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!
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???
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.
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:
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!
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.
The only year this century we can quote the sound of music as an ode to the transition into a new year. So revel in it people. Revel in that unforgettably terrible song that you will always know the words to. Having recently experienced a Sound of Music Sing-a-long, this is fresh in my mind.
This being the first entry of 2017, I suppose a year in review is in order. Growing further into teaching yoga and dance has been the theme of my movement life this year. I have had the opportunity to teach yoga at Karma Teachers Toronto, offering free and by donation yoga, as well as co-teaching closed group of trauma-sensitive yoga to LGBTQ youth through a mental health agency in collaboration with a psychotherapist/yoga teacher. This pilot program began a couple of years ago and I have been involved for over a year now. My training continues in this area, recently having completed a two day training on clinical applications of yoga in efforts to build on my 200-hour yoga teacher certification.
Some highlights of the past year:
Serpentina North Ensemble’s annual trip to Seattle for Cues & Tattoos –this time the whole troupe made it! We performed in both Portland and Seattle,
taking my first ever Odissi class! An eight week series with Supriya Nayak introduced me to some basics of this classical Indian dance. It was super fun and challenging!
This year most of my regular practice was intentionally and organically, solo. Whether in a studio or home, I have increased my hours of weekly practice to work on all of the material I have learned –and forgotten! — from all the workshops and intensives. And hey practice makes more practice, right?
The most important question I (re) asked myself this year as a dancer is: Why? Why do I dance? Why do I perform? The answer is ever-evolving, but after some new insights and realization, my why –for now –is clear. There is a certain vitality that only dance brings, after which the fatigue is just like no other tiredness. Aside from the community and catharsis of a social dance floor, there is something incredibly satisfying, so emotionally and mentally balancing about practicing, drilling, teaching and yes even at times, performing dance. I dance to embody some of the beauty I see in this world, to taste the pleasure and pain of physical discipline and a freedom of movement. To chase fleeting moments and stretch out time, to sit in the pocket of a memory or imagine a future yet unknown. Maybe tomorrow there will be more or less reasons…
Moving into 2017, I will be offering karma yoga classes each Thursday at 6pm through Jai Yoga and Ayurveda – Centre for Wellness and Education. Jai shares in my vision to make yoga accessible through free/PWYC classes and I am excited to begin classes on January 10th. 688 Richmond Street West (lower level).
As for 2017: may your shimmies be juicy, and your footwork be fancy!
Moontime, menses, Aunt Flo. Once a month (give or take) all our movements feel different as we bleed. Women with movement/dance/yoga practices often modify our practices during these times, whether we realize it or not. Depending on each woman’s particular experience –pre, during and post– there are usually movements or stretches that feel so right and others that just aren’t happening.
Have you ever tried a headstand during moontime? When I do, its like my hips beg to be closer to the earth and most they definitely want to remain right side up. Hip opening movements bring release and relief, but going upside down feels somehow just wrong to me. Sure, I can will my way through most of my usual movements when I’m practicing yoga or dance drills. Yet, if I take the time to tune into the language of the body, before allowing the mind to command it into motion –into what I think ‘should’ happen today –I will hear what it needs to feel rejuvenated, balanced and respected. In yoga we hear that we are not just our bodies, not just our minds. During our periods, we can feel particularly embodied in our experiences and that is not anything to run from –that body wisdom communicates important things through sensation, vibration, flow, tension and rhythm. Speaking of listening the primal language of the body, bellydance can be so satisfying during moontime! The weight of the hips can be set in motion to stretch out the lower back. Exploring shapes through space, connecting with the juiciness of slow intentional ryhythmic movement, can transform some of the less pleasant bodily sensations we sometimes associate with menstruation. The spirals, waves and figure eights that create the foundation of bellydance, were designed by and for the female form, after all! And as such, they might even feel and look extra luscious, when the red rivers a flowin’.
In modern times, with renewed interest in menstrual rites and the revisiting concepts and practices like the’ red tent’ (sacred spaces for women during menstruation), there is still a blaring absence of traditions that honour the sacred blood and the wonders of the female body. Rather than seeing our periods as some strange passenger to be endured through our regular routines, we can choose to reframe and reclaim our experiences of menstruation by developing our very own period practice. Might I suggest a theme song…
Our moontime practice could include modifying routines before we bleed, to prepare the body by focusing more on hips and legs, as well as during to address issues that arise throughout the body –whether physical or emotional. Maybe there’s a particular song, asana, mantra or dance move that feels particularly delicious…well, that could lead be part of the ritual. Sure, you may still need to to bust through rehearsal or class but the power of ritual is strong (The word ‘ritual’ comes from ‘rtu’ which is Sanskrit for menses, in honour of the beauty of this life nourishing blood). When the body is heard and respected rather than repressed and belittled, it might just reciprocate with greater ease of movement, whatever that is for each of us. Try some of this and this for the body and a little of that for the soul.
Do you modify your dance or yoga practice during moontime? Here is another bloggers perspective on mentruation and yoga. Feel free to post some comments, it’s never really a class topic, you know?