Coupe de couer at Tribal Momentum

tribal momentum

The momentum is real in Montreal. It it was pretty awesome to have a little taste of the delicious fusion happenings in this city last weekend. I hadn’t been in years and the last bellydance-related thing i went to there was (Mardi Love) close to ten years ago!

Planning this trip with the troupe was exciting, particularly since this was the first year in a long while I didn’t go to Cues and Tattoos. We also hadn’t gone to a Canadian tribal festival and were excited to learn from the instructors and share what we do in the closing show. I was also in seventh heaven because BOTH Serpentina and House of Shimmy were all on a road trip together –half of my brain was eating up the info for group improv and the other half was focused on duet combos.

I’ve been following Cult of Yes online and love the dynamic of a creative duo that draws an audience into their individual characters and synergistic flow. So of course I signed up immediately for their Danger Zone workshop. It was a number that was to be performed a the closing show and I was feeling a little down that time didn’t allow me to get onstage for this. Serpentina North Ensemble was also in the show and it was cutting it too close getting ready between workshops and the show. Next time!

It’s always fun when the whole troupe travels together, we stayed at a great Air bnb, a short walk from the studio and show venue. We chilled on the balcony, talked dance, rehearsed and together digested the material from the workshops.

 

 

This slideshow requires JavaScript.

We learned a Balkan inspired choreography from Inga Petermann the first day, and some new Unmata style ITS combos from Marina D. Ray. Day 2 was Layer Lasagna with Nawal Doucette and was so pleased with her organic organized teaching style with focus on clean technique and JUICE…I look forward to learning more from her at some point. Then we were onto the much anticipated Danger Zone with Cult of Yes! There was a strong Ontario contingent at the festival: Invoketress (Mary Wyga and Ishra), Stacie Noel, Revolve Bellydance and Heather Labonte and of course a few members of Serpentina’s student troupe, Snakebite!

tribal momentum group pic

The weekend wrapped up with a closing show and Serpentina shared a newer kathak fusion choreography, which we’ve showcased at Glitter in Hamilton and two Dragonfly events in Toronto. Bringing worlds together through fusion is one of our troupe specialties! We learned a saying from an audience member after our show: coupe de couer. Our movement, our expression had touched her heart she told us, pondering the right words to properly transmit the meaning from French. If ever a dancer touches my heart, I do my best to let them know. When people move you, let them know you are moved!

Thank you to the whole Tribal Momentum crew, I’m already looking forward to next year!

For the love of jazz. My current dance crush: Holla Jazz!

Sometimes dancers catch your attention in ways you can’t quite explain. I mean there are  a lot of great dancers out there and we have access online to take in a lot of amazing movement art and of course being in Toronto also means tons of live shows and events to witness it in person. But there’s something about this crew…

 

Lately I’ve been rather infatuated with Holla Jazz, a local group of dancers that are indexskilled in a variety of genres but gather in this group to showcase vernacular jazz. With social media being a way artists can connect with audiences and fans, I came across their page on facebook and my interest in solo jazz was re-ignited. I haven’t done a ton of solo jazz since my time in the flapper troupe Sugar Shakers but it holds a special place in my heart –and feet!

In March I attended a vernacular jazz workshop with Natasha Powell, the founding artistic director of Holla Jazz and had a really amazing time. She taught the group of eager movers some fun combos,  with focus on bringing our own flavour to the movements. After all, we’re talking social dance here –there is so much room for playfulness and to bring your own mood and authenticity to the dance.

Lucky for Toronto, Holla Jazz has a full length production Floor’d coming up later this month! I’ve had it in my calendar for a minute and then in early April, I won tickets to the show through Turnout Radio on 89.5 (if you haven’t tuned into this dance show on our last remaining community radio station, you should!). I was so excited when I called into the station to find out I’d won — and the day before my birthday, so it felt extra special…

I’m super looking forward to the show, here is the choreographers statement for more info. Whatever genre of dance you’re into, this show is one not to miss, it runs April 25-28th. See you there!

images

 

 

Bazaar of the Bizarre –this Sunday!

Once again the highly anticipated, impeccably-curated Bazaar of the Bizarre runs this long weekend, on Sunday in the Parkdale area. Serpentina North Ensemble will be providing some dancing entertainment for bazaar-goers. We always enjoy performing at this event, animating the space alongside stilt-walkers, DJ’s and an array of ultra creative and skilled artisans from in and around Toronto. Have you seen the vendor list yet? You can follow the bazaar on Instagram and facebook to prepare your wallet for all the amazing things you’ll want to buy!

977e3ed174

 

 

 

 

 

 

 

Winter home practice

20171230_163207.jpg

We’re in the thick of it beautiful people, early March in Toronto. It will be ok, the seasons change –and we’re already in March! With the urge to hibernate strong, I have made sure my home practice is also  strong.

Morning is always meditation and asana. Usually I will do about half an hour of varied asana depending on my mood. Some days its more of a yoga like dance improv.

Once evening hits, I’ll do some yoga to work out the physical and mental kinks of the day. Then if I haven’t already gone to a class or rehearsal I will do some drills.

There are so many options for online classes and while I prefer in person any day, there are some really juicy teachings being offered up online with teachers in other areas. Datura Online, created by Rachel Brice is my favourite as anyone can learn from such an array of tribal fusion pioneers (many of whom I can say I’ve had the opportunity to learn from in person!). There is so much to wade through…lately I have been into drills and combos with Henna, cardio/strength training/drills with Ashley Lopez and of course Datura technique with Rachel Brice.

The other online resource I’ve been using is Integrative Anatomy for Dancers by Deb Rubin. This is a series of videos discussing fascia, anatomy and  injury prevention in yoga asana and tribal fusion bellydance. Deb is so knowledgeable about anatomy and movement, with the goal of wellness and longevity for dancers as part of her Dance Therapeutics program.

Bellydancers and yogi(nis), what online resources are getting YOU through this winter???

Screenshot_20180309-224326

 

 

 

 

 

 

Reflections on tribal fusion

The end of 2017, brought the passing of a pioneer of tribal fusion bellydance long before the term was coined –the one and only Jamila Salimour. There is a lot to say about Jamila and how she shaped American style, interpretation and presentation of bellydance over the past several decades in America.

 

In learning of her death, my mind jumped to the one and only time in 2009, that I had an opportunity to learn from her at the Salimpour School in Oakland. It was an adjunct workshop to the annual San Fransisco Mecca Immersion, a tribal fusion intensive in San Fransisco, taught by both Jamila and Suhaila Salimpour. It was a zyll workshop and she played her giant saucer-sized zylls effortlessly, leading us through complex patterns. I had been playing zylls a couple of years and enjoyed the challenge, savoured the experience knowing I had a hell of a lot more work to do to feel comfortable with this instrument.

I became interested in tribal fusion bellydance around 2008 after dancing for a few years learning Arabic as well as cabaret styles from my teachers. While learning from Roula Said (the Salimpours were among her teachers in her travels to San Fransisco) at Om Laila for a few years, I had joined the student troupe  under the direction of Megan Shields. Here I was exposed me to what she used to refer to as ‘tribalesque’ –the elements of ATS/ITS and tribal fusion that she brought into a more classical bellydance foundation. Once I discovered some more about this style of dance as well as what it means to fuse dance styles, I started to get more curious about its origins. That led me to a study trip to my first SF Mecca Immersion in 2008, where I learned that tribal fusion is a branch off of American Tribal Style group improv, the codified group dance created by Caroleena Nericcio-Bolhman of Fat Chance Bellydance. I stumbled my way through her workshop, trying to wrap my head around the cueing system, but noticing all of the common ground of vocabulary that shaped tribal fusion: elements of bellydance, flamenco and classical Indian dances. The raised strong arms, floreos, rhythmic isolations and fluid hips swaying to music from traditional to electronic. I was in love and fell hard. I went back for more in 2009, this time for the extended intermediate track of SF Mecca Immersion.

Its coming up on ten years since I first set foot in San Fransisco to explore dance roots. Some of that journey has been shared through this blog.  I am fortunate to have teachers in Toronto who have learned and continue to learn from the pioneers of ATS/ITS and tribal fusion. I have now been in Serpentina North Ensemble for six years and have none other than the green haired forever goth, Orkideh to thank for the opportunity to delve so much deeper into group improv as well as fusion bellydance. Workshops, intensives, and performance has been a large focus of mine over the past decade I suppose. And we all live in the legacy of our teachers and our teachers’ teachers. So whether or not you got a chance to directly learn from Jamila Salimpour, she is an iconic figure who created the foundation of what we know as tribal fusion.

To other dancers, I love to hear about peoples influences! Please feel free to share in comments, your experiences learning directly or indirectly from the work of Jamila Salimour.

 

 

 

 

 

Breaking up with glitter

I’ve used my fair share of glitter. I’ve glittered and over glittered for holiday parties,  90’s late night rave adventures,  (after all, it had to last til the break of dawn at least), pride, concerts and in more recent years as an essential part of many dance performances. As a bellydancer, glitter is just part of the preparation –a sort of show girl must, if you will. After all, who doesn’t like to sparkle? Show folk of every gender joke about finding glitter days after shows often wedged into crevices they hadn’t intended. With December upon us, many people use glittered items as part of their festive decor. And kids love glitter, that added element of dazzle on any kindergarten craft project. I mean there’s scientific research on the evolutionary underpinnings to our love of sparkly  things.

Who doesn’t like glitter, you ask? Well for one, the ocean and all of the life in its watery depths. Also the birds who starve to death because their stomachs are filled with teeny plastic particles like glitter. Glitter is made up of particles so tiny that, like microbeads (ban in Canada set to take effect mid 2018),  in many cosmetic and body products, they pass through water systems into the digestive systems of plankton and up through the food chain as well as deeper into the ocean. This short National Geographic Video breaks down how this happens:

//assets.nationalgeographic.com/modules-video/latest/assets/ngsEmbeddedVideo.html?guid=0000015d-f738-d466-a57f-ffb8a4260001

As someone who strives to live by her politics, these facts are unnerving to say the least. I don’t use feathers or fur in my costuming (or daily life) and am now choosing to switch to non-synthetic glitter aka ‘bio-glitter’. While the science is not yet clear on how much of the plastics showing up in the digestive systems of marine life can be attributed to glitter, I anticipate more specific research come, as the discussion has now been open about a ban vs. pressure to change industry standards (Lush Ltd has made a statement on their changes in glitter products)

As a long time vegan, its not just about products containing animals that sits at the heart of the vegan ethic –but a dedication to uphold the value of all life. Over two decades ago I opted out of participating in the system of factory farming as well as fast fashion of the consumer machine. There is no point of ‘arriving’ in this ethic, only a continuous curiosity, learning and adjusting of habits and lifestyle that promotes dignity not destruction of living beings and our natural world.

Performers take people into another world of their choosing –often filled with fantasy, illusion and mystique. I obviously love all of these aspects of performance. And glitter adds to the otherworldly beauty of a performance –or just a night out. Still, we have to live with ourselves, we have to be able to sleep at night. Once you know the ‘underbelly’ of something as whimsical as glitter, it just can’t be business as usual.

Stay tuned for glitter that everyone can live with, coming up in the new year through House of Shimmy.

Share your thoughts and continue the conversation in the comments area!

 

 

Summers end and 108 days of dance

 

 

Well it seems I was too busy dancing, to write about dancing! So here is the post I started writing and left unfinished on in September:

Without much fanfare, yesterday was the 108th day of my 108 Days of Dance journey. I had my usual Tuesday evening rehearsal with Serpentina, working on a kathak bellydance fusion choreography we have been developing.

I told one person yesterday that it was day 108. Because practice mostly is a solitary thing and most certainly discipline is an internal experience. Knowing that each day you will practice, no matter the weather or your mood, with or without Instagram, with or without telling anyone…

I used this personal challenge to take my practice to a new level. Though I’ve been practicing a few days a week for several years now between classes and rehearsals, now its daily. The point for me of a challenge like this, as I did with yoga practice as well, is not just to complete the said amount of days, but to continue with daily dance.

Last weekend, I had a House of Shimmy show at Music in the Park, then the next day hit a dancefloor at a soul night. As the summer comes to a wrap, here are a few pics from shows around town. As usual Pedestrian Sunday was a chance to dance in the streets on a car-free day in Kensington Market.

This slideshow requires JavaScript.