​College professors have been known to take a six-month sabbatical.  It’s a way for them to regroup, explore, research and write. What about dancers?
 
Life, especially as one gets older, has a way of interfering with art. I am at that stage.
 
For the past six months, I’ve had to step away from dance due to family circumstances. Having a husband who has chronic health issues, a disabled dog, eye surgery and an elderly mother, my life has been hijacked.
 
The biggest interruption was having to place my mom into skilled nursing after a round of hospitals and physical rehab.  Dealing with hospitals, rehab, skilled nursing, attorneys,  Medicaid, city hall, house clean-out, real estate agents and family  was daunting and time-consuming.
 
Finally, as winter breaks into spring, I’m beginning to sprout back to life.
 
Issues remain, but are not as intense. I’m literally seeing things more clearly.  There is light at the end of the tunnel.
 
In April, I’m back to instructing dance locally and am back to Chautauqua to instruct in August.  I have a month to whip myself back into dancer mode.
 
There’s nothing wrong with new beginnings.

Age is preferred when it comes to fine wine and cheese. However, when it comes to belly dancers … Not.
 
American society is enchanted with youth and beauty, particularly when it pertains to women. Fashion models lose bookings and actresses lose leading roles once they hit thirty. My husband’s friends who are well over sixty, proudly state that they would never date a woman over thirty-five. One had the audacity to tell me that after that age, women fall apart and are old hags. Alas, all a man has to show is a wallet full of cash and his looks are irrelevant. Just look at rock stars, movie idols and wealthy men. They keep trading in their wives for younger and younger models.
 
Ageism hit me in the face on a classic belly dancer Facebook loop. Younger dancers began to troll and told me that my opinions didn’t count because I was old and irrelevant. This opened a firestorm of conversation between generations. When was one too old to belly dance?
 
In the United States, it appears that one has to be under the age of thirty-five to perform in restaurants, clubs and hookah bars. Those venues prefer young, thin, buxom women. Dance experience is considered secondary. Private parties and singing telegrams offer a little bit of leeway, but not much. It’s all about youth, beauty and glamour. Thus, older dancers are relegated to non-paying haflas and festivals. Instructors may be older, as they are viewed as having experience and knowledge to share with the young. Yes, the older dancers teach the next generation. I do find that "six-week wonders" are taking over instructing at local dance and fitness centers, with youth preferred over experience.
 
When in Egypt, the top dancers were over forty and some even older are revered and respected. In Europe, older women are respected. In the United States, older women are ridiculed and put out to pasture. It doesn’t matter if your figure is better than most twenty-somethings and that you look good. A youthful beauty will win over experience any day.
 
What is an older dancer to do? Sell your costumes and hang up your cane? Train your daughters to carry on for you? Instruct and dance for free at haflas and festivals?
​
Other suggestions?
 
 
 
 

(The photograph is from the first pageant, Christmas Eve, 1996)
 
The only thing certain in life is change …

Last December, my blog post told the story of my “llama mama” duty at the annual live animal Christmas pageant at the First Baptist Church of Greater Cleveland.
​
Here is the link:
http://www.nailahdance.com/blog/archives/12-2015

This year, for the first time, I will not be leading the llama during the majestic procession of the Three Kings during the pageant. I changed churches and opened a new chapter in my life.

This Christmas Eve will be bittersweet, as none of the founders of the pageant will be present to participate. Somehow, as in a death, life does go on. I will miss the fun, the Christmas spirit, the people and most of all, the llama.

I have many fond memories. During an early pageant, the donkey was stubborn and would not join Mary and Joseph up the ramp to the manger scene set up in front of the Sanctuary. The senior minister, acting as pageant narrator, left the pulpit to literally push the donkey’s behind up the ramp to laughter. He had been raised on a farm and understood animals. There was a sheep who kept ba’aing during the soprano’s solo. And, I can’t forget the poor shepherd who had a lamb douse him with urine and the poor man was wet and reeking after the event. There were children who dangerously climbed under a massive camel and had to be urged out lest they be trampled. So many stories …

One year I had a young llama I had been warned to be in the habit of sitting and not budging at inopportune moments. Yes, he did it midway down the aisle. As directed, I used the front of my foot to pry up his rear end to get him up and moving again. Contrary to what some audience member’s thought, I did not nor would I ever kick him. Once, I carried a baby llama in my arms down the aisle, a 25-pound armful of fluff. I also had a two-year old llama race me up the aisle and I had to hold on and rein him in. One was belligerent and spat at an overhead light while we were awaiting our cue. Adolescent male llamas can be quite a handful. I had led several generations of a llama family through the years. Overall, llama’s are gentle, sweet, affectionate and behave like overgrown dogs. Audience members and even some church members assumed that I owned and raised the llamas, since I managed them so well. I guess that my love and understanding of animals came through.

I did have some weird incidents. People can be stupid. Years ago, we used to stand in the back of the church after the pageant to allow children to pet the animals. I was once standing with two-year old male llama when a young man approached holding his toddler. Instead of petting the llama, as I had expected, the man smacked it across the face. I was livid and asked him what he would do if I smacked him? It was unbelievable. Pageant participants also did not understand llamas and I had to keep urging children to back off and not sit or stand behind the llama.  They wouldn’t listen when I told them that llamas are used to guard sheep because coyotes and wolves wouldn’t go near. Why? Because, a llama can kick so hard as to kill a predator in a single kick.  Also, I had to make sure there was room to move. Llamas do not like to stand still and are restless. Walking in circles is the only way they could be kept occupied during the pageant. I hope that the new llama tender reads up on them before taking the position or there will be serious problems. Animals are not predictable.
​
Alas, my Christmas Eve will be different. No getting glamorous for the pageant and rushing to the church. No llama duty and pageantry. No scurrying after the service to grab dinner before the 11p.m. contemplative service. This year will be different. Quiet. Very different.

The legacy I helped create with founding minister Rev. Dr. Jim Cowin, and the late Vi Gore will live on. It’s gratifying to know that the event has been a resounding success with children and adults alike. May the pageantry continue.

God bless everyone!
Have a very Merry Christmas!
 
 
 

​A new term and cause has entered the American belly dance community. Controversy is nothing new. However, this time it involves those within and not outside of the belly dance community. It is “cultural misappropriation.”
 
Political correctness is being promoted to the populace and this new form is being discussed in the dance community. Now, I’m observing that the classic American Cabaret style, popularized in the 1960’s and 1970’s is now under attack.
 
It’s not authentic. I’ve read that this style is insulting, inappropriate and disrespectful to those of Arabic heritage. All of a sudden, non-Arabic women performing less than a 100% authentic Middle Eastern folk dance are not politically correct. The criticism is often aired by American dancers who are not of Arabic descent, representing a culture that is not even theirs.
 
Dancers like me, who have performed American Cabaret for over thirty years should not be dancing. We are shaming another culture. Excuse me? This is “American” Cabaret, a style created and performed in the United States, a melting pot of the world. Are you telling me that if it didn’t originate in the country of my birth or from my ethnicity that it is wrong?
 
So, only Arabic, Turkish, Greek and the like the only people allowed to instruct and perform Middle Easter dance? If so, I suppose that only those from France should dance ballet, only those from Argentina can tango, those from Spain dance flamenco, native Hawaiians hula, and Indians perform Bollywood.
 
There is a movement promoting “cultural misappropriation” chastising white people for wearing dreadlocks and braids, non-American Indians wearing fringe, non-Japanese wearing kimonos and the like.  We are approaching Halloween that must drive zealots crazy with all of the “culturally inappropriate” costumes.
 
Let’s take this concept a step further. It would only be right that only those of Chinese heritage eat Chinese food, only the Japanese dine on sushi, only Italians enjoying pizza and pasta, Arabs having pita and hummus and the like.
 
What about music? Members of symphony orchestras can only play music that is part of their heritage. Forget it if you are not Austrian, German or Russian! Opera? Unless you are Italian forget it!
 
This is getting out of hand! Lighten up, people! My American-style American Cabaret dance is not threatening or degrading you. It is just a form of entertainment that has been performed in this country for decades. The blending of cultures makes this country special and free.
 
Why not ban everything that may hurt a person’s feelings? Fashion, style and entertainment in America are an amalgam of many cultures. What do you want, a homogenized society devoid of individualism? Are you aiming for a uniform society where everyone and everyone must reside in their own little ethnic circle lest they upset someone outside of it? Heaven forbid should a person’s feelings be hurt! Do you want to live in a bubble-wrap society?
 
How far is “political correctness” and “cultural misappropriation” going to go? How far is too far?
 
 
 

​Breasts have been glorified and vilified throughout history. They nurse babies, enhance sex and can cause angst or pride. They have been bound and enhanced, hidden and flaunted. They have been scarred and tattooed. They are the sign of womanhood.
 
There has been a great deal of lively discussion lately in belly dance circles about how the breasts have become the focus of the dance. Bra tops have become skimpier and thanks to augmentation, breasts have ballooned larger. More dancers are seeking out plastic surgery to further their career and generate more income.
 
Yes, breasts have always played a role in the dance. Dancers have overly padded their bras and added loads of fringe to highlight them, especially for shimmy emphasis. However, there seems to be a blatant sexualization of breasts. Bigger has been deemed better.
 
Famous dancers like Dina and Didem have undergone surgery to make their assets more pronounced to further their careers in male-dominated cultures. Younger dancers consider augmentation just another costume accessory. Is it society? In the United States, the most requested present for high school graduation by young women are breast implants. Jessica Simpson has credited her career to such enhancement. The Kardashians promote their augmented bodies. Even newscasters flaunt tight, low-cut tops to accentuate cleavage.
 
Men have always appreciated big breasts. Ask any man about “tits and ass” (T&A) and “Tall and Top Heavy (T&T).” When asked, they don’t care if they are natural or fake.
 
Back to dance. A trim and fit figure has always seemed to be the dance ideal, especially the classic hourglass shape.  However, the emphasis was always on the dance. The dance was the cake, the costume, hair and make-up the frosting. Boobs were the decoration. These days, youth, beauty and a big rack seem to be more important. If it includes dance ability, so be it.
 
Funny, in other more acceptable forms of dance, big breasts are not the ideal. Ballet dancers and modern dancers are actually less endowed. The topless dancers in the Moulin Rouge, Folies Bergere and Las Vegas are about a 34B. Firm and tight look better in topless dance routines.
 
Belly dance, however, has embraced the boob. American dancers cite Egypt as the cause of the trend. After all, the most famous dancers in Egypt are well-endowed. They also started the skimpy bra and costume trend, fake eyebrows and an overabundance of makeup. It is what audiences want and if they want to work, they oblige.
 
I personally don’t know if this is good or bad. In Middle Eastern and Muslim culture, belly dancers are viewed as the equivalent of high-class whores. You may watch them perform and admire them but just don’t marry one or have one as a sister! Is this the image we want to project?
 
Young women are embracing and flaunting big boobs, fake or real as a means of career and personal life enhancement, not just in dance. After all, an ample bustline opens doors.
 
I have an issue with this. As a young women, I was on the edge of the women’s liberation movement when women fought hard to stop being objectified and to be accepted as equals to men on the job and in human rights. I see society as going backward. Young women seem to be all-so-willing to be viewed as sex objects instead of intelligent beings. Their role models exemplify this sexualized culture. Just look to popular music, film and reality television. Is it no wonder that they are bringing blatant sexuality to belly dance? Men are the producers, the club owners. Is it any wonder that sex sells?
 
To me, when a dancer performs, her whole being, body and persona are brought to the dance. When her cups runneth over, all eyes are drawn to the breasts. I see the dance being secondary to her cleavage. As a dancer, do you really want to be known for huge breasts or as a talented dancer? Have you spent years of study and money spent (at least I hope you are educated in the dance) and years of experience just to be remembered for your breasts? Maybe you do (shrug).
 
Belly dance is sensual. It is a tease, a flirtation. I liken it to a high-neck, long sleeve clingy knit evening gown with a thigh-high slit. It hints, but leaves a great deal to the imagination. It has an aura of mystery. It leaves you wanting more. Sexual, on the other hand is like a skimpy braless halter-top, cheeky hot pants and high-heel spiked shoes. It’s in your face. It leaves nothing to the imagination. I prefer sensual.
 
Sensual is also family-friendly. When I see overflowing bra tops at fairs and festivals during the day with young children present, I cringe. Is this how I want to see the dance I perform and stand up for represented? Quite frankly, I’m embarrassed. Just as I look down upon dancers who shimmy their boobs in a man’s face or bump and grind in front of him. What’s next, a belly dance, lap dance?
 
I have encountered this new ideal. I have turned down dance gigs when asked my breast size. I have been told that it’s Uncle Harry’s birthday and he’d love a busty dancer shake them in his face, among other requests.  No!
 
Yes, I am wondering what the future holds for this ancient art form that played homage to Mother Earth, to fertility, reproduction and childbirth. It was a dance by and for women, past down from generation to generation. It is a dance celebrating the feminine and the power of women. It is the mother of all other dance forms.
 
Yet, it is losing its luster. The decline began with Vaudeville. While some younger dancers embrace the past and the historical folk aspect of the art form, others are changing it into something totally unrecognizable with the “anything goes” mentality. Others are turning it into a tawdry peep show.
 
Call me old-fashioned, but I liked the Classic 1970’s style of belly dance. Was it authentic? Not really. It was an American Cabaret style. However, it was a dance with a dictionary of moves, a skill set and sensuality. Yes, the costumes were a bit naughty but sex wasn’t the focus. “Tit-illation” wasn’t the focus.
 
Dignity, self-respect and reputation are important to me. They should be to you. It’s not all about you and the present. You are a dance role model for future generation. Do you want to be known for your 46 D-D-D’s or for your dance ability?
 
Sorry, I prefer than my IQ be larger than my bra size!
 
Oh, I’m not a prude. My dance nickname was “Seductress.” ;-)
 
 

The years may pass but Middle Eastern belly dance is ageless and timeless. I would like to think that I am the same. After all, my heroines are indeed the ageless and timeless Cher and Tina Turner!

I would also like to think that my students have this quality as well. At least, I would like to pass this attitude on to them. There is no better place to witness this than at the esteemed Chautauqua Institution in New York State. I have been honored to be a dance instructor in the Special Studies department for nine years. I just finished off a joyous week of dance!

Through the years, the diversity of students is what makes the venue special. From teenagers to senior citizens, the dance has been able to be shared. Unlike ballet and other dance forms that require youth and agility, belly dance uses natural movement that is low impact. Yet, it offers the cardio and isometric benefits of group exercise classes. Instead of mindless stepping and jumping, students learn an ancient art form. It is also fun. What other form of exercise allows you to dress up in coined hip scarves, whirl chiffon veils and play finger cymbals? 

Teenage girls love the dance. I have had ballet students, flag drill team members and just the curious participate. They bring the energy and optimism of youth. The "older" ladies, especially the senior citizens come to class to be challenged and are. They often arrive cynical of their abilities but one they start moving,are astonished at their abilities.

I specialize and love beginners because I love to see them blossom as the week progresses. I have had intermediate dancers and dancers of other styles actually teach me a thing or two. Dancers are, after all, perpetual students. 

I had a class of young women who invited their families for a spare-of-the-moment recital. I had a senior student go back home to put on a costumed performance for her senior citizen's center. 

My goal in instructing at Chautauqua is to get students addicted to the dance so that they go back home seeking instructors to continue studying the dance.  

Another season of dance, long anticipated, is over at CHQ. It's hard to believe how time can go by so quickly. Cheers to another successful year and may we meet again next year ... Same place ... same time ...

As a writer locally and nationally on the subject of belly dance for the web magazine www.Examiner.com , I use links to web sites on a regular basis. With the advent of technology, links are a given. However, I have noticed that many dancers and dance troupes do not have a web site. Even some famous names use only Facebook for promotion. In this competitive world, a web site is very important. A web site is important because it is a one-stop shop for your clients to be sold on you and your talent.
 
 A web site is a major promotional tool. You can only put so much information on a business card (I hope that you have a business card!). A business card is an introduction. A website is your sales tool. If you already have a web site, you should have a QR code on your card that links directly to your site.
 
Web sites do not have to be expensive. Actually, they can be free by using simple site builders like Weebly (how I created this one) or Wix. You can use GoDaddy and there are even more sources. If you don’t have the time or inclination, hire someone. Some college students in the visual arts perform work on the side or pay a professional. I designed this one myself.
 
Okay, no web site is better than a crummy web site. Like your costume and business card, your web site is a reflection on you and the image that you wish to project. You want it done well with a polished and professional look.
 
Have a catchy HOME page, the first page a client lands on. Treat it like your 30-second elevator speech. Explain who you are and what you do with a lovely, realistic photograph. You may even embed a video for a quick peek at your dance ability.
 
Subsequent pages should go more in depth of your credentials and abilities: performance information, instructing venues, your biography and photographs. As for photographs, differentiate between real life and performance shots versus Photoshopped studio shots. Clients are hiring the real you, not a fantasy version. When your photographs show you looking twenty and you are actually forty with eye wrinkles, it’s false advertising. These pages should be in good taste. Live performance shots and videos really sell you. Show yourself in different styles of costuming. I have had clients select from my site. Interact with your clients and fans by having an up-to-date blog.
 
Provide a contact page. Do not list your home address. Have clients use a contact form or telephone number to contact you for booking information and fees. Don’t list your fees on your website. You don’t want people to price shop you out of a job. I have been hired for jobs when talking to a client because they liked my telephone manner. I’ve had clients tell me that they had called other dancers who were rude with a “take it or leave it” attitude. You want the prospective client to talk to you and like you. People hire the person they are comfortable with.
 
Now, do your homework and look up the web sites of local, national and even famous dancers. Take note on what you like and dislike about their sites. Use these as the basis for your site. Visit web site building sites and tools and see which ones suit you. Get busy!
 
Okay, this is just a brief post on the importance of web sites. Just know that you need one!!!
 
 

(Nailah with a young llama)

It’s that time of year again! Time for me to lead the llama down the aisle at The First Baptist Church of Greater Cleveland’s (FBC) big Christmas pageant. This has been my task for over fifteen years and has become a tradition.
 
Though I do not attend the church regularly, the pageant holds a special place in my heart. I am the only founder of this event that still participates. It is bittersweet this year because one integral member who also founded the pageant and attended it regularly passed away.  This year’s event should be dedicated to the irreplaceable Vi Gore.
 
Most people do not remember or know how the annual pageant began.
 
The idea of a live animal Christmas pageant, a telling of the Nativity in words and music with appropriate animals, was the brainchild of former Executive Minister, Reverend Doctor James Cowin. Dr. Cowin brought the idea to FBC, as he had created a similar event at a previous church.
 
I was chair of FBC’s Marketing Committee and embraced the unique idea. Basically, the other active member on the committee was secretary Vi Gore. Our task was to market the event and sell it to the membership and the public.
 
Dr. Cowin came up with the program. I developed a theme and marketing plan. Vi implemented it. Together, we organized the event. I secured the first group of animals from Zoo-4-U in Painesville. The church now has animals from the amazing and loving rescue group at Stump Hill Farm.
 
The theme for the first pageant was “Unwrap the Magic of Christmas.” A graphic designer created the design for handout postcards and newspaper advertisements and posters. Volunteers joined in to create the costumes, cast and characters. Church mover and shaker, Fran Leanza, directed the first event. Some of the costumes and the kings’ canopies are still used.
 
There was some concern and opposition. The Senior Minister quipped that animals had no place in the church sanctuary. I begged to differ.  After all, Christ was born in a stable among the animals and placed in a manger, an animal feeding trough. What was more appropriate and authentic?
 
A donkey accompanies Mary and Joseph.  The shepherds herd real sheep and goats. There have been cows and birds as well, even a very vocal duck.  At the time, a camel wasn’t available to lead the procession of the Three Kings (a camel is now the star attraction). The farm did offer a llama. No one wanted to deal with the llama. A large two-year old male llama could be rather intimidating. Crazy me volunteered. A tradition was born. I became the lead kings’ attendant and “llama mama” servant girl.
 
The role was rather appropriate. I am a Middle Eastern belly dance instructor and performer. I did have costuming.  All of the kings’ attendants were given old gold choir robes to wear in the event. Overskirts and jewelry were added to add some glitz. The robes were sleeveless and cold. In later years, I sewed a red velvet jacket and velvet overskirt for warmth and also a red velvet veiled hat. I added my dance hip scarf and coin jewelry. Dance makeup completed the look. Sandals were worn to look a bit authentic.
 
My love of animals helped and I learned as much as I could about llamas before taking on the task. This knowledge has proven to be very valuable. Llamas are rather gentle creatures, much like large dogs. They like to be caressed on their neck, held close, hummed at and even kissed. They can be so cute. Yes, I have actually kissed llamas!
 
Llamas can, however, be a bit energetic, feisty and temperamental. One has to have the upper hand. Two-year old adolescent males can be a bit wild and a challenge. They are capable of deadly kicking, so one must be aware of what and who is behind at all times. I keep a distance from people in case one should kick. After all, kicking is how these creatures kill wolves and other predators while doing their jobs as guardians of sheep herds. They can be dangerous, so one has to be careful. The public doesn’t seem to understand this important fact. Llamas are also pack animals that cannot be ridden. They are sure footed but slate tile can be a challenge (thus, the necessity for rubber mats). They need to be walked, as they move constantly. Each animal has a distinct personality.
 
I have had some fun and not-so-fun experiences. A male llama was ticked at a bright light fixture and actually spit at it in angst. I had a young llama sit and not get up while walking down the aisle. I nudged him up with my foot, as directed earlier by its keeper. He completed the walk. Once, we had two llamas and mine raced the other up the aisle in a spirited and competitive race. One year, I carried a baby llama down the aisle and held her during the program. She was twenty-five pounds of cute fluff. I’ve had mothers and, in later years, their babies. I never know the age of the llama until I show up on Christmas Eve. 
 
I am frequently asked where my farm is located. People think that I own llamas. I would if I had the property. Llamas hold a special part in my heart. I am honored to lead the llama and play a small role in this festive event.
 
The live animal pageant was and continues to be a resounding success. Parents, children, grandparents and grandchildren make attending a holiday tradition. People from other churches and other faiths attend. We have even had Jewish friends come. Little children still gasp in awe. Flashes from cameras and video still pop off. The Christmas story told as a play in words and music with animals and candlelight continues.
 
Come join us! All are welcome!
 
7 p.m.
December 24, 2015 (Christmas Eve)
 
The First Baptist Church of Greater Cleveland
3630 Fairmount Blvd.
Shaker Heights, Ohio 44118

www.firstbaptistcleveland.org
 
 
 
 
 

(Nailah with her Wings of Isis)
 
Guilt by association abounds in current American society. Middle Eastern belly dance is the latest victim.
 
The American belly dance community is under attack due to ignorance, fear and hate. Because our art form originates on the continent of Africa, in particular the Middle East, it is being targeted. Belly dance instructors and performers are being taunted, ridiculed and threatened. Some are being labeled terrorists by embracing this ancient dance with its ethnic music and culture. The atmosphere is worse than after 9/11 when everything Arabic was suspect. With the media and vocal politicians, anything related to the Middle East and Muslim culture is suspect.
 
First of all, Daesh (an insult), as I prefer to call the terrorists (as the acronym ISIS lends credence to their belief that they represent the Muslim state, which they don’t and insults Isis, the winged Egyptian goddess of the earth, motherhood, fertility, magic and love) represses women, dance, music and art. To align our dance to a group that imposes strict Sharia law is ludicrous.  By dancing, women are denouncing Daesh’s repression of women and the freedom of expression that dance and music allows.
 
Second, to be threatened by women in beads and bangles, coins and makeup is absurd. To equate performers with terrorists is as extreme as the beliefs held by the terrorists.  Belly dancers are just entertainers.
 
Third, the United States is supposed to be the home of the free. Freedom of expression is supposedly allowed and not to be suppressed. Diversity is supposed to be embraced and unity the ideal. By suppressing art and culture, American society is no better than the laws imposed by the terrorists.
 
Belly dance is a folk dance that predates the Abrahamic faiths, including Islam. It is a matriarchal folk dance paying homage to Mother Earth and creation. It is a dance of reproduction and childbirth. The movements have been passed down from generation to generation of women. Women danced and continue to dance for one another. In the United States, we have the freedom to share our unique dance with the public as well. It is a dance of joy, life and love.
 
Before hating something, research it. It is far too easy to condemn something that you know little about.
 
Stop the hate!
 
 

The opportunities for a belly dancer to perform to live music are few and far between. During the 1960’s and 1970’s, most dancers shimmied to bands in Arabic and Greek restaurants. Only at home did one practice and dance to LP’s. These days, most dancers perform to downloaded music or CD’s. For those who like to choreograph every step, movement and facial expression, this might offer an advantage. However, if you are a dancer who thrives on improvisation, you are missing out. There is nothing like the collaboration and interaction between musicians and dancer. Yes, it is challenging and not as perfect as dancing to canned music. As with “live” anything, things can and do happen. It’s real and organic.
 
Few venues offer live Arabic or Greek music, or any form of belly dance music for that matter. Guest musicians may visit for short gigs and a few lucky dancers may be hired to accompany them. Dancing with real musicians is more the exception than the rule these days. Some dancers have discovered new music and bands to perform with. Nailah was contacted by a local Cleveland Heights band to perform with them. No, they are not Arabic but World Music. World Music encompasses the riffs, beats and essence of various cultures. It is an amalgam of sounds.
 
Nailah is honored to perform with UZIZI, a World Music/Celtic/Sacred Harp Singing band. The group features lead singer/songwriter/acoustic guitar playing Craig Matis along with five musicians and a seven-member backup choir. Jim Van Cleef is on lead guitar, Darren Frate on bass, Reed Simon on violin and Noel Howard on drums. Their original music is inspired from Bulgaria, Ireland and the Middle East with lyrics outlining the human condition. During performances, Nailah dances to some songs with Wings of Isis, veil, sword and other props. Fellow dancer, Appalachian clogger/Irish stepdancer Jo Folger also performs. Needless to say, this is a performance band.
 
“UZIZI is a great fit for my style and experience. The musicians are the best in the business, incredible talents. To perform with them is a gift,” Nailah says. “We’re also all “Baby Boomers” and the chemistry works,”
 
UZIZI was formed in 1981 after Craig moved to Cleveland after attending the University of Illinois. A visual artist and a teacher, Craig created the band’s name and the band. Through the years, band members have come and gone. An earlier incarnation produced a world tour that took them to the United Kingdom and beyond. They came ever-so-close to a major recording contract. Through the years, the band has recorded a handful of CD’s. It has also performed at many venues from music festivals, outdoor festivals, arts events, bars and clubs. Realizing that UZIZI is a unique show band, the group now focuses on private events and house parties.
 
Dancing with a live band forces a dancer to up her game. Since you cannot choreograph everything, you have to be ready to expect the unexpected. The songs may be the same but the rendition of the song may be different at each performance. The band may play faster or slower. They may add a little improvisation or may even delete a section of a song. A musician may be missing that changes the entire rendition of the song. When dancing to World Music, the rhythms are different. There are transitions from Middle Eastern to Celtic to Slavic musical notes. No two performances are alike. Plus, you may not be dancing to the same song but to different songs at different performances. A familiarity with the music and especially cues (often hard if it’s an outdoor venue) are important. You often only dance to a section of a song, so you must know when to enter and exit appropriately. Costuming and props come into play, depending on the music and what works. Since the venues are unique, you have to be able to adapt quickly to space considerations and to the ground on which you are performing (wood, carpet, pavement, pebbles, grass). Often you never see the venue until the evening of the performance. There is a great deal to consider and prepare for. For Nailah, the opportunity to dance to a live band fits her improvisational style. Though she listens to and knows her music thoroughly, she performs with only a rough outline and dances from the heart.
 
“I learned from an Iranian dancer at the Great Lakes Bellydance Convention, where I was instructing years ago, that a dancer should have the ability to walk out on stage and dance to any music provided. After all, with years of study, a dictionary of movement in one’s head and an open heart, a dancer just has to dance,” Nailah says.