​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, passed 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 that 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.
 

Middle Eastern belly dance is the world’s oldest dance. It pre-dates all other forms of dance and is the mother of them all. Yet, how many Middle Eastern dance classes are part of the dance department in America’s universities and colleges? Maybe a handful.

Belly dance is relegated to recreation centers and physical education departments. It is considered a group exercise, equivalent to Zumba, aerobics, step and the like. As such, belly dance instructors are to be certified as Group X and more instructors. They must deal with the jock mentality where it is viewed as an exercise and not an artistic pursuit.

Yes, belly dance has cardio, aerobic, isometric benefits and more. It can be considered a form of exercise. So can ballet, modern, tap, Flamenco, ballroom and the like. These dance forms, however are found in dance departments and not in the gym.

Are dance instructors told to make their dance classes aerobically intense, require tennis shoes and create an atmosphere of constant motion? Are they supposed to lose all artistic pursuit in the name of jump and sweat?

Belly dance is an art form. It is a graceful art form with classic arms, slow isolations, footwork, floor work and props. Yes, it has shimmies and such but an important part of our dance is slow and sensuous. Jocks don’t get it. They also like classes that are jam- packed. I was told that one has to have forty or more students to be considered a successful Group X instructor!

My point? I want to see dance accepted in the dance departments of community colleges, colleges, universities and other educational venues. I want to see it out of recreation centers and gyms. I want to see dance studios accept belly dance as part of their curriculum as well.

Just because a belly dancer does not hold a BA, MA or PhD in dance does not make her inept. Belly dance is a folk dance that has been handed down generationally. Dancers have taught dancers for centuries. The academic world must accept this. A belly dancer need not be a ballerina or modern dancer to be a talented performer and instructor.

What will it take for belly dance and belly dance instructors to be accepted as a legitimate dance form taught in legitimate venues?

I have been trying to do my part by instructing only under the heading of Dance and by writing about our dance.

What part can you play?

Teachers should never stop learning. Getting out of your comfort zone, experiencing new methodologies, sharing dance with like-minded people and going out of state are life-enhancing experiences.

I had the honor of attending the amazing Bellydance Masters conference sponsored by Stellar Advantage from July 30 – August 2 in Orlando, Florida. This event was held at the Doubletree by Hilton at Sea World, a tropical oasis with lagoons, palm trees and an exotic atmosphere.

The Bellydance Masters conference is oriented toward the intermediate dancer and those who take dance very seriously. From the 8 a.m. warm-up with Feldenkrais method  facilitator, Debka (Debbie Ashton) to three intense two-hour dance workshops a day,  I experienced over twenty hours of dance and dance-related instruction from Friday through Sunday. 

Instructors this year were incredible: Silvia Salamanca, Arish Lam, Karen Barbee, Mia Sha’uri, Kata Maya, Shoshannah Estell, Arielle Tyson, Lacey Sanchez and the phenomenal guest artist Donna Mejia. The focus was on Fusion, though all styles of dance were incorporated. Honing technique, proper body alignment and drills were emphasized with choreography thrown in. I came home with homework to up my dance game.

Each evening featured a spectacular show.

The shows were a spectacle of dance, glamour, variety, high energy and diverse talent. Many dance styles, cultures, ages and artistry were represented. There was classical Middle Eastern-style belly dance as well as fusion and performance art. The stage set was an Arabic oasis theme backdrop with “firepots” flanking each side. 

Thursday evening was the opening show and the Stellar Pro Challenge. The beautiful Shadiyah of Maryland emceed all of the shows with elegance and grace.  Interspersed were a variety of unique spotlight dance performances: Raluca of Florida, the Rakettes of Florida, Linda Allegro of Florida, Lisa of Florida, Fabiola and Amarylis of Puerto Rico, and Karla of Florida. As far as the Pro Challenge, how one could judge such a talented array of dancers was beyond me. The first category was Rising Stars. This category is for dancers of less than three years experience who are emerging professional artists. There was Jesse with her flowing silk fan veils, Inger with an incredible and flirty cabaret and drum solo, Carina with her fusion routine and remarkable back bend, Melanie with her spirited veil work, the dramatic Amanda with floorwork, Samia with her snake-like grace and splits, and Yvonna with her high energy fan work and floorwork.  Inger Oyoko of Kenya won with fellow dance troupe member, Samia as runner-up.

Next was the Pro Fusion category. Spotlight dancers included Shadiyah of Maryland, Madri’nah of Florida, and Shoshannah Estell of Georgia.  The contestants were impressive. Heather performed a very athletic piece with power and control. Melanie Tawar danced like a hip-hop influenced snake with sha’abi attitude. Aaliyah Jenny, dancing to Katy Perry added a dramatic flair with her unique style and audience interaction. There was the mesmerizing Stephanie with her 1920’s flapper-burlesque style costume and music. Aaliyah Jenny won the contest with Melanie as runner-up.

Last but not least was the Pro Solo event. With only two competitors, it was interesting because both dancers were talented, energetic and beautiful in their cabaret routines. Ashley performed a classical cabaret routine with zills, veil and superb floorwork. Anais performed a spirited classical zill routine, engaging the audience with her every move. Anais won over the judges as well.

Friday night’s show, the Bellies for Babies Spectacular Showcase offered a variety of dance styles by professionals. Opening the show was Florida troupe, Amajo Dance Company who did it all: zills, canes, candle balancing veils and even engaged the audience. Amira Ariz of New York City was next with her classic cabaret veil routine with shimmies galore. Olga from Tennessee danced a spirited Gypsy routine in flowing floral skirt and fringed shawl.  From Florida, the Anile dance Collective performed fusion. Karla, the 2014 Rising Star Soloist danced in black lace with a Spanish fusion influence. Delores Christina of Florida amazed with her controlled layering and powerful shimmies dancing a drum solo. Yana came out with a flamenco-influenced dance. Rising Star Soloist Samia danced a fan veil routine with floorwork. Debka and Olga performed a spirited Gypsy routine with tambourines. The River City Rakasas danced a fun cane dance. The Sahara Silk Fusion Dancers of Florida brought down the house with their western-inspired cowboy tribal routine. With calico prairie dresses, white ruffled bloomers, suspenders and boots, they added ho-down to fusion. Incredible! Next was the inspiring Mia Sha’uri performing a hip-hop fusion piece … no props. Arish Lam’s Little Temple Dancers  and Miracula were next. If a belly dance troupe should be on Broadway, this troupe from Puerto Rico is it. Mesmerizing is all that I can say. With a troupe of talented young dancers, children and teens, adults and Arish himself, the theatrical drama on stage was an honor to witness. The creative costuming, staging and the dancing were beyond what one could ever expect to see. I was rendered speechless. Terry had to follow this act with a lovely fusion dance. The lovely Shoshannah Estell from Georgia followed with her amazing flexibility and non-stop shimmies.  Lacey Sanchez, the dynamo Florida fusion dancer was next with her snakey movements. She is truly tribal fusion at its best. Silvia Salamanca ended the show. What an ending. She came out with one sword, added a second sword, dropped to the floor, did Berber walks, body rolls in a sparkling harem outfit fusion style.  If that wasn’t enough, she added a third sword, between her toes no less. She spun like a Whirling Dervish. Always in control yet maintaining her trademark sense of humor. Her performance was jaw-dropping. No kidding!

Saturday night was the Bellies for Babies Gala Showcase. After Friday night, I truly did not know what to expect.

Always expect the unexpected. Mia Sha’uri opened the show with a fierce hip-hop fusion piece. After, she was “roasted” because she was getting married on Saturday, August 8. A sparkle cap was placed on her head and shimming Isis wings adorning her shoulders as she sat front and center before the stage. What transpired was hysterical fun. Dancers came out emulating her. One danced with every prop she could handle playing on Mia’s title of “queen of props.” Another pranced around with Mia’s signature tambourine.  Yet another imitated Mia’s flirting with her long hair. Arish Lam stole the show dressed as a female belly dancer with long black wig and when his bra padding fell out, everyone was about to roll in the aisles.  Last, Karen Barbee came out dancing to the song, “There’s No Business Like Show Business.” Mia will never forget this moment, I’m sure.

Pro Solo winner Anais came out dancing with her zills and veil and followed-up with a spirited drum solo.  Aaliyah Jenny, Pro Fusion winner performed a touching, heart-felt fusion piece dedicated to the belly dance community and to her family who helped her beat cancer.  Kata Maya, winner of the 2014 Pro Solo and Pro Fusion categories danced the fusion routine she taught in her workshop to “Shatter Me.”  Guest Artist Donna Mejia was a vision in blue as she performed a haunting world fusion piece, showcasing her amazing talent and love for dance. Donna from Colorado was next with a unique international fusion dance.  Next came the dynamic duo of Silvia Salamanca and Mia Sha’uri dancing Bollywood as only they can. Najmah Noor of Florida came out in a sleek black dress performing a dark, haunting romantic piece. Arielle of Florida added drama to the already dramatic. She began dancing inside of a life-size gilded birdcage. Adorned in showgirl sequins and feather plumage, she was the trapped bird emerging from the cage, fluttering her feather fan wings with burlesque fusion at its most theatrical.  Karen Barbee showcased her mastery of the zills as she pranced and danced in a blue baladi dress with energy galore. Yana came on stage adorned in feathers as more of an angry jungle bird with shimmies galore and attitude. Donna Mejia came out with fusion attitude, pops and locks, backbends and shimmies. Shoshannah Estell of Georgia danced in true fusion form with mechanical precision, gliding shimmies across the floor, splits, hip-hop and even some twerking thrown in.  Lacey Sanchez epitomized Tribal Fusion with her snakey, very sinuous style.  Silvia Salamanca was the gypsy fusion artist in purple velvet: flowing skirtwork, frenetic, dramatic, emotional.  In Campo style, she interpreted a song about a husband who kicked her out and her emotional reaction to this deed. Arish Lam and his incredible troupes, the Little Temple Dancers and Miracula closed out the show with another Broadway-worthy production.  This time, his troupe traveled to the bottom of the sea with a tale of good overcoming evil with King Neptune saving the day. Quite a lavish spectacle.

A highlight of the long weekend was special guest, Donna Mejia. Donna is an assistant professor at Colorado University, Boulder Theater and Dance. She is a renowned scholar, choreographer, director and performer “specializing in contemporary dance, traditions of Africa and Arab Diaspora and emerging fusion traditions in Transnational Electronica – a genre that provides a rich arena for the study of cultural imperialism, gender representation and electronic/digital globalization. Her dance knowledge, study, certifications, honors and experience are vast. Her knowledge was impressive, her lectures and workshops impressive. I will cover them in a future article.

Throughout the event, there was a silent auction of an array of dance and related items from conference packages, Disney park passes, Persian prints, gift certificates and donations from vendors. All proceeds of the auction benefited the non-profit charity, Formula One Life. Their mission is to collect and distribute baby formula to orphans in Ethiopia, Guatemala and Haiti.

An array of vendors sold quality items. Represented were BJ’s Bazaar, Dahlal International, Pharaoh’s Treasure, It Works! Kasab Jewelry, The Eyes Have it, Diva Dreads, Stellar Advantage, The Henna Studio and more.

The resort hotel was a tropical paradise with lush foliage, lagoons, multiple swimming pools and activities, elegant suites, a variety of food options and shops.  It was also a short freeway ride from Orlando International Airport.

There was never a dull moment at this conference. It was all dance, all the time. The atmosphere, instructors and attendees were friendly, helpful, professional and non-competitive. So much was covered that it will take awhile for things to sink in and settle.

Save the date, August 4-August 7, 2016 and plan on attending the next Bellydance  Masters featuring Karin Jensen & Mandala Dance Works of California. Be ready to master the dance!

Visit www.BellydanceMasters.com

For the eight consecutive year, I have been selected to instruct Middle Eastern Dance: Beginning Fundamentals at the esteemed Chautauqua Institution in New York State. Being selected from the thousands of applications that are sent, is like being accepted to Harvard.

For nine weeks during the summer, this sleepy Victorian village awakens like the mythical Brigadoon to fuel the mind, body and spirit. The famous from politics and academia lecture, renowned ministers preach and entertainers perform. The Institution has its own symphony and youth orchestras, ballet, opera and theater companies. Located on scenic Chautauqua Lake, numerous recreational activities abound for adults and children from sailing, kayaking, canoeing, swimming and more. There is even a steamboat, the Chautauqua Belle that picks up passengers from the Institution for a scenic lake tour. The Institution hearkens back to America's past with a patriotic, old-fashioned, wholesome, friendly and safe environment.

Founded as a summer Methodist retreat for ministers and Sunday school teachers, the Institution maintains its religious roots by honoring the Abrahamic faiths: Christian, Jewish and Muslim. There are quaint inns, condominiums and houses for rent and the elegant and historic Athenaeum Hotel.

I am honored and privileged to be a Special Studies instructor. I also have fond memories of dancing before the prestigious Dance Circle, being featured in the local newspaper, on WJTN Radio and being part of the Institution's advertising campaign. Instructing dance to students from around the world, from ages to teen to eighties, beginners to advanced has been a joy. My hope is that these students continue their study of this ancient art form when they return home.

I am off again to CHQ, as the Institution is affectionately known, for another week of instructing dance.