Interview with Tamalyn Dallal

The Introduction

Tamalyn Dallal has been gracing stages and delighting audiences for over 30 years.  From Bogota to Buenos Aires, Miami to the Middle East, she has traveled around the world teaching and performing.  She has won numerous awards and has worked with the world-famous Bellydance Superstars.  In addition to being a talented dancer, Tamalyn is also a published author and a movie producer.  Tamalyn recently re-opened the Ottoman Bellydance studio under a new name Zamani Culture House.  When she's in town in March and April of 2013, she will teach classes and hold film showings at Zamini, as well as sponsor Roshan Nofret from Miami for a series of workshops

The Interview

I recently completed a week-long teacher training intensive with Tamalyn.  (Highly recommended!)  During one-day of the intensive, Tamalyn and I headed out to lunch to chat.  Settling in over chai tea and butter chicken, our interview begins.

Alessandra: What dancers have been the biggest inspiration to you? 

Tamalyn: Azza Sherif and Nebawiya Moustafa.  Azza Sherif combines a mix of oriental and beledi.  Her style is earthy, but elevated with classic hands.  Nebawiya was an Egyptian beledi dancer and movie star.  These two are probably my all-time favorites.

Alessandra: You've traveled all over the word.  Has anything taken you by surprise during your travels?

Tamalyn: The response to belly dance in China has surprised me.  The very first time I ever performed in China, I was wearing a beledi dress and performing to a Bedouin song from the 1940s and the young people in the audience were just screaming.  I knew right away belly dance was going to be really big in China.

Alessandra: Any other surprises?

Tamalyn: Yes, actually the U.S. surprises me.  For being one country, there are so many sub-cultures and differences across the various regions of the U.S.  I really saw this when I was touring with my film, 40 Days and 1,001 Nights.  In some places, I was met with a lot of resistance, even in places that are typically thought of as liberal cities.

Alessandra: Why do you think that is?  Because the film is set in Muslim countries?

Tamalyn: Yes, there is a certain level of "Islamapohobia" in our nation.  I also think it's that people don't know what to expect, so they don’t want to be involved.  For instance, one bookstore owner in Santa Fe, while agreeing to let the film be shown in his store, didn’t want to be present for the screening.  However, as the film was starting, he ended up seeing the beginning and then ended up staying and being receptive to the film.  Overall, the dance community has really been instrumental in supporting me at times when the general public was not.

Alessandra: Continuing to delve into your travels, have you had any moments while overseas that were either transformational or really touched your heart?  

Tamalyn:  I've had many, but one that stands out was when I was working in Spain and had taken a trip to Tangiers for the day.  I was told that female belly dancers are no longer working publically in that part of Morocco, but Shikkat (male dancers impersonating female dancers) are and I was hoping to find a restaurant having a show.  I came across an old man in the street and inquired of where I should go and he took me to a restaurant.  However, upon arriving, he told me that this establishment was for tourists, and that it was expensive and I shouldn't spend my money here.  Instead, he took me to the Andalus Club where master musicians drink tea, smoke hashish, and play music.  They said this was the same music that was played in Spain before the inquisition.  People have been continually playing this style for hundreds, if not more than a thousand years.  While listening to the music and absorbing the culture, I realized that the practice of playing classical Arabic music merely for enjoyment, relaxation, and joy is a piece of history that's stood still through the years.  People have been seeking the juxtaposition of community and music across time and across cultures.  Whether it's a club in Spain or in Zanzibar, or where I was in Morocco, whether it's the present day or a thousand years ago, little has changed in this approach.  

Alessandra: You've had some amazing experiences, and been involved in so many different projects.  What's next on the horizon for you?

Tamalyn:  In addition to the studio, I began filming the second of the Dance on Film series entitled "Ethiopia Dances for Joy".  Ethiopia is a totally different world, with over 80 ethnic groups. They have dances that people cannot imagine, which I was able to film.  I went to Ethiopia last March, filmed the first segment, and will be returning in January to continue.  I hope to finish filming and editing in late 2013.

Alessandra: You have been involved with belly dance for many years now and seen how it's changed throughout your career.  What are your predictions for the future of the dance?   

Tamalyn: I foresee more dancers showing interest in getting back to the roots of the dance and the "Golden Age" dancers, such as Tahia Karioca and Samia Gamal.  I think there will still be those doing belly dancing for fun, but the dance is maturing.  People want more depth.  Those who are genuinely into it want to learn the history and the culture.  For example, for awhile, I was seeing a trend of sponsors in certain areas only booking belly dancers who'd been in the Bellydance Superstars, as this was the only type of workshop that would sell out.  But this is no longer the case.  Dancers who can share research are becoming more sought after.  I've also seen an increasing interest in, and respect for, the elders in the dance, with younger dancers wanting to hear the elders talk and share their insights, and I think this trend will continue as well.

Alessandra: For a student dancer looking to take her dance to the next level, what advice would you give her?

Tamalyn: I would advise getting a good solid base.  Dance is built on basics.  Take the time to learn the dance and don't rush to get ahead.  If you do rush through the fundamentals, you'll just have to go back and learn them later, and then it's much harder.  You really have to put in your six to seven years before you're ready to graduate from student.  Being a baby dancer is an amazing time – enjoy it! 

Alessandra:  And what advice would you give to experienced dancers either looking to make the leap to professional or who are newly professional?

Tamalyn:  Don't dance for cheap.  The only people that can bring up the respect and compensation for dance is dancers.  It's in our hands.

10 Things To Do Right Now to Improve Your Dance

"A journey of a thousand miles begins with a single step."

- Lao-tzu

We all want to get become better dancers and better performers. And we all have great intentions: classes we'll take, techniques we'll master, costumes we'll buy, routines we'll choreograph, and so on. But then life gets in the way. There are bills to pay, deadlines to meet, meals to fix, children to care for, and emails to answer. If this sounds anything like you, because I sure as heck know it sounds a lot like me, then the key is to start with micromovements. A micomovement is something small that you can do right now, no matter where you are, and will only take about 5 to 15 minutes. The following list is of items that you could do right now, from just about anyway. Even if you are at work, you could take a quick break and accomplish one of these tasks. So I challenge to pick at least one item off the list and do it right now.

1. Call up your favorite local dancer and schedule a private lesson with her for sometime in the next month.
2. Buy a new belly dance DVD to practice at home with. Some of my favorites are listed on my Recommendations page.
3. Watch a belly dance clip on YouTube to get a dose of inspiration. My favorites are included on my Belly Dance Video Board on Pinterest.
4. Pull out your weekly planner and pencil in 30 minutes of practice time sometime this week.
5. Find a new belly dance song on Spotify. If you don't know what Spotify is, it's a Facebook-based app that let's you search by song, artist or genre; make playlists; and listen to your heart's content, all for free. Download Spotify here.
6. Write down your three dance goals that you want to accomplish in the next year. For each goal write three action steps you need to do to achieve that goal.
7. Sign up to perform at your city's next upcoming halfla or community event. If you're here in Seattle, some ideas are Alauda at Skylark, Saqra's Belly Dance Revenue at Jimmy T's, Skinny Dip at the High Dive, Kalia Greenwood, Kalia Lynnwood, or Hasani's Hafla in Tacoma.
8. Brush up on your belly dance culture and history by reading an article from Habibi magazine. Certain back issues are free and available online at The Best of Habibi.
9. Stretch. Flexibility is an integral part of dancing, so close that office door and spend 5 minutes limbering up.
10. Pick a class or workshop to attend in the next month. Even if you can't commit to doing a full-class series, pick at least one day that you'll drop-in. Write it on your calendar.

There is great power in beginning. You have to start somewhere, so start where you. Do it now.

Interview with Dahlia

The Introduction

I don't know that Dahlia really needs an introduction, but if you're not familiar with her work, Dahlia is a local Seattle dancer known for her exquisite musical interpretation, combined with flawless technique.  She has won the titles of 2006 Double Crown Performing Artist, 2007 International Belly Dance Convention Folkloric Champion, and 2007 Belly Dancer of the Universe.  Dahlia is currently offering classes in Ballard and Bothell.  Check out her website for more info. 

The Interview

Meeting at Starbucks, the 38-year-old mother of two, arrives looking very much the 20-something cool kid, in a funky-print hoodie, flip-flops, and minimal makeup, other than the glittery purple eyeshadow that she tells me is leftover from a gig two nights ago. Settling in over coffee, our interview starts.

Alessandra: What is your current dance goal or aspiration?

Dahlia: Currently, my greatest challenge has been given to me by Amy Sigil of Unmata.  This year's Blood Moon Regale in Sacramento will mark Unmata's 10th anniversary, so the theme is A Decade of Unmata, where various troupes will perform every single choreography that Unmata has performed since 2003.  Amy has given me the task of doing a montage of all the choreographies in one single dance!  As far is in my own career, I'm currently focused on ITS, Unmata's signature Improvisational Tribal Style, and hope that will continue to flourish.  The nature of this dance format has me once again working and performing in a troupe, which has been adjustment from being a soloist for so long now.  I don't market myself enough, which is an aspect I need to focus on more.  I also have students asking about an instructional DVD, which I hope to create in the future, although at this exact point in time it doesn't feel like the right timing.

Alessandra: I've always typically thought of you as a modern Egyptian, as well as a folkloric dancer.  Is the recent focus on tribal style going to be a permanent focus for you?  Or do you intend it to be another aspect of your overall dance?

Dahlia: I'll never let go of being a soloist and an Egyptian style dancer.  Doing tribal style is an expansion of my overall dance career.  Music is everything to me.  It's the heartbeat of the dance.  And exploring various aspects of music is my focus as a solo dancer.

Alessandra: What dancers are currently inspiring you? 

Dahlia: I'm really into Daria Mitskovich, a Russian dancer, who has a very sensitive Egyptian flavor to her style that is delicious.  And always by the greats: Fifi Abdo, Aida Nour, and Tito Seif.  Amy Sigil.  Recently, I was able to share the stage with Rachel Brice, Zoe Jakes and Sharon Kihara at the Oregon Country Fair and was reinspired by their unique interpretations of classical belly dance music as well. 

Alessandra: Thinking back to the first time you stepped on stage, what was your very first performance?

Dahlia: It was a troupe performance at Mediterranean Fantasy Festival in 1994.

Alessandra: So how did it go?  Did it feel natural to be on stage or were there butterflies?

Dahlia: I have always been a performer, so it felt very natural for me.  I was accustomed to being on stage as I did ballet, jazz, and tap growing up.  I was also a musician.  I played the flute, sang, and played drums.  I was also into sports.  I played basketball and was a competitive horseback rider.

Alessandra: We all know that things don't always go as planned or expected.  What has been your worst or most embarrassing performance experience?

Dahlia: (Laughs) Costume malfunctions, stage malfunctions, music malfunctions, audience boos and hisses, you name it, I've had it happen.  I had a recent performance at a book-signing at a community college, dancing in front of a couple hundred people, and the audience was just indifferent.  I'm used to being able to win over an entire audience and when it doesn't happen, I wonder why I am even there.  (Laughs)  I left feeling like a total spoiled diva.  When I perform, I completely get off on getting my audience off.  I know when I do well and I know when my audience is responsive and when they are just plain confused.  I know that there's a lesson for me in every gig, and every dancer will experience audiences that are indifferent or even offended.  These situations demand of us to dance for ourselves in the moment.  When I find myself in a gig like that, where I just want to walk out, I have to remember, and am reminded, that there are always a few lives I touch no matter what. 

Alessandra: What have you found to the most rewarding part of belly dance? 

Dahlia:  Finding tarab.  Tarab is loosely translated as a state of ecstasy or trance brought on by music. I've been lucky enough to experience tarab many, many times throughout my career.  I even had it tattooed on my back in the last year.

Alessandra: What factors need to align for you to reach that state?

Dahlia: It's more common for me when working with live music.  Other key factors for me are vulnerability, being present in the moment, being in communion with the musicians, and being in communion with my breath.

Alessandra: (Wow!)  Yes, those are all great ingredients in a dance.  So what has been the most challenging part of belly dance?

Dahlia: Dealing with the ebb and flow of politics and personal relationship with other professional belly dancers and gig coordinators.  I think we all face these types of challenges related to interpersonal relationships in any job.  And in belly dance you have a community of mostly women who are very artistic and very intense.  It's frequently a solo artist's world and it's not always a one-for-all mentality.  In my career I've worked towards creating a really supportive and beneficial market for dancers and our art form, and I strive whole-heartedly for excellent standards for everyone.  However, trying to create structure in an art form that is so focused on creativity and self-expression sometimes leads to artists getting upset that they are being contained.  I believe the more people share their ideas with each other and share their business practices with each other, the better off everyone will be.  I think teachers really need to educate students about what it means to be a professional.  We should all be on even ground, rather than having the mentality that individual dancers should climb the ladder by themselves.  Ultimately, the bottom line is that the best dancer wins, or should win.  Whoever is young, beautiful, and talented is often the dancer who gets hired, and that can be a hard fact to face!

Alessandra: For a student dancer looking to take her dance to the next level, what advice would you give her?

Dahlia: Not to focus in any one particular genre too exclusively.  As Amy Sigil says, "dance is dance is dance."  The more hours you log dancing in any form, the greater you will become.  Pick a small handful of dancers that inspire you and study them, and then move onto another handful.

Alessandra:  And what advice would you give to experienced dancers either looking to make the leap to professional or who are newly professional?

Dahlia:  Your music is your lover.  You absolutely must be unabashedly dedicated to the music you choose and that will be your tool to excel.  Remember to be authentic in your work.  Always be true to your inner muse, whoever he or she may be, and be careful not to follow someone else's dream or in someone else's footsteps.  Belly dance is so free in the U.S. and we have so many opportunities to share and perform different genres and personal interpretations that you don't have to be any one thing.  That's been really inspiring for me, and I hope to inspire other women through my own mix of modern Egyptian, folkloric, and tribal.