traditional Indonesian dance), but I've seen enough Balinese dance performances to notice there's something that doesn't sit well with me.

Let me tell you, I am not offended by this performance, and to be honest, I think this is one of the ways to promote Indonesian dance. I mean, Colleena Shakti has consistently done this with traditional Indian dance and I know that Odissi is gaining popularity what with Sonia Ochoa, Moria Chappell, and one of my dear friends Allison Mulroy going to Ms. Shakti's school in Pushkar, India to learn Odissi. Traditional Indonesian dance is a dying art form. As an Indonesian, I can't help but feel somewhat guilty about this, because I am not interested in learning any traditional Indonesian dance (largely because most of these dances require discipline and hard work and they have really intricate footwork and arm work, and I'm just too stupid. I quit Kathak after only four sessions).

I know there are Balinese dancers or those who are well-versed in this dance form who will probably be offended, so I think it's only fair to mention that Zoe Jakes and Marci Ann have been studying with Gamelan Sekar Jaya (I don't know for how long). (Addendum: click here for further explanation from the person who helped Zoe choreographed this piece.)

Now back to my gut feeling: I don't mind the headdress and the costume (I don't know if there's a religious significance attached to them), but some movements don't gel with the gamelan music. For example, the "Floorwork Body Dive" at 1:14 to 1:26; The pop, lock, and little drops that Zoe does at 1:44 to 1:49 and the chest shimmies at 1:42. I don't know whether or not these movements are in the Balinese dance vocabulary, but they somehow don't look right.

I am not trying to be diplomatic nor kiss ass, and maybe I'm just insensitive and have the tendency to sell-out, but I don't feel that my culture is being appropriated by this performance. It intrigues me and makes me feel uncomfortable, but not offended.

One of my closest ATS® dance friends and I had a discussion about this video performance, and we both agreed on one thing: the artist attitude. When I was an undergrad working on my degree in advertising, I had a professor in Copywriting class who kept telling us that we were not artists, that we still had to keep in mind how the audience (or the client) would perceive our work. I think that keeps me in check with my own approach in trying to create a choreography. For some people, this may mean less freedom, but it also may also mean giving value to (and therefore respecting) the audience. The thing is, I don't know if people (who have authority on an art form or a religion or a culture) will criticize an artist's performance simply because of the artist (diva worship). Not criticizing the artist, not presenting the artist with an opposing view point (not necessarily negative), is actually bad for the artist's growth.

I like to equate this to a bad red carpet dress choice. Many celebrities have had their hits and misses. Many celebrities have had their phases of bad dresses. Some have survived and become fashion icons, some are still trapped in that phase. They might have survived because they listen to those who shook their head and said, "Honey, don't." They might have survived because they saw their pictures and shook their head and said, "I can't believe none of my friends told me, 'Honey, don't'!" But here's a counter argument: who's to say what's garish and what isn't? Who's to say what works and what doesn't? I don't like too skimpy and transparent clothes on the red carpet, but some people may call me prude.

Paige Lawrence, the director of the Uru Tribe, wrote a very poignant Note on his Facebook page. It's a reflection of the Uru Tribe's journey to Tribal Fest 13, and how he feels about his own performance. Sometimes we are our own worst enemy, and sometimes it's a good thing, because it may mean we are constantly trying to evolve, to grow, to challenge ourselves, to come out of our comfort zone. I still cringe (A LOT) whenever I see videos of myself performing.

Here's hoping that people won't see Zoe Jakes and Marci Ann's performance at Tribal Fest 13 as a true and authentic representation of Balinese dance. I know the introduction says "inspired", but we all know things can get lost and murky in translation.

tribal fest 12: year of the unicorn and the emperor's new clothes

Vell, vell, vell, Tribal Vest... vee meet again...

When you see a dirty rear window of a Toyota, with what appears to be an om sign missing its hat drawn on the dirt, instead of something that says "I'm filthy, wash me?" you know you're in another realm.

This time, I didn't take any workshops nor stayed near Sebastopol. Instead, Laura picked Julia and me up at Julia's apartment in Berkeley, and we went from there. We arrived in Sebastopol on Saturday, May 19, 2012, at around 10 AM, just in time to catch Laura Elizabeth's performance. 

We only came on one day: Saturday, and boy it was a treat. It was the day of ATS®. We had Ujbaba from Russia (those girls... I've said this once, and I'm going to say this again: Ujbaba proves that no matter how far removed you are from the mother ship, you can still have the ATS® posture and attitude), Spin-Off (Ms. Wendy Allen's student troupe from Alameda, CA), Blue Diamonds Belly Dance (student troupe of FatChanceBellyDance®) and of course, FatChanceBellyDance® themselves.  

It was a day of shopping (I finally got two saye goshas that I'd been eyeing ever since last year's Tribal Fest) and Silk Road Tribal did not disappoint. Thank God I didn't have that much money and they were out of red talhakimts, or I'd be more broke. If that's even possible. 

Other notable mentions were: Donna Mejia-Ela Rogers-Hilde Cannoodt Intrepid Bodacity, Donna Mejia's solo, Ela Rogers' solo (I finally understood her. She had this... amazing stage presence, and her facial expression was so spot on), Ambush Bellydance (I don't understand why this group is named this way, but they were spectacular), Devi Mamak & April from Ghawazi Caravan (using Flamenco and ATS®, they were moving poetry), and Paige Lawrence (he can actually dance, and this is probably inappropriate, but I don't care: I find him really attractive). That being said, I was busy going in and out and eating with my dance sisters, and so I didn't really sit still and see the whole show. 

And we took off earlier for dinner at Infusion Cafe (or something - great tea, but the food was total rip off, and it took them ages to make our dinner, and they let two crazy dudes in: one was playing the guitar in the parking lot and then came into the cafe, STILL PLAYING THE DAMN GUITAR, and the other was high beyond belief. The high guy was spotted at Tribal Fest too). So I missed this (somehow NSFW): 

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.

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.

so much drama

I finally got to see Black Swan this evening, and I have tell you: it was intense. The last time I came out of the theatre feeling the adrenaline rush was after Matrix: Reloaded. It is so... in your face. Almost everything is in a close-up and it gives the feeling of being there with the characters.

The movie is filled with so many female erotic scenes and a lesbian scene and I didn't feel a thing. I'm. Just. That. Gay.

But again, the movie drained me. It took me on a roller-coaster ride and I greatly enjoyed it. It's not just a dance movie. And I don't think it's a dance movie. I mean, yeah you get to see some moves here and there, but not too many. Still, it's a gorgeous movie.

Black Swan is a story about a ballerina who becomes so obsessed about playing the most important role in the world (Swan Queen in Swan Lake). She gets the part but is still very protective and competitive about it. Nearing the end, she gets more and more insane, but the ending is just... perfect. In so many ways.

What I really want to blog about is how exciting the whole thing is. Okay, please excuse me if that previous sentence sounds so vague. I'm typing at 2 words per hour and I'm so sleepy but I also have to finish downloading something.

But seriously: it is not just a dance. It is everything. I know how ballerinas work, they take it as a full time job because when you are young and agile (and thin), you have to work your ass of to reach the pinnacle of their career really quick because as you put on age, you're out of the business. Well, not quite. You can still teach and maybe own your own school or dance company, but that's it. It's like air-hostesses, athletes, and to some extent, models.

Ah, athletes. I think that's one more reason to really compare dancers and athletes. After all, real dancers must pass rigorous training in the discipline(s) of their choice to reach a paragon.

The character, Nina Sayers (Natalie Portman) loses her mind getting into the character.

One can argue that if it's how it's going to be, so be it. After all, the show is the most important thing.

And one more thing before I faint: I just love the story behind it. It's not just one piece of choreography thrown in one after another. There's a change of set, of decoration, of mood, all following a plot and a story, so beautifully crafted to fit a set of songs. There's a sense of continuity and flow and a story.

I think that's my ideal dance recital. But of course, in an ideal dance recital, money wouldn't be a problem.

Here's one video by my all-time favorite comediennes: French & Saunders, talking about ballet.

bollywood enchantment

Several months ago, I believe it was the beginning of 2010, I went to Nehru Center, the Indian cultural center, to fulfill my New Year's resolution: to study Kathak.

Nehru Center is ridiculously near my house. And I had always wanted to expand my dance repertoire. So away I went. I had been making phone calls earlier, but decided to just go. The registration fee was next to nothing and so I thought, "Wow, this is a great bargain!"

I told my friends from Dancewave Center and velvetRAQS to join, and finally, Monique, Mifta, and Yulia came on board.

Alas, work overwhelmed me and I missed lots of classes, and when I got in, it had become awfully hard for me to continue. I had to let it go.

In the end, only Yulia and Monique stayed. Yulia even got to perform with the teacher!

To tell you the truth, I've always been a fan of Bollywood movies ever since I was in primary school. Probably because of John Abraham. Okay, so I just spent fifteen minutes searching for the hottest, yet SFW (safe for work) pic of John Abraham, and I found so many that I'll just give you this link. And yeah, it's SFW, despite its warning.

But another more definite reason is because of the dancing and singing and the wide-angle shots and the gardens and the glitters and the sequines and the saris... When it's happy, it's bursting with colors and joy. When it's sad... It's dark and gloomy. Everything is full of drama.

Many of the best dance scenes aren't from Moulin Rouge or Chicago or Step Up series, but from Bollywood movies. (I'm not even going to mention Nine because everyone knows it's godawful.)

The real Bollywood dance, as the name suggests, is a blend of traditional Indian dances (I'm thinking the likes of Kathak, Bharata natyam, and Odissi), sometimes with the more modern Bhangra, and almost always with Hip Hop and Modern or Contemporary. It is either danced in a pair, or really epic.

For The Dance Within 2: Beyond the Dream, since the story revolves on dances around the world, Bollywood is on the list. I found a really neat song called "Aaja Nachle", one of the songs from a movie with the same title, starring the incomparable Madhuri Dixit. Just so you know, "Aaja Nachle" means "Let's Dance", so it's really apt for the show. Yulia then choreographed the dance and I could finally do one of my lifelong dreams: to dance Bollywood style.

There was a time when I got so depressed: I wanted to dance Bollywood, but I didn't know how. Everytime I tried, it looked too Oriental and I didn't want that. I wanted it to look Bollywood. I guess that night, our hard work was finally paid off.

"Aaja Nachle" piece in The Dance Within 2: Beyond the Dream.

Bollywood can be cheesy if the choreographer and the director demand it to be so. Bollywood can be over the top if needed. But I'm telling you, it takes more than that. In the show, the piece was danced by both Hip Hop and Oriental students and teachers of Dancewave Center. I heard one Hip Hop student said the dance we were learning was so damn hard that she would never look down on Bollywood movies ever again.

Amen to that.

The shoulder movements are different, the way we carry the movements are different, far different from Hip Hop and Oriental. I found myself trying hard to adjust to this new thing. But still, it is one of my favorite pieces of the show.

There's an Indian wedding gig coming up on the 26th. The client requests two Bollywood songs and one Oriental. Let's just hope we can really entertain those real Indians. One thing for sure: I wouldn't be wearing the dots above my eyebrows as usual when I'm dancing Oriental / Tribal Fusion.

Photo 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!!

"the dance within" - the first annual recital of dancewave center jakarta

Yep, it's official!

The dance institution I'm currently involved with, DanceWave Center Jakarta, is going to throw its first ever annual recital!

Not only am I excited to be able to perform in the event, but also because I'm serving as the chairman and co-originator of the concept. Yeah!! Finally, something that I can be proud of.

"Defying norms, disobeying regulations. To dance, to live, to celebrate"

Saturday, November 21st, 2009 - 7 PM onwards
Auditorium of Radio Republik Indonesia (RRI) Jakarta
Jl. Medan Merdeka Barat, Jakarta

Tickets are Rp. 75,000 (House / Stage Level)
and Rp. 65,000 (Wing / Stage Level)
Contact me at famousfeline@yahoo.com or +62811939906 for tickets

Now, I'm going tell a litle bit about the concept to you.

We started off with a very simple idea: two rival dance schools trying to outdo one another. Of course, one of the hip hop teachers said that it was too much like Step Up 2! Meow. I hadn't watched the movie at that time so I didn't know. So off we went on our own merry ways, trying to figure a great story line.

You might probably be thinking, oh what's so hard about finding a story for a belly dance recital? Well, that's the problem. It's not just a belly dance recital. DanceWave Center Jakarta teaches not only American Cabaret Belly Dance, but also Hip Hop Dance (with Sexy Ladies / Hip Hop Burlesque Dance as the offshoot).

Some of you might know that Indonesia has this newly installed porn-bill. It's umm... a set of laws that regulates pornograpy in the country. The bill is very controversial because many people (especially artists and those who work in the fields of art) fee that it really limits their work. After the bill was officiated, one of the traditional dances here, the Jaipong Dance from West Java, recently got mentioned as being too porn-y to be danced in public, thus inciting public outcry from the much publicized incident.

Se we thought, why not use it? Belly dance (or dance, or art in general) is definitely not a porn dance, yet it is considered as vulgar by many people. Then a story was built. We created a character, a nameless dictator with his two loyal henchmen. The dictator forbids all kinds of dance in the country and with his two henchmen always manages to ruin dance shows and performances.

The dancers are so fed-up that they throw a secret underground dance party, not only to show off their talents, but also to do what they really love: dancing.

Sadly, the evil dictator and his henchmen were able to slip into the party. Yes. He comes, he sees, and he conquers. But what does he conquer? Does he conquer the dancers, imprison them for good, and finally restore his version of peace in the country? Or does he conquer himself and let the passion from within - the dance within - to overcome and overtake him?

You gotta come and see the show to know.

And I'm not going to overrate it (no, seriously), so all I can say is that all these dancers, both the hip hop dancers and the belly dancers are doing some serious practices and rehearsals.

The hip hop dancers are ready to show you dancing feats that are, as they put it, "really rad". Like steppin', stompin', poppin' & lockin', crumpin', other in'-s, as well as classic hip hop moves and PussyCat Dolls type of semi-Burlesque dance.

Meanwhile, the belly dancers will showcase their talents in using props such as veils and zills and precise drum solos. There will be Isis Wings and yours truly here will dance with Lilith the Scimitar. YAY!!!

So yeah. I'm excited.

And I want you to come. Seriously. Indulge your eyes, ears, and soul and open your mind to these two dances that so different, yet can move so harmoniously together, one after the other.

"The Dance Within" - the first annual recital of DanceWave Center Jakarta will be held on Saturday, November 21st, 2009 at Auditorium Radio Republik Indonesia (RRI) Jakarta, from 7 PM onwards (the show's around 80 minutes).

Tickets are already available. You can buy from me. Just contact me through my e-mail or cellphone at +62811939906. I'm selling two types of tickets: House (Stage-Level) Rp. 75,000 per person and Wing (Stage-Level) Rp. 65,000 per person.

Buy as soon as possible. We're selling like mad here.

whatever lola wants

I know I was supposed to blog something about sword care and all the hooplah, but one night when I was struggling with my insomnia streak due to the fact that I slept all day long, I went to IMDB to search for news about the movie I've been anticipating for about a year now: Whatever Lola Wants.

Whatever Lola Wants is a film by Nabil Ayouch, a Moroccan film director and it is Mr. Ayouch's first (or is it second? I don't know, IMDB and Wikipedia give me conflicting data) attempt in creating a foreign movie. The original film is in English starring Laura Ramsey (Lords of Dogtown, She's the Man) as the title character.

Whatever Lola Wants tells the story of Lola, the New York postal worker who also tries to have a career in dance (she auditions, takes jazz dance trainings) but never succeeds. Until one day, her gay Egyptian friend, Yussef (Achmed Akkabi) shows her the video of Ismahan (Carmen Lebbos), the legendary bellydancer from Egypt. Ismahan was once famous but became ostracized because of her affair.

While delivering mails, Lola meets Zackariah Akef (Assaad Bouab), an Egyptian man living in New York. With a little help from Yussef, Lola finally gets to know Zack. However, Zack leaves Lola because he has to return to Egypt. Needless to say, Lola follows him, much to the disapproval of Yussef who says that Egypt is not a country for a woman. He's gay and that makes him even worse than shit ("Je suis pede et donc je suis pire que merde"). But Lola has made up her mind and is going to Cairo.

In Egypt, however, Zack disapproves of Lola's passion for dancing, saying that no good Egyptian woman dances in clubs. After Zack leaves, Lola begins her search for Ismahan, begging to be taught by her, and later winning her respect and becomes a star.

Ismahan (Carmen Lebbos) teaching Lola (Laura Ramsey)
the basic movements of bellydance

The movie has a happy ending (I cried tears of joy). The version I downloaded (yeah! But I will buy the original! I promise!) is in French. And thank goodness all those years of learning French, including a six-week homestay stint in Nice, France has finally paid off. I understand almost all dialogs but I am still going to need to buy the original DVD because it has the original version which is in English. UPDATE: I have purchased the DVD and found that the French version is actually better.

There are so many cool characters in the movie, especially Adham (Nadim Sawalha), Ismahan's butler who is also her friend, number one fan, and the vanguard of her sanity. Adham at times enlightens Lola over why Ismahan's behaving the way she is.

Needless to say, Whatever Lola Wants is a very good movie. It has everything. It has the hard transformation from a stiff jazz dancer into a flowing, elegant bellydancer (Ramsey has done a fine job, and although I personally think Morocco - like Suhaila Salimpour - is way overrated, she has also certainly done a great job in creating the choreographies).

One of the most memorable scenes from Whatever Lola Wants

It shows what Egyptian people think of women who dance (sharmootah/ prostitutes) and yet have double standards about it (as shown in the Nile Tower where the best and the most authentic bellydance is performed - including later by Lola), it shows how Egyptians think of foreign women who dance (stealing their profession although later can be befriended), it shows how Egyptians think of homosexuals (I only heard about it, but somehow it makes me feel reluctant to go there and learn Raks Sharki, although Ms. Maria Aya once told me that they wouldn't do anything to tourists or foreigners), it shows a glimpse of Egyptian culture as well (albeit more modern cultures).

But most importantly is how the movie tries to explain what exactly is belly dance. In her speech after she dances on the last night of her performance before returning to New York, Lola says that bellydance, the dance that is very important to Egyptians, has become an important thing also to her. And she adds that it's why she's returning to New York to share the joy of the dance with Americans.

Through Ismahan, Lola finally discovers what tarab is. It is the soul of the music, of the dance. In Indonesia, we call it taksu: the life of the art. Each work of art has its own breath, its own life. As artists, we are responsible to give life to our work of art. Dancers do that with their bodies. Tarab is shown not only through the facial expressions, but also through the movement. But tarab doesn't stop only in one person - the artist. Instead, it is transferred to the audience. If the artist can make the audience feel the tarab, then the artist has succeeded.

There is also a very important point that is being made by Ismahan when she teaches Lola. When you dance, you dance for yourself. Never, ever, dance for a man.

Lola doing the Tango with Ismahan after tricking Ismahan to dance. Ismahan danced and Carmen Lebbos did an excellent job with Ismahan's facial features - it was filled with so much joy when she dances. I really love it when people can project the feel of the dance (and from within themselves) through their facial expression.

And that about sums everything we need to know about real bellydance. It is not an erotic dance to seduce others. Sensual? Yes. Sexual? Of course. Seductive? Never.

Another thing that I would like add is the fact that thousands of bellydancers and nonbellydancers around the world has anticipated this movie since we first heard the buzz in December 2007 during its premiere in the Dubai Film Festival. However, it fails to attract more major film promoters. I have tried persuading some friends who work for the Jakarta International Film Festival to show this movie, but I don't think it'll ever be shown.

There is one cineplex who claims to be idealistic and promises to show independent and lesser-known movies, but I think (and I accuse that) it succumbs to capitalism (which can be a good thing) and will never play Whatever Lola Wants. The cineplex network here plays the cheesy High School Musical, Honey (seriously, I hate that movie so much. I don't think Jessica Alba can dance), and can you believe they have Step Up 2??

The poster of "Step Up 2".
*gasp* I see the girl baring her belly but it's okay because it's not bellydance!

Don't get me wrong, I love contemporary and Hip Hop dances too, but when Save the Last Dance was released, we've seen everything! And I don't want to alarm you, but there's actually Save the Last Dance 2.

See? I'm not joking.
And it's released by none other than the great, M(indless)TV

All I can say is, come on, we need something new and fresh here! There's nothing porn about bellydance, there's nothing porn about Whatever Lola Wants either! Heck, sometimes I feel that I can't even see the movements because of the camera angle and some of the glamorous, fashionable, yet unflattering costumes.

These two pictures show a scene from Step Up 2. See the girl in red? She's dancing in the rain with a cropped tank top that clings to her skin because it's wet. She's also baring her belly, and oh, grabbing her left breast.
You'll never see that (touching oneself with that kind of facial expression) in real bellydance, like the one shown in Whatever Lola Wants.

Meanwhile, this is Lola. Gorgeous, gorgeous costume.
Sexy? Hell yeah! Trashy? Hell no!

But all in all, watching Whatever Lola Wants is really the cherry on top of a fine day for two reasons: first is finally watching a dance movie that is honest and speaks a lot on my behalf (bellydance and homosexuality) and the second one is I finally got a chance to (forcefully) practice my French.

Nuff said.

By the way, my boyfriend and I recently watched the movie Ready? OK! about a boy who defies the norm of a Catholic School he's in that says boys can't be cheerleaders. That boy's definitely gay (I just adore him. He's like Ugly Betty's Justin!) and it has a happy ending too! Now that is an even deeper and more conflicting movie than Billy Elliott.