Day 16 (earlier this week) was all about small isolations. Sharing dance drills footage is a little intimidating because, well, it just doesn’t look much like dance. But dance drills are a crucial element of well rounded practice and are not as free as dancing. Working with layering upper body movements over ongoing and well timed hip shimmy can make the lips purse and the brows furrow. Maybe a little angry dancer face happening in this clip…
How could you ever talk about dance without also talking about music?! The same day I filmed this little clip, I later on had the pleasure of seeing The Specials at the Danforth Music hall and though we were waaaaay in the back, we found room to dance in the aisles.
Tomorrow Serpentina North Ensemble returns to Hamilton’s monthly bellydance event, Harem. Each month features an incredible variety of local(ish) dance artist, showcasing the many genres, styles and aritstic flare under what we know as ‘bellydance.’
The photo of our troupe in this flyer captures a silly moment after our performance the Halloween show at Dragonfly this past October. Sorry if you were expecting horns and blood this Saturday, there will be none :p
As always, we look forward to dancing for you all on Saturday!
On this lucky 13th day of 108 Days of Dance, I’ve decided to share my personal practice challenge with you all: to make dance a daily practice for 108 days, with the intention of upping my dance game.
My experience of 108 days of yoga after completing my 200- hour yoga teacher training in 2015, was such a profound experience that I am giving it a whirl with dance!
Dance has been an important and regular part of my life for many years now, and often longer term practice needs a boost, whether its a new class, a new teacher, a new challenge of sorts. I’ve decided my new challenge is 108 days of dance –so yes, dance every single day! Ideally, as with the yoga challenge, it is to be at least an hour per day. But more important than the time is the consistency, and as with any physical practice there is an adjustment period.
The first week was fine, fueled by the excitement of the challenge and opting to keep it to myself in the beginning. The second week was a little less pleasant in my body as its also the week I returned to commuting by bike. From a winter of walking and transit, I began two hours of cycling per day, in addition to the usual yoga and now the daily dose of dance. Counting toward this daily practice of course are the regular classes, troupe rehearsals, performances and nights out on the dance floor. I hope to change the timing of some of my practice as well to be able to do more yoga and/or dance in the morning before work. As a not-so-morning person, this may prove the most difficult part.
Each day of dance brings a unique focus and challenge: lastnight’s practice was specific to arm and hand isolations, with a soundtrack of Bach, while today was all about tribal fusion drills including chest figure eights over hip locks and traveling hip work. Other times I freestyle to classical Arabic music, ragtime, downtempo world electronic music, broken beat, vintage reggae or classic house.
Stay tuned for more updates on my 108 Days of Dance!
Spring brings the return of PS (Pedestrian Sundays) Kensington and the Serpentina North Ensemble is delighted to be back again dancing in the streets. Its been a couple of summers since we’ve graced the pavement of this event, so come on out and check out our FOUR sets over the afternoon! Event page here.
Another great trip to Seattle for Cues and Tattoos has come and gone! This was my 5th year attending Cues and Tattoos in Seattle. And the event celebrated their 10 year anniversary. Ten years of providing a well curated lineup of instructors on improvisational fusion bellydance! Serpentina North Ensemble has performed three times at the Serpent’s Muse stage –this year an homage to Prince with our improv number to Raspberry Beret! This was the year of the intensive: Zoe Jakes, Amy Sigil and Caroleena Nerricio-Bohlman all had two day intensives before the weekend of workshops. I arrived on Thursday for the workshops starting on the Friday and as usual the weekend was a wonderful whirlwind of dance.
For the second year in a row, all of Serpentina North Ensemble attended and between us all, we have a whole lot of new material to work into our improv sets. This was my itinerary:
Rachel Brice – ‘Shake it up and break it down’
Zoe Jakes – ‘The Divine Muse’
Moria Chappell – ‘Odissi Fusion’
Ashley Lopez – ‘Oddity: Unconventional time signatures and an odd choreography’
Donna Mejia – ‘Core-ography’
Mardi Love – ‘New Choreography’
Over three days I got to study with some of the dancers I greatly admire: Mardi Love, Donna Mejia, Ashley Lopez, Rachel Brice, Moria Chappell and Zoe Jakes. Rachel is a generous and grounded teachers and I enjoyed working on a bunch of different shimmies and putting them into combos. Zoe led us through some basics of Odissi and Balinese dance. Moria taught an Odissi fusion choreography and lectured on some of the origins of Odissi dance before and after it was codified into a national dance of India. Ashley led us through a fast moving choreography with a 13 count time signature that was a lot of fun, rolling, jumping and partner interaction. Donna schooled us in anatomy, core strength, breath and creating longevity in a dance/movement practice.
The last , but certainly not least, workshop of the weekend was the three hour Mardi Love choreography to a sweet little vintage jazz song. Mardi is cream of the crop in terms of tribal fusion dance aesthetic, and continues to be humble in her influence on the art form. Since seeing her dance live in San Francisco in 2009, she remains one of my most significant dance role models. I’m pretty sure I smiled through the entire workshop, despite my end-of-weekend fatigue and missing a few of the quick time isolations in the number.
The troupe got a chance to visit the Bruce Lee exhibit at the Wing Museum. Below was the only photo op.
The Seattle weather was perfect, especially leaving the Toronto snowfall (though short-lived) behind. Parting ways after Cues and Tattoos, I made my way to San Francisco for a few days, where the temperature was higher.
Though it was a non-dance trip, I managed to squeeze in a conditioning class with the one and only Jill Parker at ODC studios after a long day of hiking the Muir Woods.
Til we meet again west coast, its always a pleasure.
House of Shimmy is coming back to the Bazaar of the Bizarre once again –this time for the circus side show edition. This Sunday, don’t miss it! There is no other artisan fair quite like it!
From the event fb page:
Listen up and come and see this marvel!
Toronto-based House of Shimmy has a flare for animating spaces and stages with their unique flavour of fusion bellydance. Bound by no genre, House of Shimmy has cooked up some circusy weirdness for this Sunday! Performing at 2pm and 5pm
Shimmies seem to be universal, a movement that spans across time and space to express music. I recently taught a bellydance workshop to a women’s group at a local community agency and once we moved into shimmy territory, a few women stepped into the circle to show off their shimmies…women from Uganda, from Somalia, from Ghana. As I left the workshop reflecting on the experience, I pondered the humble shimmy.
shimmy – to move or shake your body from side to side: to vibrate or move very quickly from side to side (Miriam-Webster Dictionary)
In belly dance we practice many a shimmy, adopted and often adapted from various regional dances throughout Africa. Whether shimmying the legs, hips, chest, shoulders or head, its a super relatable move. Even if people are all like, “I can’t dance”, once a shimmy enters the room, everyone is at least tempted to join in. Maybe even in jest they attempt a shimmy and find the naturalness of the movement. Shaking, it seems , is an innate human response to music.
It appears the ‘shimmy’ as a name for a dance move was first used in 1919 to describe a shaking type dance from the jazz era of the 1920’s. Like many dances from that era, the puritans that advocated prohibition had nothing good to say about such free and natural movements in public. In fact the shimmy was prohibited in many establishments in those days –a sentiment not unrelated to discourse of racialized bodies.
Though the term was coined in the jazz clubs of America, with roots in black culture(s) , the movement it refers to is something that pours out of the body and is seen cross culturally in social dancing, ritualistic dancing (ie: a trance inducing repetitive movement), and internal arts such as tai chi and qigong. Shaking is even being used as a therapeutic tool as science begins to get a better grasp on what disrupts and regulates our nervous systems. Yes, it turns out that shaking is as natural as breathing and we are beginning to uncover its physiological functions in humans!
David Berceli pioneered the science around this after working with people in refugee camps in various places around the world affected by war. Researching the role of shaking in animals post fight or flight and the part this plays in the discharge the hormones involved in the fear response, revealed some new terrain for helping people work through traumatic experiences. There are ancient martial arts practices such as Waidangong and Qigong’s ‘Shaking the Tree,’ both of which facilitate shaking for health and vitality. Of course, there is more to it than simply shimmying your troubles away, but there is a growing body of evidence around the therapeutic value of shaking. No wonder it feels so great!
When I am feeling stuck either physically, mentally or emotionally, I shimmy. True story. The times that a flow of practice isn’t coming –either in dance or yoga–, or I am feeling maybe like I’m gripping somewhere in my body or can’t see past my ego or anger in situation, the most common tools I use to break through stagnation, are breath and shaking/bouncing (the shaking part usually needs to be somewhere solitary though!). And they are available to you too! No need to take my word for it, just try and see what happens in your body and the mind.