Interview with Suzanna

Photo Credit: Picture Groove (Sarah Lyons)

The Introduction
Suzanna enjoys a career of performing, teaching, and event production. She is a cross-disciplinary dancer with training in Middle Eastern, African, jazz, ballet, contemporary, lyrical, Latin, and hip hop, and a founding member with Forge Dance Theatre. Eventually, belly dance became her ultimate passion, and for the past 14 years she has performed professionally in hundreds of venues, from full scale productions to intimate dinner shows, while training students of all levels since 2004. Still her outlook remains global. Traveling to Africa, Europe, and Brazil, and always finding ways to connect across styles, cultures, and communities, she considers world dance and music a medium to peace and understanding that transcends dialogue. With a professional degree in theatre, Suzanna also designs award winning multicultural entertainment featured in local and international media, such as the touring talent show "Belly Dance Off"

To learn more about Suzanna, you can visit her website.

You can also purchase tickets to the next Belly Dance Off, which is being held in Seattle on Sunday, May 22nd.

The Interview
Suzanna and I met at a coffee shop on a rainy Sunday afternoon in Seattle. As Suzanna sat down at the table, she mentioned that she was feeling nervous, and I couldn't help but think, how adorable. This woman who dances and MCs in front of hundreds of people with so much poise and polish was actually nervous to be asked a few questions by me and my little blog. But then I reckoned back to something that I once heard Sadie say: nerves are a sign that you care. And then I thought, yes, that fits the bill. That's why Suzanna was recently publicly recognized by Seattle's belly dance community; because she cares. And this caring comes shining through in her actions and efforts to elevate her own dance and that of others in this shared dance community. Let's see how she does it.

Alessandra: Let's start by getting to know you a little better. How did you get started in belly dance and what dancers and teachers would you say have had the biggest influence on you? 
Suzanna: I had always been a dancer, studying ballet, jazz, modern, and eventually West African and other styles. But my belly dance career started when I was offered a lead role in a play called Shivaree, in which the character was a belly dancer. Okay, really I begged for it! I was very intrigued by the character and took classes to better play the part. My first teacher was Zarouchi, who lived in Portland, Oregon at the time. I began to realize belly dance was actually a profession one could undertake, which was so great because I was falling hopelessly in love with it! Since then there have been so many dancers and teachers over the years, both internationally and locally. Equally influential have been the artists I've collaborated with; they know who they are. Through the process of creating together, I've learned and developed so much. And then there's Fifi Abdo, who I've never had the honor of studying with, but has influenced me greatly through video. As an artist, I am inspired by everything around me: as I see patterns, I apply them to my art form.

Alessandra: You are the creator and producer of the talent competition, Belly Dance Off. What gave you the inspiration and motivation to bring this project to life?
Suzanna: After years of performing professionally yet finding myself too often performing with no light, poor audio quality, and little understanding among the audience about this dance as a performing art form, I was motivated to create an environment I myself wanted to perform in, and a better experience for the audience. I couldn't continue with the status quo. After investing too much, I felt my art form deserved more. But it was still a journey before creating Belly Dance Off to address this. My second trip to Egypt in 2008 was eventually the trigger.

Around that time, I was arriving at a realization that I wasn't satisfied with the standard path of fame and iconoclasm. I've always felt more vibrant when it's about we and not just me. And there are many, many incredible dancers throughout the world; I would just be one more. I wondered, what was my unique gift to contribute? When I graduated from college in the late nineties with a theatre degree, the dean of my school called attention to my capabilities in directing and strongly encouraged me to pursue it. But this laid dormant for years as I traveled, started a family, and pursued a Master's degree. By 2004, I began to notice an aching desire to create shows.

And so I began creating segments in other producer's shows and festivals, as well as events of my own, like World Dance Showcase. I began to discover the venue as my canvas, and the experience created within was becoming my creative passion. Finally, in 2010, I conceived and launched Belly Dance Off to expand our audiences, elevate the production environment, and advance the talent and visibility of local artists.

Audience participation in Shimmy Challenge at Belly Dance Off. The winner at this event was 10 years old!

Photo Credit: Chris Yetter

Alessandra: For other dancers who might be considering producing shows, what would you say are the top three to five components needed for ensuring a show's success? 
Suzanna: First and foremost, I think it's important to understand that dancing and producing shows are two entirely different areas of expertise. If a dancer wants to be a successful producer, she must dedicate herself to learning the many elements of event and entertainment production with the same passion as she has pursued her dance training.  My B.A. in Theatre Arts involved studying scene design, lighting, directing, method acting, production management, publicity, and so much more. I've since attended numerous workshops on audience development, media relations, fundraising, and other topics. Additionally, my Masters degree in Management, has involved training in management, business development, budgeting, writing, organizational development, and much more.

Thus, with that foundation in mind, the five components I would say are:

1. Visualization. I sit as an observer with pen and paper and allow the show to play out before me, and I carefully document what I see. This informs your production plan and the resources, people, and venue needed.
2. Begin with the budget and don't take on more than you're able. Project your attendance conservatively. No matter how artistically brilliant your idea might be, if the numbers don't balance, don't do it. 
3. Focus on audience experience and not your artistic agenda. This shows up in so many ways. Artists are forever wanting the audience to understand the deeper elements of their art form. I've been one of them. But focus on what THE AUDIENCE wants, what they're hoping to experience. This means figuring out who your audience is. Are they seeking to celebrate their culture or their love of dance? Or are they venturing out into something new, fun, and different? Then you can go deeper. Audience experience also encompasses all aspects, even things you aren't responsible for, like hospitality and service. Thus your venue partnership is essential. Your audiences are your customers: if you make them happy and give them a place to belong and feel valued, they're very likely to return and bring others. But if their first experience is negative, trying to win them back is exceedingly difficult. 
4. Don't try to do it all yourself. Provide promoting media to artists and other crew, and make it a team effort. Delegate out. Get people involved. This was a big lesson for me. It takes figuring out all the functions and moving parts. This reduces stress and enables you to be present for everyone else. When you are calm, everyone around you feels calmer, including your performers, so they can put on a fabulous show. 
5. Know your project timelines and stay ahead of deadlines. Things will never happen when they are supposed to. People won't get back to you when they agreed to. So be prepared for this.

Alessandra: Some individuals might make the argument that competition isn't what dance should be about, as it takes the impetus off of artistic interpretation, social connection, and creative expression, and instead makes it about subjective ranking and judging of artists. What would you say to counter that argument?

Suzanna: I don't necessarily disagree and think those are valid points. As a format, competition is optimal in bringing out the best from those who participate.  Whether chess, cooking, martial arts, or the Olympics, we humans seem to respond to the suspense and urgency of competition by taking our talent and skill up to a level we would not have otherwise; achieving a new personal best, a new baseline to excel from. Competition accelerates the growth process. And the personal best you achieve is the primary benefit; not winning, which can be fairly subjective, as you say.

But actually I did not consciously set out to create a competition format anyway. There are plenty of belly dance competitions around the world and I didn't think belly dance necessarily needed another one. But as it turns out, the same suspense and urgency also engages the audience, particularly when you give them the power and responsibility to vote and help decide the outcome. I triangulated this by featuring a judges panel as part of the show; one that we see and hear feedback from after each dancer's performance. This engages the audience to consider the feedback in reference to what they see, and therefore watch more closely in order to evaluate and provide their own score. For the general public that isn't familiar with belly dance, this highlights the nuances and level of skill and talent required for a dancer to express herself effectively. Thus, audience development was my ultimate aim, and I believe that's a worthy cause that benefits us all. 

For the dancer, it functions as a live master class. The judges are careful to emphasize the dancer's qualities and strengths, so she may develop these further and cultivate what makes her unique, as well as provide areas for her to work on and tangible concepts to do that with. The active triangle and dialogue between dancers, judges, and audience members make this a very different competition. Yet, there's a fourth element that makes it even more unique: the live band and challenge for dancers to perform improvised with a focus on powerful performance and entertainment. And I haven't even mentioned the production environment! Presenting the dancer with beautiful performance lighting and in a classy, inviting environment is so important to elevating audience appreciation of our art form. It also provides an excellent photo and video opportunity for the dancer, and these are important items for her professionally. All together, Belly Dance Off is about much more than competition. 

Some dancers walk away upset at the end of the day. To them, I would say, avoid taking the ranking and winning too seriously. This is just good mental practice for the thick skin that you'll need to succeed in show business any how. You knew at the start of the show that there would only be one winner at the end of the day, so take it with a grain of salt. If you don't agree with the feedback that you were given, then prove the judges wrong. The process of training in order to do that  will be a profound growth experience that will lead to more opportunity.. And lastly, even if you didn't win, remember that the audience still loved the gift of the performance that you gave them. Oh, and don't forget the professional photos and video you now have! Sometimes this can be reward enough by itself for participating. In all everyone gains, including the audience, regardless of the results. 

Alessandra: You've had the opportunity to partner with organizations like 4Culture, Seattle Art Museum, Bellevue Arts Museum, Seattle International Dance Festival, and others. What do you think belly dancers and the belly dance community at large need to do to increase opportunities like this so that belly dance becomes more widely recognized as a valid and important component of arts and culture that should be shared, cultivated, and preserved?
Suzanna: Show up and introduce yourself, both in writing and in person. Submit proposals. Be present at community meetups, conferences, and networking events involving the larger arts scene. Submit info to the media. Engage in conversations so that you can learn to speak their language and understand the possibilities. Some ends may amount to nothing, but they can't acknowledge you if they don't know about you. In the void of your absence their biases are allowed to continue, but with persistence they'll come around over time. Like the lottery, you can't win if you don't play.

All of this is very time-consuming work, so don't expect results in the short run. Along with the small sparks of enthusiasm and receptivity, be willing to face the silence, the ignorance, or dismissiveness. Work with patience and grace, and don't allow negative responses to discourage you. I have invested enormous amounts of time into all of these things.with the broader impact hopefully being something that brings benefits beyond me. I show up as an ambassador to the art form, not just for myself. I always bring the other artists along with me, so to speak, so that I can be an access point for the art form.

I've had to endure so many ignorant and underhanded ways of describing what I do. Just like combating any other type of prejudice, come equipped with an incredible amount of grace and patience. Consider yourself a medium for education. The choice is continuing to be marginalized or creating an environment you actually want to do your art in.

Winners of Belly Dance Off 2016 Round 1 - Amy (left), Rising Star; Shiori (right), Pro

Photo Credit: Drumroll Studios

Alessandra: What advice would you give new dancers who are just getting started with belly dance and want to continue their exploration?
Suzanna: Go to shows! This is a live event experience, focused on live performances. To begin to understand the elements of what that means, you have to go to shows. Through that, you can figure out your own style, discover things you're curious about, avoid pitfalls, make new friends, and understand where you want to go with this. And if you decide you're interested in performing, you'll gather many observations on how to make your dance powerful. I would also advise learning to play zills as part of your training as soon as possible.

Alessandra: What advice would you give to dancers who are looking to take the leap from advanced student to professional?
Suzanna: What I ended up learning, through Saqra in fact, is that dancing and performing are two different tracks. You might be a totally amazing dancer by yourself with your cat in your living room. But that's a separate track and skill than performing, and you can only get good at performing by performing. So start performing as early as possible!  I spent too much time in my incubator living room before performing. If you try to become the very best dancer you can be before presenting yourself to the world, you'll find yourself very underdeveloped as a performer. Do it in parallel so that the growth weaves together.

Dance to live music as soon as possible and clear your mind of all assumptions that choreography is easier than improvisation. They are cognitively very different. They require different parts of your brain, and different ways of training. Improvisation involves interpreting the music you hear and expressing it through your dance in present time, somewhat like spontaneously dancing with joy to music in your own private living room, except way more invigorating because you're interacting with the actual musicians playing it and an adoring audience. It's really the most exciting experience ever!

Cross-train, whether that's core strength, conditioning, ballet, running, or other forms of dance and fitness. When you're a dancer, your body is your instrument, so the more strength you have the more access you have to making it do what you want to do.

Develop technique, but don't fall in love with it. Expression is far more important for the audience experience than technique.

And don't be an Elvis impersonator! When we are performing in a cultural context, it's easy to draw on the quintessential vision of an Egyptian dancer. Ironically, as Sahra Saeeda highlights, dancers in Egypt only have the possibility of making a name for themselves by showing how they're different. Get rid of that baggage in your head and be your own dancer. When you do, you'll enjoy the act of getting up and dancing so much more and so will the audience.

Photo Credit:Picture Groove (Sarah Lyons)

Interview with Zaphara - Part Two

 

This is part two of my interview with legendary dancer, Zaphara. After chatting with Zaphara, she had so many wild stories, that two posts were necessary to fit them all in! You can read part one here.

Alessandra: How has your Greek heritage influenced your belly dancing?

Zaphara: Overall, I have a passion for the music and the dancing. I love Greek music because I can understand the words, but I also love Arabic music.  Even though I can’t understand the words, it still gives me a sense of what it’s about and evokes a feeling.  Also, being Greek has put me in a position of representing the Greek community, and in particular, Greek women.  But then overall, that’s generally a problem for all dancers, is that they are representing not only themselves, but dancers and women in general.  The general expectation is that dancers are second class citizens, so you have to prove yourself; whether Greek, Arabic, Turkish, or American you have to take into consideration how you are dancing.

Alessandra: Between your length of time of time as a professional dancer, and your fiery temperament, I know you’ve got to have some great gig stories. Have any that you care to share?

Zaphara: Oh, I’ve got so many gig stories.  One happened at the Lebanon Restaurant in Seattle, in the l980’s.  It was THE hot spot and always packed.  Lots of Arabs would come and it was a place for them to bring a guest to show off their culture.  This night, Omar Batiste was playing tambourine, Imad Fata on oud (Lebanon), and Shiham Sbeit on tabla (Palestine). And we had a big table filled with the soccer team from the University of Washington.  One of the players was an Arabic guy and wanted to bring his teammates in to see what his culture was about.  At the time, when the dancer would go out for tips, it was common for patrons to help her up onto a chair and then onto their table to dance.  And from there, they would tip her on her belt.  As I was up on the table, one of the American men on the soccer team, put his hand under my skirt and was about to go up my leg.  I took a handful of his blonde hair and yanked as hard as I could. I could definitely tell it hurt. And his buddies roared because I had shown that son of a bitch!  Wrong place, wrong move, Dude!

Another time when I also ended up inflicting pain on a customer was at George’s Bar and Grill.  I was dancing there three or four nights a week, and we were having a really big busy night.  Taki’s band was playing, and there was a table with two guys sitting near the stage area.  As I was dancing, one of the guys, stuck out his tongue and licked his lips suggestively at me.   When I saw that, I just lost my temper inside and turned away from them.  But when I turned back around, he did it again! So I slowly danced over to him and put my hand under his chin and suddenly, I slapped his jaw up.  At that exact time, he happened to have his tongue out of his mouth and I ended up drawing blood!  His buddy just roared.  Taki kept playing but was looking at me with eyes big as saucers because I just assaulted a customer.  But after that the guy stopped this behavior,  and watched the show.  I was so upset that I ran back to the kitchen and told my boss to get this guy out.  He needs to be in a strip club, not a Greek club.  After the show, the man walked over and he apologized to me. Fortunately, rather than suing me or the club.

On another night, also at the Lebanon, we had a large party of Saudi royalty in.  You could tell they were well to do with Rolex watches and nice suits.  Their wives were there too, with the black traditional dresses and head coverings, sitting quietly while the men were clapping and talking.  I noticed one elderly lady in the group who appeared to be the matron of the group, smiling at me.  When I went out for tips, I was going to stay away from them, but ended up going over to the old lady, and as she was reaching to tip me, I said thank you in Arabic, sokran, and suddenly her face stopped smiling and looked mortified.  I thought oh no, I’ve said something really bad.   I finished , went back to the kitchen, asked the  kitchen crew what I said,” sokran.”  They started to laugh and said that I’d actually called her a drunk.  I’d said sokran, rather than shokran, which means “thank you.”  Well, I got dressed went back out and apologized profusely, and finally she took my hand and smiled.

And I have another story involving Saudi royalty.  For a time, Seattle had various Saudi princes who were here going to college here.  They were obviously well to do and for Seafair one year, a prince with a beautiful house on Mercer Island had hired myself and the M.B. Orchestra to perform at his party.  The house was enormous with a big pool outside of the kitchen, blue velvet walls in the living room, two 80-foot “cigarette boats” sitting on his dock, and women all over the place with four hanging all over the prince.  Bahaa set up his keyboard near the edge of the pool, as they had specifically requested a candelabra dance.  The prince also had two or three body guards, and one was half drunk, completely excited, and playing a tambourine.  The drunk body guard kept coming near me and I put my hand out for him to keep his distance because I had 13 lite candles on my head and I can’t balance it if I get rattled. Well, he kept trying to dance with me and I lost my temper. I looked at him, smiled, and said can you swim? He said yes, and I pushed him into the water, tambourine and all!  I just can’t understand why we were not hired back (smile).

Alessandra: What advice would you give to new dancers?

Zaphara: Practice, practice, practice. Sometimes it takes 10 years to be really good at this.  I took 10 years of lessons, and my teacher was constantly there criticizing and critiquing me, so with every performance I would learn.  The other very important thing is learning to freestyle.  My teacher threw me into the fire pit and I was fortunate to start with live music, dancing with the MB Orchestra and Taki Dotis.   I tell my students to dance to live music when you can find it. I remember doing a show with Spiros and we had a young drummer with us who didn’t know the beats.  So when we got to the end of the show and drum solo time, Spiros started giving me a solo with the bouzouki instead.  Two of the strings flew out and broke and he kept going. I just went with it.  We were hot.  It was something you could never repeat, so much energy I can hardly remember it.  The audience went nuts and the drummer seemed stunned but did a great job following us.   Those show experiences are a “natural high”, better than drugs or sex!!!  And you never know when this will happen!

Alessandra: And what advice would you give to dancers who are newly professional or looking to turn professional?

Zaphara: Sharpen your claws! Get out there and dance where ever you can to get your name out there.  Go to different places. It’s really hard to be a professional dancer right now, because there are limited  nightclub venues to hone your skills. But network with other dancers and try to get a name for yourself.  Advertise. Keep working it and try to get gigs. And always conduct yourself in a professional manner at all times.

With that said, may I introduce you to my alter-ego, Miss Jess E. Belle:

 

 

Zaphara’s Picture Explanation: Back in the day all the dancers were divas and I thought it would be fun to do a parody of this, so Omar and I put together Miss Jess E. Belle, who had made any early appearance  for Omar’s birthday party 20 years ago at Mamounia Restaurant. Miss Jess E. Belle is the hilarious epitome of inappropriate behavior & bad attitude for a dancer. She has been around a long time. She is terminally nine month's pregnant.  The sign on her back says "I should have danced all night".   She is slightly disheveled, hair, rollers, whatever. Her belly dance outfit? It’s not perfect, (ok, it's a mess).  She is grouchy, short tempered and being "ladylike" is not one of her strong points. She has been known to frequent the "tenderloin" district and her beverage of choice is any brand of fortified wine! She just loves to nibble on musician's necks and "paw" them while they are entertaining audiences. She always shows up uninvited.

 Pictured behind Omar and Miss Jess E. Belle, are members of Baladi Center Dancers, the first bellydance troupe in the N.W. that began in the early 70’s.  From left to right: Cindy Muir, Lorie Muir-Graff, Lorie Jones, Bill Jones, Mary Mohler (Karija - director of the Baladi Centre Dancers). 

Interview with Zaphara - Part One

The Introduction

A master instructor and entertainer in the Pacific Northwest, Zaphara is one of the few belly dancers in the U.S.  of Greek heritage.  She has appeared in nightclubs and taught workshops throughout the Northwest and other U.S. cities.  During that time, she has appeared on local, Canadian, Japanese, and National TV shows, including ABC’S 20/20.  Zaphara has co-produced, hosted, and performed in four one-hour TV  shows on public access; Bellydance 101, My Big Fat Greek TV Show, The Cairo Connection (featuring Cairo’s famous costume designer, Hallah Mustapha), and It’s Greek to Me!  She previously wrote a monthly belly dance “gossip column” for eight years for Jareeda , a national belly dance publication.  Zaphara has traveled to Greece, Egypt, Turkey, Columbia, and The United Arab Emeritus to study, perform, and teach Middle Eastern Dance.  In Seattle, she teaches belly dance classes at the Phinney Center and performs at Yannis Greek restaurant and at Harissa Mediterranean Cuisine. You can learn more about Zaphara and her events on her website.

The Interview
Alessandra: Let’s start at the beginning. How did you get started in belly dance?
Zaphara: It was in the late 1970s and I was working in a chocolate factory.  My coworkers and I were encouraged to eat the chocolate for quality control, but the problem was that I was gaining weight and starting to get jiggly.  I had tried yoga, snow skiing, etc., but nothing was working.  So I started taking a belly dance class at the King County Parks Department.  I loved the moves, but I just couldn’t figure out how to do an undulation.  It seemed the harder I tried, the worse I got, and I could see my teacher, Shamiran Pick, from Iran, looking at me like “she’s hopeless.”  During this time, Shamiran held her annual dinner show at the Edgewater Inn featuring her students and herself.  It was my first time watching belly dance, and I went crazy.  I loved it.  After the show, I sat by myself, ordered a vodka and orange juice, and muddled over the experience.  When along came a handsome guy who says hi, sat down, and handed me his room key.  I responded by saying I’m married.  Which in turn, he responded by saying that’s okay, I’ll put the key at the front desk for you.  Well, the key sat at the front desk and I went home and told my husband.  My husband started laughing and told me I was naive, and that the man had thought I was a call girl.  After that sank in, I had another drink (and I never drank at the time) and turned on some George Abdo music, and started to dance in my living room.  Between the alcohol, happiness from seeing the show, and the shock of being solicited, the undulation came effortlessly.  And that was the beginning of it. 

Within 6 to 8 weeks later, I had my first performance, and in fact, I had two that day.  In the morning, I danced at the Bellevue Arts Fair, and in the evening, at the venue that is now currently Dimitrou’s Jazz Alley.  At my evening performance I was so nervous, I had to take a tranquilizer before the performance.  I am blind as a bat and at the time didn’t have contacts.  My teacher had instructed me to walk to the bottom of the stairs and then remove my glasses before stepping onto the stage.  Well, I ended up distracted by a waiter speaking in Greek to me and forgot.  So when I’m onstage, I can see my teacher standing with her arms crossed on her chest and a look of dismay on her face!  And I think, oh no, a boob has fallen out!  But fortunately that was not it.  It was because my glasses were still on.  So I stopped, took them off, and handed them to her.  And I got a huge round of applause for the comedic effect and that hooked me right then and there.

Alessandra: What teachers and dancers have had the biggest influence on your career?

Zaphara: The biggest influence has been Shamiran Pick, from Iran, who was my first teacher. Here in the States, I would say Badawia.  She was a fiery dancer with great technique.  Between her intensity and her beauty, you couldn’t take your eyes off her.  I’ve also gone to Egypt twice and I was able to study with Mahmoud Reda and Nagwa Fouad.  On my first trip to Egypt, the National TV show  20/20 followed us around for a week, filming everything we did, and it was like being in a movie.  I  saw Fifi Abdo’s and Nagwa Fouad’s  full show which was a great learning experience,. We had the opportunity to learn the basics with them.  We also went to the pyramids and did a show with live music for a group of dignitaries. During the trip, I was in a competition at the Sheraton Hotel using Nagwa’s band which had 18 musicians.  The drummer asked me what I wanted before I went on and I said whatever you like, not telling him that I didn’t know the names of any of the songs I’ve been dancing to.   But the band was so good, that it was just plain easy to dance to, it was as if I had been dancing with them for years.  I came in third place, as voted by 12 judges that included Nagwa Fouad, Sohair Zaki, Fifi Abdo, Mahmoud Reda, Egypt’s Minister of Culture, and other celebs.  

The other very important influences in my career are the musicians that I’ve worked with throughout the years. Takis Dotis (Grecian Sounds Band), David Saee (Persian, keyboard), Mohamad Meri (Lebanon, oud), Imad Fata (Lebanon, oud), and various drummers including Omar Batiste and The M. B. Orchestra, are some who have had the most impact as I have danced with them for years.  I also need to include The Red Elvises.  They are a world rock touring group, and for the last 12 years, some members of my troupe and I perform with them yearly when they are in the northwest. 

Alessandra: You’ve been in the business for some time now.  What are the biggest changes you’ve seen with belly dance as an art form and as a profession?

Zaphara:  The dance itself is evolving.  Different steps have been added, mixing in modern dance steps that never had anything to do with belly dance.  Of course, there’s the big influence of the American tribal style.  Personally, I don’t care for these types of fusions.  When I watch it, I’m not sure if it’s supposed to be belly dance or modern dance or a parody.  Sometimes dancers take tribal, then Spanish, then something else, and then they put it all together.  Sometimes the result looks like a hodge podge of style and steps. My opinion of what is “right” and “correct” is to dance it authentically.  When I perform, I want it to be an authentic representation, so I don’t blend other types of dancing to my belly dancing.

Frequently, when watching dancers perform, I think where are the finger cymbals? And some of the shimmies?  I hear lots of comments at festivals and shows about this subject.  Why are they missing?  Because it is a lot of work to learn.  You are learning to play an instrument!   As far as shimmies, there seems to be more locks and accents than shimmies.  Why?  Because it’s a lot of work!  Many instructors are not teaching finger cymbals or the authentic shimmies, and things evolve. I feel that it is part of the “belly dance” experience that audiences love; the whole package, along with your interpretation of the music, your personality, stage presence, costume, and entertainment value.

Another change is that the costume has also evolved to a tighter, more “Las Vegas” style look, almost like a two piece evening dress.  Not to say it’s bad, and the new look is gorgeous.   Again, personally, I prefer the traditional look of a bra, belt, and flowing skirt, as I feel it elicits a better response from the audience, especially when dancing for the Arab community.  Overall, a dancer and her costume should be sensual, not sexual.  The show a dancer is putting on should be for both men and women, and shouldn’t be in your face.

Lastly, a big change is that there’s really no nightclubs anymore.  Dancers have had to find other venues, such as restaurants, which in turn creates more problems with dancers dancing for free, or undercutting.   Not that I would say this is a something new, but it’s evolved more because there is no place to dance.  The clubs would  have one featured dancer who would perform for months or even years . In Seattle, it was predominately Delilah and myself.  

Alessandra: The topic of pay has been a hot button issue in the belly dance community lately, and certain Seattle belly dancers have recently started a guild to promote fair pay.  What do you think dancers can do to advocate for themselves and increase their compensation?

Zaphara:  It’s the same old, same old problem.  It’s hard because you’re dealing with a group of women and a creative art form that has a lot of competition.  The guild is a good idea, but I have to say that I don’t think it will work because there will always be someone who won’t follow suite.  There should be a standard, but that’s never been able to be held up.  Plus, you add in the fact that the owners of the restaurants are cheap! They’re going to try to get whatever they can for the least amount of money.  Profit is their motive.  Not too many dancers will confront an owner. I remember asking for a raise for all the dancers at a Greek restaurant (not in business any more).   The owner went ballistic, saying he would put in Spanish dancing instead. He was so upset about my asking that  he stopped the dancing  a few months later.  Of course, business really suffered, and then months later he called and wanted to restart the dancing with a $20 pay cut, but no go!  He finally started again at the same rate.  However, it was too late and he is now out of business. 

For the model to really work, the reputation of the restaurant’s food, the atmosphere, and the dancer all have to come together and be of high quality to make the business run.  I’ve been in clubs where there is a perfect mix; the owner feeds off the dancer and musicians, and vice versa.  In my career, I’ve done okay because I’ve had something to offer, and I think that’s the key.  The dancer has to help bring in business . You can’t just ask for $X amount of money.  You have to bring something to the table as well.  Rebecca, (the Fabulous), a former student of mine who books dancers at local restaurants, and I have been pretty good at holding the line with some of the current restaurant owners, but we’ve had to pull teeth to get raises!

 

That concludes part one of our interview. Check back next week for part two, including some wild stories on performing and her advice to other dancers!

Best of the Interview Series

This month marks the one-year anniversary of the wildly popular interview series. Each dancer who's been interviewed has shared such amazing insights with our dance community.  To commemorate, I read back through the interviews and pick my favorite quote from each dancer.

"The only way to find your voice in this dance is to DANCE. It took me a few years to get my true voice in this dance, and it was one of the best journeys I’ve ever experienced!" - Nadira

"I think there's room for all of us. We should all be sisters in the dance. As dancers, we are already on the fringe anyway, so it's a waste of energy to compete or argue. We should band together." - Dolphina

"There are three things that make a great dancer: technique, appearance, and stage presence....To be a good dancer, you need two of those three attributes. To be a great dancer you need all three. And I would say there's a certain charisma that makes up the last 10% that really tells you someone is a star. When you see it, you will know. The hair on the back of your neck will stand up because it is so perfect and so amazing. That's what it's all about. You will just know." - Mish Mish

"Dance is build on basics. Take the time to learn the dance and don't rush to get ahead." - Tamalyn Dallal

"Taking the stage is sacred, wait for it and know that you earned it....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. " - Malia 

"I know 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." - Dahlia

"Whether you want to think of your dance as a business or not, it’s really important to determine how much time you want to invest in it. How much you put in, is how much you’ll get out of it."  - Ziva Emtiyaz

P.S. I know it's been a couple months since a new interview has come out.  Once I get through my wedding and honeymoon, I'll have some more time and interviews will recommence. Keep your eyes peeled!

 

Photo Credit (Left to Right): Dahlia, Nadira, Malia

Interview with Dolphina

The Introduction
California-based belly dancer, Dolphina has shimmied across continents and into the homes of many with her Goddess Workout line of DVDs.  She's the star of four belly dance DVDs and one burlesque DVD. She's been featured on Sex and the City, taught numerous celebrities, and appeared on Conan O'Brien.  She's also a published author of a belly dance book, and a producer of a series of belly dance CDs.  To learn more about Dolphina, her products, and her company, GoddessLife, you can check out her website.

The Interview
At times, Dolphina's approach to belly dance has been considered controversial by the belly dance community.  She's been criticized for being too light on technique and too heavy on hippie-love and sex appeal.  Contacting her for the interview, I wanted to find out what she had to say herself.

Alessandra: Let's start at the beginning.  How did you originally get started with belly dancing?
Dolphina:  I grew up with a very different kind of lifestyle, as my parents moved our family to Morocco to live in a commune.  From an early age, my sister and I were street performers.  My sister did contortions and I balanced items on my head.  But my first real training was when I was 17 and I moved to NYC and started taking actual classes.

Alessandra: You've lived in quite a few places, correct?  Where all have you lived?
Dolphina:  I was born in San Francisco, moved to Morocco as a child as mentioned, then to New York as a teenager.  I also lived in the Caribbean for one year and one day, where I had my near fatal boating accident. (You can read about the incident here, as well as the rest of her time spent living on an island.)
Alessandra: With living in all these different locations, have you found any of them to be particularly good or particularly bad places to be a dancer?
Dolphina:  All places bring out different aspects of the dance.  New York obviously has all forms of dance.  There is dancing everywhere in NYC and it's taken very seriously.  It's a very competitive city to be in.  I think different places honor different parts of the dance, so it really depends on what you are looking for.

Alessandra:  Throughout your dance career, what dancers have either inspired you in the past or are currently inspiring you?
Dolphina:  My very first inspiration was a Berber woman dancing at a souk in Morocco.  I was entranced and mesmerized by the beauty of her and her dance, to the point that I got actually got separated from my parents, only to declare, when they finally found me, that I wanted to marry her!  Other inspirations to me have been Ibrahim Farrah, Samara, and Jehan Kamal.

Alessandra: You have a successful line of videos called the Goddess Workout series.  In fact, it was the very first belly dance DVD I ever owned.  With this, you've created your business and DVDs around the concept that "every woman is a goddess".  What made you decide to pick this direction and mission?
Dolphina: I believe that true leaders create more leaders, not followers, and this is where my purpose lies.  I want to create more leaders among women and empower women.  I look at the purpose of my DVDs as being an introduction.  A place where women can feel good about their bodies and gain confidence.  My gift is not about teaching perfect dance or technique, but it's about having the dance spread and allowing women to embrace their femininity.  I want to make ordinary women feel extraordinary.  Many dancers who start with me choose to continue on with another teacher for more in-depth training later, and that's perfectly fine.  That's just not my mission. I look at my DVDs as not just a dance or workout class, but as an escape.  Whether you're a stay at home mom or a CEO, I wanted to give women a feeling that this is time for themselves.  Not a time to try and be perfect.  Women have enough of those pressures in their daily life.  That's my real passion. 

Alessandra:  What has been your biggest challenge with either belly dancing itself or running a belly dance based business?
Dolphina: I've come to terms with it by this point in my career, but dealing with other belly dancers judging and being mean and critical.  I've had other dancers decide that I was doing something "wrong" by focusing on my message of empowerment, rather than technique or history of the dance. But I think there's room for all of us.  We should all be sisters in the dance.  As dancers, we are already on the fringe anyway, so it's a waste of energy to compete or argue.  We should band together.  When you put yourself out there, you're going to get both positive and negative reactions, so I choose to focus on the woman who wants what I have to offer.  I once had one woman tell me I was capitalizing on her culture, but I don't feel that anyone owns belly dance.  I don't look at it as a piece of pie that a few people take until there's none left.  I believe there's room for everyone to express themselves in some capacity, and that's the Goddess Workout philosophy.  It's not about competing or comparing, but growing together.
Alessandra: So what do you feel is the role or importance of technique?
Dolphina:  Belly dance is an expression of the woman who is dancing. Ideally, I'd like to see both technique and expression in a dancer, but if I had to pick one I'd go with the dancer who has something to say.  Dance is unique to the individual, sometimes it's sexy, sometimes it's playful.  Sometimes it's a moment in a song where you have your breath taken away.  Overall, it's just very personal.

Alessandra:  Belly dancers usually seem to have some funny stories related to performances, audience members, and belly dance in general.  Anything come to mind for you?
Dolphina:  (Laughing) Oh, like crazy showgirl stories?  Oh yes, they happen all the time.  One time I was playing my finger cymbals and one flew off my finger and took off like a flying saucer.  It hit an audience member's water glass and broke it.  Everyone thought I did in on purpose and was clapping.  Another time I was dancing in a place with a bunch of Christmas lights dangling down and I ended up with them tangled in my hair. I was decorated like a Christmas tree and I was stuck.  Literally stuck.

Alessandra:  And the final question I've been asking everyone.  What advice would you give to beginning belly dancers?
Dolphina:  Keep dancing.  Dancers can be very enthusiastic when they first start and want to gobble it all up and devour everything.  But take your time.  When things seem right and easy, go in that direction.  If it feels hard and that your forcing it, then back off.
Alessandra:  And what about experienced dancers looking to turn professional?
Dolphina:  If you're ready to make that leap, you have to jump.  When you are pursuing any dream, you're never going to feel ready.  But you can't improve on something until you try it.  In belly dance, there's always concerns over competition.  But I believe that there's always a way to make it work for you without stealing from another dancer by finding your own place in the dance.  And last I would say, find a mentor.  Either a dancer or a business owner, but someone you can look up to and ask questions.

Interview with Mish Mish - Part Two

This is part two of my interview with legendary dancer, Mish Mish. After sitting down with Mish, I had so much juicy content that I decided this was going to warrant two posts. So without further delay, diving right back into the interview.

Alessandra: With all your experience, you've got to have some funny stories from doing gigs. Any come to mind?
Mish: Bellygrams were really popular for awhile. I was hired to do a bellygram for Jim Nordstrom during the middle of a board presentation. I could tell he was upset and asked when it would be over. He finally walked over and pulled the plug on my cassette player. I've done a bellygram in the middle of a lecture hall at the North Seattle Community College. During one gig at the Seattle Yacht club, I had a man pick me up and start carrying me around. I had to warn him to put me down or he wasn't going to like the result! At a birthday party at a very wealthy, well-to-do house, the guest of honor starting chasing me and the other dancer around the house with a vibrator, and then came out with his wife's pantyhose on. And this was while his wife and children were there! Apparently they were used to it! I've done a bachelor party where when I walked in, all the men were watching porn. At another party, for a group of Russians, they were all in the hot tub when I arrived. And of course, I've had the usual belly dancer mishaps: forgotten music and costume parts, music that stops halfway through the routine, and a bra that comes undone. The latter becomes an exercise in how long you can dance with your elbows pinned to your sides to keep your top place!

Alessandra: (laughing) Those are pretty good. So what other dancers have inspired you throughout your dance career?
Mish: Jamila Salimpour has been a big influence, as she was the teacher that my teachers studied with, and I always remember being inspired by seeing her troupe, Bal Anat, perform. Bobby Farrah is another one. Aisha Ali was the dancer who first introduced me to folkloric dance. And Badawiya. She was one of the few dancers who was Arabic. She was exotic and sexy and feminine.  When you saw her, you never forgot her; gorgeous with wild hair, an incredible body and mesmerizing. I remember her saying once that you could achieve a natural high with dancing that was better than sex or drugs.

Alessandra: What events do you think have to combine and come together to create that natural high?
Mish: The dancer, the musicians, and the audience all have to come together. It usually only happens with live music, because it has to be a natural response to the music and not a thought-out reaction. The musicians have to be absorbed into their music, then the music is driving the dancer, and the audience is just taking in all the energy. It is an amazing feeling when it happens. I think belly dance is unique in this regard because it's one of the few art forms where this will happen. I think it's more creative than other forms of dance because it's a very individualized and spontaneous response to the music.

Alessandra: Alright, onto our last question, and the one I've been asking everyone. What advice would you give to a new student?
Mish: Take as many classes as you can. Have respect for the culture. Find your own style and perfect your technique. I would say a dancer needs two years of solid training, assuming the person has natural ability. Make sure that you have the basic, core moves down. And there really are only about a dozen basic steps, everything else is a variation.  Keep an open mind. Try different teachers. And most of all, have fun.
Alessandra: And what advice would you give to a new pro or dancer looking to turn pro?
Mish: Don't give up. Keep trying and be persistent. Eventually you'll get your foot in the door. Be seen! Get out and rub shoulders. Wear a sexy costume. It's a game and you have to fight and work hard.

Interview with Mish Mish - Part One

The Introduction
Mish Mish started taking belly dance lessons over 40 years ago and since then has introduced thousands of students to the music, dance, and culture of the Arab world.  She has had a long career dancing in Greek and Arab nightclubs, and has traveled to Egypt, Morocco, Turkey, and Iran.  She was one of the first dancers to bring nationally known dancers to Seattle, produce big belly dance shows, and to showcase folkloric dance to the general public.

In 1978, Mish Mish started a trouped based on Bal Anat, Jamila Salimpour's famous seminal group featuring live music and a male dancer.  Currently, she directs Karavans, a folkloric group, and Khan Il Kahlili, whose repertoire ranges from contemporary to fusion. 

With a background in theatrical design, Mish Mish will be hosting a belly dance makeover workshop at Zamani Culture House on April 14th.

The Interview
We sit down at the table in Mish's dining room.  The same dining room where, not only myself, but many other dancers as well, have spent countless hours rehearsing choreography.  An hour and half later, I have so many pages of notes from our chat, that I've actually split this post into two parts.

Alessandra: You've been in the belly dance business for quite a few years. What would you say are the biggest changes you've seen occurring with belly dance over time?
Mish: One of the big changes was the introduction of a more Egyptian style of dance to the West Coast by Shareen El Safy in the last 1970s.  Before that most of the dancers I worked with did a combination of Turkish, Greek, and Arabic style dance.  Plus we played finger cymbals during the whole dance and did a separate extended veil routine.  It was hard for me at first to switch from the five part routine using popular songs like "Mustapha" and "Hadouni" to the highly orchestrated, more sophisticated music composed especially for Egyptian dancers.  The posture and the focus were different.  The good thing about the Oriental style was it created better dancers overall because it forced them to work more on technique and to appreciate the Arab roots and emotion inherent in the dance.  The bad news was that in the beginning, so many dancers slavishly copied the style, that after awhile they all looked the same. 

Another major change came about in the 1980s when Fat Chance and the tribal style came along.  The good thing was it attracted a lot of new students and gave dancers who were not interested or comfortable with the cabaret style a place to dance.  The bad thing was it split the dance community and morphed into some pretty weird stuff.  I'm not against innovation or pushing the boundaries, as I remember when Tahia Alibeck was lambasted for dancing to Michael Jackson's "Beat It", but at what point does it cease to be belly dancing? 

Another thing that has affected dancers and teachers in the last few years is the economy, which has caused a big downturn in enrollment in classes, the number of workshops and shows, and the dancers interested in going to clubs.  When I first started taking lessons, I was out every weekend soaking up the local belly dance scene.  Plus, the popularity of Bollywood, burlesque, and zumba has attracted a lot of students who in the past might have taken belly dance classes.  The last major change I see is that the young, second generation Arabs are not frequenting the nightclubs.  They prefer DJs, hookah lounges, and the modern techno Arab music.  In the 1980s and 1990s, the Arab families would come out to the clubs to dance and socialize.  The result is fewer places to dance, and less exposure to the general public.

Alessandra:  Given the changes in demographics and the economy, what do you think a belly dancer needs to do to make it?
Mish: Network.  A dancer needs to network with club owners, musicians, and other dancers.  She needs to go out and be seen in the local community.  She needs to be willing to dance for free sometimes.  It's like an on-going "interview".  A dancer needs to look nice and have professional costumes. She should find new venues and set herself up as the main dancer there.  There will always be dancers that are more aggressive and know how to hustle, and therefore will be the dancers that get the most work.

Alessandra: Belly dance competitions have become increasingly popular. What's your take on them?
Mish: Sometimes I have a hard time with competitions because they are so subjective. I think for dancers considering entering a competition, a better perspective is to look at it as a way to challenge yourself, rather than setting out to win.  Remember that only a handful of judges have decided who is the winner.

Alessandra: A number of dancers, myself included, have gotten their start in your beginning belly dance classes.  When you're looking at a new student, how can you tell is she has potential as a dancer?
Mish: First and foremost, that she can follow and mimic my movements.  Having a background in other types of dance is always a big help.  And I need to see that the student likes to dance, and if she really enjoys herself in class that's a positive sign.  Plus if she's interested and continues to improve and take classes.

Alessandra: Moving on from student, what qualities do you think a dancer needs to have to be successful?
Mish: There are three things that make a great dancer: technique, appearance, and stage presence.  Your costume should fit and be flattering.  Technique only comes with practice, but it's not about showing people how many steps you know.  Relax.  Get into the feeling of the music, make it it look easy and the audience will enjoy what you are doing.  You don't have to have the perfect body or the latest costume if you have confidence and a strong stage presence.  I have seen some plus size dancers with great stage presence and technique.  I encourage dancers to develop a style of their own so they don't look like everyone else, and to create a stage persona they are comfortable with.  It can be a reflexion of you, or sometimes a totally different personality.  Elena, Bobby Farrah's protege, was like a quiet little moth offstage.  Onstage, she turned into a magnificent butterfly.  You can be cute, sexy, earthy, coy, or shy.  At Tamalyn Dallal and Malia's recent student night, I saw elegant, vampy, slinky and enigmatic dancers.  To be a good dancer, you need two of those three attributes.  To be a great dancer you need all three.  And I would say there's a certain charisma that makes up the last 10% that really tells you someone is a star. When you see it, you will know.  The hair on the back of your neck will stand up because it is so perfect and so amazing.  That's what it's all about. You will just know.

Alessandra: You mentioned being shy as a persona.  I identify with shy, and maybe surprisingly, I think a lot of dancers actually do.  How can you work this to your advantage?
Mish: You don't need to  look at the audience or be smiling a big smile or make eye contact all the time.  Sometimes try looking down, or at the isolations you are doing to draw your audience's attention to the movement.  Doing the inherently sexy moves of belly dance, but using facial expressions that are subtle and coy can be really effective.  Leila, the belly dancer originally from Washington state who has danced in Egypt the last few years, really perfected this technique.

That concludes part one of our interview.  Check back next week for part two, including some wild  stories on gigs and performing that you won't believe!

Interview with Ziva

 

 

The Introduction
You recently saw her place as the first runner-up out of an amazing group of dancers on the reality show Project Belly Dance.  But her dance resume extends far beyond.  Based in San Francisco, Ziva is a belly dance instructor, performer, choreographer, and program director.  She’s danced with the award-winning Ya Habibi Dance Company.  Studying and teaching workshops with master percussionist Souhail Kaspar, has taken her as far away as Japan and Turkey.  She was also selected as a competition winner for Jillina’s Bellydance Evolution.  Learn more about Ziva on her website.

The Interview
Having pre-arranged a time for our phone interview, my phone rings promptly at our agreed upon time (punctually is not a widely known trait among belly dancers!).  Sounding bright and bubbly, I can feel her positive energy through the phone.  We dive right in.

Alessandra: As dancers we feed off each other.  What other dancers are currently inspiring you?
Ziva: I’m inspired a lot by the dancers around me, such as the Hipline instructors and my coworkers, Samar Nassar, Rebecca Vasile, and Kendra Katz.  I would also include my original teacher on the Pacific coast, Shoshanna.  On a more global scale, I would also add Daria Mitskovich, Didem, Aziza, Soheir Zaki, and Zoe Jakes.

Alessandra: As I think most of the belly dance community is aware, you were just recently the first runner-up on Project Belly Dance - congratulations!  But of course we want to hear the inside scoop!  What about the competition that wasn't depicted in the episodes do you think the audience would find the most surprising?
Ziva: Thank you!  Probably the most surprising, is that the competition was filmed in the span of two days.  After the first round of cuts, there were already people lining up outside for our first performance in front of a full audience.  So you really had to be on your toes!

Alessandra: Was this your first belly dance competition or had you done other ones before?
Ziva: This was my first competition in front of live judges.  I had done Jillina’s belly dance competition where you submit your filmed audition video, but it is a completely different scenario when you can do multiple takes and edit your performance.  This type of live competition takes the challenge to a whole new level.
Alessandra: Well, you seemed very confident and composed!  Was that how you were actually feeling, or were there underlying nerves?
Ziva: My nerves were definitely running on high!

Alessandra:  What did you think was the most challenging aspect of the competition? Ziva: Believing in myself.  Each of the dancers was amazing in her own way, so I had to really work to stay focused on what I was doing.  I really had to be my own cheerleader.  I think also, you had to be hungry for it and have that desire to do your absolute best to be able to continue on each round.  I would also add that it was hard to watch dancers get cut.  My heart went out to them.  Participating in the show really illustrated to me that you have to be prepared for anything.  For example, in the “Name That Tune” section, you needed to have studied culture and music to excel.  Or even just makeup; who would have thought that putting on your eyelashes would be a monumental thing!  Just goes to show that you need to be strengthening your skills as a dancer on a daily basis.

Alessandra:  If you could go back and change something related to your performance, what would you change? 
Ziva: I would say more time for preparation, as I felt mine was rather limited.  But then, I think most dancers feel that way all the time.  However, on the flip side, in my last performance of the competition, despite having prepared a choreography, I decided last minute to just dance from my heart and improvise.  (If you want to view that performance, if can be seen here.)

Alessandra:  What doors has being on Project Belly Dance opened for you?
Ziva: Just having people reach out to me through Facebook and other social media and letting me know that they liked my dancing and really believe in what I’m doing has been amazing.  It’s really opened the opportunity for me to network with other dancers.  And of course my upcoming DVD with Cheeky Girls!
Alessandra: Do you have a topic yet?
Ziva: The topic is still in the works.  But it’s going to be fun and challenging.  We film in February.

Alessandra:  Even before you were on Project Belly Dance you were touring around the U.S. with Grammy-nominated drummer Souhail Kaspar doing workshops.  What have been your top takeaways from working so closely with such a talented musician?  
Ziva: He has so much information.  Every time I’m with him I learn more about how rich Middle Eastern dance and culture is.  Having a mentor is vital.  Also how universal dance is.  We recently taught together in Japan, and even though there was a language barrier, it really illustrated that with dance we can communicate with our movements across spoken language barriers.   

Alessandra:  What advice would you give to beginning belly dance students?
Ziva: Technique can be frustrating, so I think beginners need to know that it’s muscle memory.  Try to relax and know that it will come.  Having a sense of humor is important.  And staying motivated and inspired, either through watching YouTube or other local performances.  And finally, goal-setting is key. 
Alessandra:  And what advice would you give to dancers looking to make the transition to professional?  
Ziva: Whether you want to think of your dance as a business or not, it’s really important to determine how much time you want to invest in it.  How much you put in, is how much you’ll get out of it.  To be successful, one hour per day is not enough.  You also need to invest in a website and business cards.  And find a mentor.  Not just someone who can coach you on technique, but also musicality and meaning.  Try to branch out and see other dance communities and network with dancers in other cities.  And keep saying yes to every opportunity.