Modeling in Magnolia

If you've been reading the blog for awhile now, you might know that in addition to dancing, I also do some modeling as well. I was recently asked to be part of a fun collaborative portrait project coordinated by Mary Cartwright of SmartSkinRN and Claudia of Magnolia Village Studios. The pictures were featured in a local art walk here in Seattle back in July, and will later be combined into a printed art book. The core of the project was portraits in soft flowing gowns. However, I was told I could bring my dog and a belly dance costume as well. So you better believe I didn't hesitate to grab both! Here are a few of my favorites from that shoot. Oh, and by the way, if you're wondering why my dog Zeke is looking so intently at the camera, it's because the photographer is holding cheese. Yeah, she's got his number!

 

Check Out My New Video!

This post is going to be short and sweet. I recently did a new promo belly dance video, and I am loving the result so I wanted to share it with you. The videography and video editing was done by Kat Welsh of Tacoma Dance Studios. Kat and I got together on a beautiful sunny afternoon in Seattle and shot in the picturesque Kubota Gardens in south Seattle. The pink costume is by Anastasiya Romania and the purple costume is by Patrycja Marzec. Thus, without further adieu...

Performance Pics and Video from Snoqualmie Railroad Days

Last August, back when the sun was still shining and the weather was warm (ahh, fond memories...) I did my annual performance out at the Snoqualmie Railroad Days festival. It's one of my favorite events to return to again and again. Here are some pictoral and video highlights from that sunny afternoon.

Belly Dance Photo Shoot

It's always fun to play dress-up and spend an afternoon modeling belly dance costumes, so this month I'm sharing some of my favorite pics from my latest belly dance photo shoot. Photos were taken by the talented Eric Green.

Star Power: The Dynamic Diva Darina

I love gaining inspiration from belly dancers across the world. One dancer who's been a fairly recent rise to fame is the Ukrainian dancer, Darina Konstantinova, or as known on stage, Diva Darina. Darina has certainly been making a name for herself in the international belly dance scene, although I feel perhaps she's still not that well known in the Pacific Northwest. Well, no better way to get to know a dancer than to watch her dance, so let's just jump right in!

First video. I love this performance because it highlights Darina's dramatic style, superb technique, and strong stage presence. Her choreography keeps it interesting, textured, and nuanced by layering sensual fluid movement with sharp, crisp accents. She tops it off with with unique turns, poses, and head/hair movements. As she gets into her drum solo (starts at 4:05), you can really see the power and control behind her hip shimmies. And man, can that girl pop and lock (see 4:25)! Really, watch the drum solo. Just do it. I know as belly dancers we've seen probably thousands at this point, but this one is worth it. I promise.

Here's another one highlighting many of her signature moves; sharp accents, controlled turns, and hair flips. As well as what seems to have become sexy, signature costuming for her. (Anyone know who the designer is?)

And finally, this one, which is actually my favorite. It's not a performance, it's just her playing around in the studio, but man, I could watch this all day! I think this is probably the best belly dance fusion I've ever seen.

You can follow along with Darina at her YouTube Channel or on Instagram. 

Stars of Dance Spotlight: Naima Akef

Naima Akef was born in 1929 in Tanta on the Nile Delta to parents who were acrobats in the Akef Circus. This unique childhood resulted in Naima's first performance to transpire at the tender young age of four. She quickly became a popular circus performer, ultimately leading her to stardom as a belly dancer and actress in the Golden Age of Egyptian cinema.

When Naima was 14, the Akef circus disbanded, but she continued on performing both an acrobatic and a clown act. Eventually she found her way to Badia Masbadni's nightclub, the Opera Casino. It was here that she received training in belly dance. However, her time the Opera Casino was short-lived. Due to Masbadni's supposed favoritism of Naima, the other dancers tried to gang up on her and assault her. Naima managed to come out of the episode physically harmed, but the incident resulted in her being fired from the Opera Casino.

But when one door closes, another opens. Shortly thereafter, Naima was hired at another famous nightclub, the Kit Kat Club. It was here that she was introduced to the siblings and film directors, Abbas Kemal and Hussein Fawzy, resulting in her first movie appearance in the 1949 film, Bread and Salt.  From there Naima's career grew rapidly, staring in 17 films between 1949 and 1964.

One of Naima's most famous movies was 1955's Aziza, in which Naima can be seen dancing to the famous song by the same title, composed by Mohammed Adel Wahab.

Another of her more famous roles was in 1957's Tamr Henna, in which she can be seen dancing below.

And I've included one final clip of Naima just because I like how this one highlights her ability to execute turns. Unfortunately, I'm not sure which film this is from. If you know, please leave it in the comments below!

In my opinion, Naima's style is the epitome of "classical". Her style is relaxed and graceful, with clean, simple movements that aren't muddied by too much layering or hyper-activity. The sharp, staccato isolations popular today are replaced with juicy, rounded ones. Nonetheless, her grace is underlied with strength, balance, and dexterity, likely developed in her youth as an acrobat. She has some of the best turns I've ever seen in a belly dancer; sharp, precise, and exact. Her demeanor and carriage exude confidence and femininity, as she practically floats across the floor like many of the dancers of the Golden Age do. 

Naima quit acting in 1964 to take care of her son and only child. Sadly, Naima succumbed to cancer and died just two years later at the young age of 36. Despite her short time with us, her contribution to the world of belly dance will always be remembered.

Photo Credits: All photos Naima Akef

Belly Dance Eye Candy

I have been soaking up all the deliciousness of belly dance images lately.  Sharing some of my favorites here.

 Viktoria

 

 

 

Michelle Joyce

 

 

 

 

Meliza

 

 Sherri Wheatley

To the extent that I knew who the dancer was, I've labeled them above.  If you are able to identify anyone, please let me know and I'll add the names.  Follow along with me on Pinterest for more stunning visuals!

Should a Belly Dancer Be Sexy?

With love and sex on the minds of many today, I thought it would be apropos to discuss a question that's been on my mind lately: Should a belly dancer be sexy?

Well, depending on who you ask, you'll likely get different answers, including some pretty strong opinions.  The most common stereotype of a belly dancer is of a scantily clad woman gyrating and writhing around in some public venue as audience members push tips into her costume.  That it is some type of low-brow art form, with lots of sexy and sex sells going on.  Case in point, I've heard a father remark to his young daughter, "don't get any ideas" as I've danced past their table (and let's get this straight, it was in a non-writhing, family-friendly fashion) at a restaurant.  But ask most belly dancers, and they'll tell you they are pretty offended by this stereotype.

Stepping back, let's define what we're talking about. What does it even mean to be sexy?  Webster's dictionary has two definitions, "1: sexually suggestive or stimulating" and "2: generally attractive or interesting".  Hmmm, okay. Well those are two entirely different things.  I find a large number of items, like Dali paintings, sequin ballet flats, Paris, and  high-end stationary to fall under definition #2, but certainly not definition #1.  However, as a society, we seem to be fixated on definition #1.

I would say that unfortunately, our society has demeaned, marginalized, and eroded what it truly means to be sexy.  Our culture in the U.S. is one where we are constantly bombarded with visuals of hyper-sexual women, whether it's Victoria's Secret Angels prancing down a runway or Kate Upton in a too-small bikini.  We have fashion magazines exploding with touched-up images of perfection.  (By the way, take a look at this project illustrating the ridiculousness of fashion editorials.)  Now, I would like to clarify that I'm not judging either Victoria Secret, Kate Upton, or any others like them, as I believe they have a place in our collective culture.  But sadly, this is typically the sole image of femininity that we are presented with.  It's only one facet of being sexy, and it's not the facet that comes from a position of strength and respect for women.

Which brings me back to belly dance.  When being stereotyped, most belly dancers are being compared to, or expected to look like, these media images of sexy without any further dimension.  But in dance, what we really want to get into is definition #2.  When my audience watches me dance, yes, the costume and the visual image are part of the presentation, but they are only one part.  Like all professional belly dancers, I've spent countless hours studying not only the dance technique itself, but the history, culture, and music behind the dance.  So when I step onstage it's much more than just outward appearances.  It's the culmination of many years of hard work.  It's my goal to take all that hard work and get my audience to see the music brought to life.  I want them to see the crispness of my isolations and the soft flutter of my silk veil  I want to transport them.  I want to engage them.  In short, I want them to find the performance interesting.

So does that mean that outward appearances don't matter? Is sexy just an artistic state of mind?  Well, I would argue that no, that's no entirely correct either.  Dance is a visual art form, and as such, a dancer's outer appearance is part and parcel with the performance.  You cannot separate the two.  In an art form where a costume costs on average $600 to $1,000, there is a substantial investment in the outward presentation.  A professional dancer would never just expect to show up and perform.  Time and money are invested, not only into the costume, but into hair, makeup, nails, jewelry, and more.  And I would even go so far to say that her demeanor should convey a certainly level of sex appeal.  And by a certain level, I like to think of it as more goddess than sex kitten.  She's doesn't need to flirt with her audience.  And I certainly think a belly dancer should not be performing any lewd or suggestive moves. But she should most certainly be confident.  Because in any situation, confidence really is the ultimate in sexiness. She should smile, look me in the eye, let me know she's comfortable inside her own skin, and that she's in charge of what's going to happen in the upcoming minutes.

So in my opinion, yes, a belly dancer should be sexy.  Yes, even definition #1 sexy. Her appearance should be put together and with well-manicured hair and makeup.  Her costume should fit in a flattering manner and be appropriate for her body.  But she should also present the deeper dimensions of the dance to me.  Definition #2 sexy.  As I'm watching her, I want to be drawn in by her, but I don't want her sexy speaking so loudly that I can't hear her dance or see her talent.  I don't need overaggressive sexy pushed into my face or flaunted for the room.  But rather it should just smoulder and simmer below the surface, leaving me space to marvel at her whole presentation.

Photo Credit: Aziza (who, dare I say, is sexy #1 and #2), www.bellydance.org

Interview with Malia

The Introduction
Known for both her oriental and beledi styles, Malia is a dancer of many talents. She has gained recognition as an instructor, performer, and event producer and has been featured in several local, national, and international publications. As a producer, Malia's events have included the shows Saharan Soul and Hathor Unveiled. She is also a director of the troupe Bella Rosa. For more info about her performances, classes, shows, and troupes, visit her website.

The Interview
Taking advantage of Seattle Restaurant Week, Malia and I meet for our interview at the Stumbling Goat on Phinney Ridge. Settling in over buttery fish and crisp wine, our conversation takes off instantly. Our interview even concludes with what turns out to be a very accurate tarot reading done by Malia herself!

Alessandra: What belly dancers have been the most inspirational to you?
Malia: My favorite dancer is probably Mona Said. I can always remember her saying that dancers are not supposed to do anything that is not lady-like! I've also been greatly influenced by Mish Mish and Tamalyn Dallal, as well as Nadira who really took me under her wing as a mentor when I was making the transition from student to professional.

Alessandra: Your upcoming adventure is a trip to Egypt to study beledi. Given somewhat recent events in that country and throughout the Middle East, are you feeling any apprehension?
Malia: Yes! But I've been dancing for nine years now and have always loved folkloric, so I figure it's just time to go. It's time for me to spend time learning the culture, heart, and soul of this style that speaks to me.

Alessandra: In addition to being a dancer and producer, you're also the mother of two small children. How do manage to find the time for your dance? Any tips for the rest of us?
Malia: I'm still trying to figure that out. Time really goes in waves. There are periods where my dance is on the back burner, and then there are times where I'm just really into practicing, finding music, and costuming. My children will be little for such a short period of time, so that's who I need to focus on for now. I've told myself that belly dance will always be there, even if for now it's in the background. Originally, when my first child was born, I was worried about taking time off from dance, that I would lose where I was at and all I had worked for. But being a mother has been really essential in making me the dancer that I am. I'm also fortunate that I have an amazing husband who will take the kids when I need space to dance.
Alessandra: How has being a mother affected who you are as a dancer?
Malia: Before I was a mom, I was much more rigid in my ideas of what dance should be and had very stuck opinions. Seeing how completely different my two children are has helped me realize that we are all different people. Who you are and how you dance are very individualized and very personal. It has opened up a broader world for me. I can now watch a belly dance show and just love it for what it is. I can wonder at what they are going to do next and not care if it's "right" or "wrong". Overall, my perception of belly dance has shifted to being focused on the healing aspects of belly dance and realizing how much women need this dance in their lives.

Alessandra: Thinking back to your first solo performance, can you recall what it was and how you were feeling?
Malia: My first solo performance was at Delilah's studio as part of an aromatherapy class series. Being fond of pie, the aroma I selected was key lime pie, which I baked and brought with me. I danced to Shakira in a pink and green costume. And I was terrified! In fact, I was really nervous performing for about the first four years. Growing up, I was a very mousy, shy little girl. I actually think that belly dance attracts a lot of women who are introverts and they use belly dance as a means to express themselves.
Alessandra: This fellow introvert can most certainly attest to that!

Alessandra: So it's fairly common knowledge that belly dancers in Seattle get paid less than their counterparts in other metropolitan areas. Why do you think that is?
Malia: It's hard to say. But it's sad that dancers are making less now than they did in the 1970s (comparatively speaking). I think it's partially due to undercutting and partially due to dancers not knowing what they are worth. I think it's very worthwhile for dancers to ask for raises and to recognize that what they offer is something of value.

Alessandra: What advice would you give to beginning dancers?
Malia: Buy a really fancy hip scarf, as that will make you want to use it, and use it often. Study with as many instructors as possible. Go to belly dance shows, watch the professional dancers, and in particular, watch the interaction between the dancer and the musicians.
Alessandra: And what advice would you give to the "rising stars", dancers looking to take the leap into being a professional?
Malia: Find a mentor that's on your side and wants you to succeed. Someone who will not only teach you the dancing side, but the professional, business side as well. It's so important to learn how to behave in a professional manner. Perform as often as you can, even if that means for free at haflas and other community shows. Go to shows you aren't dancing in and stay for the whole thing. Meet people in the community and network. Learn to deal with new situations. Practice. Be original. Be yourself. Specialize in something, which is a great business technique. Offer something that people want or that is uniquely you. Dancers always want to "wow" their audience, but you don't have to be in constant motion to do this; less is more. Don't rush into turning professional. Taking the stage is sacred, wait for it and know that you earned it. When you do take the stage to perform, have the confidence that you are good enough. I think new professionals can be intimidated by the seasoned performers, but know that your fellow dancers have love in their hearts for you. And remember that when you are on stage, your number one job is to make every audience member comfortable. No one should feel scared for you. "Introduce" yourself as the dancer and be confident. When you are comfortable, the audience will be comfortable and will be able to enjoy the performance. Then you can just be you and share what is in your heart.