pride, prejudice and on being "the best"

Behold, the Miss Universe tiara (2002-2007). This tiara was created by the international pearl culturer / jewelry house, the Japanese Mikimoto. 500 almost 30 carat diamonds and 120 pearls were used for this USD 250,000 masterpiece. The shape itself reminisces of phoenix rising, the symbol of status, power, and beauty.

A true work of art that befits a woman who has gone through a hard selection and conquered odds to be considered as the most intelligent, the most poise, the sexiest, and of course, the most beautiful.

Indeed, I daren't say that not all of the women chosen for Miss Universe competition are beautiful. But then again, what is beauty? Isn't it on the eye of the beholder? Who is the most beautiful woman in the world right now? Is it Megan Fox? By what, and whose standards?

Even before I danced in "The Dance Within" with Lilith, many people have come to me and said, "You are the best bellydancer!"

I was flattered, of course. My ego was boosted and my head went through the roof. I became ten feet tall and believed I could stomp on other dancers, oriental or tribal.

But lately, it has really become something that gives me the itch. It is really, truly uncomfortable.

I mean, honestly, yes, I do have an ego as big as Jupiter, but one day, when I was browsing the net, I found a youtube video of an oriental dancer who claimed to be the best oriental dancer in her country (and the fact that she once came home as the SECOND RUNNER-UP in the local bellydance competition didn't seem to stop her from using that gimmick: "the best"). I got intrigued, saw the video, and shook my head.

It was bad enough to see her facial expression giving away the fact that she was trying so hard to remember the choreography, but it didn't stop there. Some of her techniques were just way off and I know one oriental dancer also in the same country who dances 100 times better (in my opinion).

She was the one who uploaded the video to youtube and in every youtube video of her and her troupe (that she uploaded herself), she always put "The best bellydancer in X country". Heck, she even put that as her tagline right under the logo of her studio. At least that's what I saw in her website. I've never been to her studio because she's not in Jakarta. She's not even in Indonesia.

So, based on what standards are we considered as the best?

Basically, I think for oriental and tribal, the standards are: techniques, vocabulary of movements, range of movements, knowledge of the dance, costume, make-up, dancing experience, teaching experience, certificates (not necessarily in that order).

Then, in this MTV-oriented world where attention deficiency is everywhere, a dancer needs to keep his or her audience's attention. Props (veil, zills, sword, pot, tray, candle, shamadan) come to mind, so does gymnastic abilities. You know, the sharp-pop-exaggerate-your-maia-lock-fold-your-body kind of thing.

And now, based on whose standards?

Definitely not our OWN standards. We don't live in this world by ourselves. Just one, single, lonely dancer.

Students judge us, spectators judge us, our fellow dancers judge us, our teachers judge us, the youtube judges us.

It just doesn't feel right when you make up a biography of yourself and you dub yourself as the best. How do you know? Who told you that? It is true that you have to sell yourself, your troupe, and the studio that you have, but come on... What if people think of you as a joke?

Whenever someone came up to me and said, "You're the best bellydancer!" I always asked them, "Have you ever seen other bellydancers?" I gave them the names of several troupes and institutions. Some still said I was the best while others succumbed into saying, "The best male bellydancer!" and right away I shot another question, "Have you ever seen other male bellydancers?" and I gave them other names.

Usually they would just smile and say, "Take the compliment, will you?" and I would thank them.

But I still feel some discomfort deep down in my heart. "What if other people think of me as a joke?"

That question nags and nags and nags. My troupe and I always put our best in every performance. Many said we're the best. But we just shrugged it off with a thank you. Possibly because we're trying to keep a low profile and because we're not sure that we are the best.

The Velvet Raqs dancing to "Eternal Triangle" by Paul Danna (OST "Kama Sutra")
during "The Dance Within" recital, Saturday, November 21st, 2009, in RRI Auditorium, Jakarta.
Photo by Stef Manfrotto (2009).

We obviously didn't believe it when people say that we were the best when we were just starting out. I mean, obviously our costumes weren't even proper enough to be called "the best". "Good enough"? Yes. "Just good?" Maybe. We don't mind. "Very good"? Why, thank you. But "the best"?

By what standards and whose?

my worst nightmare

Today was supposed to be a quite seamless day. Everything went well. Even the streets were agreeing. They were relatively empty. In fact, they were empty enough that I could cut at least 20 minutes from my usual one-hour trip to a studio where I teach every Wednesday evening.

I arrived early (regardless of my infamous image of being unfashionably late, I almost never arrive late to teach) and waited for the aerobics class to end.

When it ended, I said hello to the aerobics instructor. She left and I popped in one CD I usually use to build the Oriental atmosphere. When the participants had gathered, I went on my regular routine: asking if there was any first-timer (no one, but there was one lady who had only joined in last week) and explaining the posture - the most important rules of oriental dance so as not to get them injured.

And then I switched on to the second CD - the one I always use to teach, with the tracks organized to form a flowing exercise: first is the warm-up and stretch, second is the oblique-toning figure eights, third is the abs-toning camel and reverse camel, fourth is the abs and obliques with omis and big circles. The cardio begins at the fifth track with the accents, and the sixth track is for the shimmies. The choreography uses the seventh track, and the cool down is the eigth.

The CD was... unplayable. I tried to load, unload, reload, unreload... And still, the interface said: No Disc.

I had no option but to use the first CD. Thank goodness I could use the tracks to also do the toning and cardio (it was at a gym, so almost no art was involved, just really basic things where I can't be too idealistic and perfectionist).

But, alas... The song for the usual choreography was not in the first CD. However, there was this song that I've been trying to do a cutesy choreography with ("Kol Youm fi Omry" by Elissa - a Lebanese pop song). So I explained to them that the choreography would be even more basic and would be a spontaneous one (I wasn't kidding. I was really familiar with the song and had made a few outline steps a few months ago, but that was it).

I just realized... Ohmigod, Elissa again??? My first solo dance was to her "Ayshalak" and a few days ago I found "Ayami Bik" (also by her) and in the middle of finishing a choreography on the song. She's really something else.

"Kol Youm fi Omry" - Elissa

Sooo, with my very, very, very limited knowledge (plus the fact that I had to teach MYSELF and THE PARTICIPANTS a SPONTANEOUS choreography that I might NOT REMEMBER when dancing the SECOND TIME), I danced.

I did a little thing with the Egyptian walk (step, bump, step bump) and modified the step. There were 10 participants and only one (the lady who just came in last week) who kept losing the beat and the steps.

But the show must go on. I went on with the new choreography the second time (it was, thankfully, easy enough even for me to remember the whole thing), and promised the participants that it was going to be the new choreography that they would be learning the next week. I also told the one lady that I would get back to her after the cool down to explain the steps.

And then we cooled down and stretched and I ended the class, took a deep sigh, and gave the lady an extra ten minute to teach her about the step. I still didn't think it get to her, though. But she nodded and I told her with a big smile to practice because I wanted to see her executing the move next week.

Now, note to self: always bring a spare CD, always know a simple song or two by heart (especially if you teach basic beginners or at gyms) so you at least have a basic frame of the beat and can make a repetitive combo, always try to be patient (I suck at this, really, really), and motivate, encourage, and remind them to be patient with their own bodies.

Oh well, now I need to finish the choreography.

(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!

succumbing to standards

My troupe is set for three performances in the upcoming two weeks. One on Saturday, another one on the next Saturday, and the last one on the Sunday. Performances mean so many things for us, or for me, at least. We get to put on our costumes, put on our make-ups, show off our moves, study our moves and mistakes (if any) later on (in the video), have a chance to show our existence, get more stage-time and experience, and of course get paid.

I was excited. My costume was almost ready (except for the white top with white/silver paillettes and sparklies that will make me look like a belly dancing member of the Ice Capades) and I got the moves right.

We were already confused as to why we were hired by one big gym franchise while the events are organized in places that not only not have those gym clubs, but the competing gyms of big names. But we brushed the thought aside and were even excited that we could perform and be seen by people from other gyms.

And then one night as I was returning from teaching, I received a message from my teacher. Apparently, the organizer was not our gym, but a fitness equipment manufacturer and distributor. And the organizer only wants female dancers. I was disappointed. Sad, even.

I mean, everyone knows I'm a total show-off and attention whore. And desperate for dough.

But seriously, folks, Oriental Dance is a dance for everyone. Male, female, gay, straight, stick thin, slim, standardly built, voluptuos, curvaceous, plain big, tall, short, young, old. Heck, I even know dancers with bipolar syndrome and one foot that's shorter than the other.

And that's right. That's exactly what it is. This is a dance that demands everything from you but keeps you liberated enough to not care about those things above. Oriental Dance can be as low impact as walking (gorgeously, that is) to medium-high (shimmies, powerful accents). And yet everyone can do it, unlike the the more complicated dances like salsa or hip hop (I know I can't). But don't get me wrong. Oriental Dance is just as challenging. I know dancers who've been dancing for a long time (modern, contemporary, hip hop, salsa) that can't dance Oriental.

However, when it comes to being hired or dancing semiprofessionally or professionally, you have to be ready for the ultimate challenge: the rejection because of the said points above.

And I have been rejected for being a male.

I can deal with the rejection. But I can't help but think the reasons I got that kind of reaction. And so I formed three theoretical answers:

1. The organizer thinks that Oriental Dance is a women's only dance
2. The organizer thinks that Oriental Dance is a women's only dance, that's why if it's danced by a male, he will dance in drag (and the organizer doesn't want it)
3. The organizer thinks that Oriental Dance is a women's only dance, that's why if it's danced by a male, he won't dance seriously but just to illicit laughter from the audience (and the organizer doesn't want it)

The answers above are very much related to the organizer's knowledge about Oriental Dance and the men who dance it. And I should say it's right next to nothing.

But on a lighter note, thank goodness I haven't worked overnight to finish the white top.

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.

"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.