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Egypt National Tours

rosey — Mon, 12 May 2008 00:00:00 -0400

Dancer Tours

Thru

Egypt National Tours, LLC

www.egyptnationaltours.biz

Mr. Amer began Egypt National Tours in a modest way in 1978 by taking clients, who knew his expertise in Egyptology, on organized tours to his homeland��.Egypt.

The popularity of Egyptian style dance began its momentum in the late 60�s and early 70�s. At the request of the many dancers who had come to know him in the dance community, he started taking dancer�s to Egypt to experience the �Motherland of Oriental Dance�. In 1981 he established his office in Cairo and expanded the tours to include all of the Middle East. Egypt National Tours is a licensed tour company and not just promoters.

Today Egypt National Tours still offers dancers the opportunity to experience Egypt, thru the eyes of the experts.

Egypt National Tours offers tours to Egypt at affordable prices!

Hotel and Cruise accommodations are all 1^stclass.

All tours are escorted and kept small for personal attention.

Dancers can experience the country and culture by following the popular programs of ancient and modern history, with insertions of requested dance related activities and classes.

If you prefer you can request your own itinerary designed just for you. We will work with you to make your dream tour come true. Just name the dates you want and the activities and it can be arranged just as you like, no request is too small to ask for.

If you want to arrange a special group tour, with your permission, it can be posted on our web, to help you promote your tour sponsorship.

You can follow a popular itinerary or design your own.

You can shop till you drop or dance till your toes fall off!

Contact us to plan your adventure to a fascinating and ancient culture

E-mail: egyptnationaltours@hotmail.com

International MALE Oriental Show

MaleDancerSERKAN — Thu, 8 May 2008 00:00:00 -0400

Hi Everybody,

   "SULTANS OF RAQS"
   "FIRST INTERNATIONAL MALE ORIENTAL SHOW"

With:"Mr. HABIEB"(Belgium),"PRINCE KAYAMMER"(Greece),
   "SERKAN"(Turkey/Belgium),"EKREM"(France),
   "MALEK"(Greece),"DANSCI AHMET"(Turkey),"ZADIEL"(Germany)

DATE:14th June Saturday
Doors open 19.00h Show start:20.00h
Adress:Groenzaal Sint-Bavohumamiora
   Lange Boomgaardstraat Gent/Belgium
   (hoek seminariestraat)

Price:BK/16,50euro
   AK/20euoro

Tickets and Reservations: Uitbureau GENT
   Kammerstraat 19
   9000 GENT/Belgium
   09/233.77.88
http://www.uitbureau.be

WORKSHOPS:

14th June Saturday:

"MALEK":12.00h-14.00h "Griekse Chifteteli" ( Griekse stijl Ori�ntaalsedans)

"DANSCI AHMET":14.15h-17.15h "Turkse Zigeunerddans"(Turkish Gypsy Dance)

15th June Sunday:

"ZADIEL":11.00h-14.00h "Turkse Tabla Solo" (Turkish Drum Solo)

"PRINCE KAYAMMER":14.15h-17.15h "Klassiek Egyptische Stijl"(Classic Egyptian
Style)

Price:
2 hours:25,-euro
3 hours:35,-euro
5 hours:55,-euro
6 hours:65,-euro
8 hours:90,-euro
9 hours:105,-euro
11hours:120,-euro

Registrations and more info for workshops:
"info@serkan.be" or "info@dedanstent.com"

Payment:ING 363-0265649-06
(Registration after 31th May +5,-euro extra)

All workshops will be in "DE-INGANG"
   Land Van Waaslaan 78
   9040 Gent/Belgium
   http://www.de-ingang.be/

If you need flyer or poster just let us know.We can send it ;))

MANY ORIENTAL GREETINGS.

"DE DANSTENT"
www.dedanstent.com

Belly Dance Superstars in ITALY!

MilesCopeland — Fri, 4 Apr 2008 00:00:00 -0400

We are 5 shows in and are quite amazed at the response and audience figures we are receiving here in Italy. For the Italian promoters, who are mainstream and used to Ballet, this is an entirely new experience. I had all sorts of grief leading up to opening night as they worried that the workshops would we had booked would take business away from the concerts, and I had to explain that would actually help, etc. They had experienced extreme skepticism from all the venues who questioned the viability of bellydance outside the nightclubs. In Naples the venue complained the poster which featured Petite Jamilla spinning had no topless girls and therefore the show would not sell to the men they expected to be the audience. They had even threatened to cancel the show several times so we were expecting a bad night but after the sell out crowd in the beautiful 1,300 seat Teatro Verdi in Florence we thought one bad night would not kill us. Besides the food in Naples was reputed to be great (and it was). In fact just over 800 tickets were sold and we were told that was completely amazing for Naples on a Tues night. The owner, a grand old man who looked just a Mafia Don came up to Stevo, our Tour manager to announce after the show 'Ziz showa is a verrry beautifule'. The dressing rooms were on the second floor overlooking the small square where the theatre entrance was. After the show a large crown gathered in the square and as some of our dancers began to look out the window they were instantly spotted by the crowd below who began hollering their names and snapping photos. Quite the scene! A big success.

The first 2 shows in Milan brought in 2,300 people and we are now in Bologna for 3 shows which are expected to sell 3,000 tickets. The audiences here are highly appreciative and appear to be both knowledgeable about bellydance and the Bellydance Superstars themselves. The press has definitely helped with large coverage in print and a big thumbs up from Valeria Crippa, the top dance writer (ballet etc) from the biggest Italian newspaper. TV coverage in Milan and three more big TV shows coming up in Rome next week should seal the deal. We will definitely be coming back to tour Italy next year!!!!

All the workshops have been great also with excellent work from our local Italian bellydance community sponsors. So I guess its safe to say it's tuta benne in Italy!

DVD REVIEW: Belly Dance with Zils

misha — Thu, 3 Apr 2008 00:00:00 -0400

Title: Belly Dance with Zils Instructor: Elsa Leandros & Raquy Danziger Level: Beginner to Intermediate Belly dancers I started learning to play the finger cymbals after I�d been dancing for about a year. I can remember being so frustrated that these tiny musical instruments were so challenging (yet I was determined to learn them as they were so beautiful and such an integral part of Middle Eastern dance). This would have been a great DVD to have back then, as Elsa does a great job of presenting the information so that zil novices can not only understand how to play but can also be comfortable while doing so. She works at speeds that are reasonable and easy to follow, presenting information so that those new to zils are not overwhelmed. This DVD is great for those who�ve never played zils before and for those dancers familiar with doumbek rhythms who would like to learn some new patterns that will complement, but not mimic, the doumbek�s sound. Here�s what you�ll find on this DVD: �Bellydance Rhythms: Zils and Doumbek:� The DVD begins with drummers Raquy Danzinger and Brian Carter joining Elsa for a brief introduction to Middle Eastern rhythms. Together, they offer a very educational mini-class on the differences between the various rhythms and they way they are played on doumbek as opposed to zils. For those of us who are used to playing the doumbek rhythm of dums and teks on our zils, this is a great opportunity to understand new ways to play the patterns. �Tips and Technique:� When a dancer first slips zils onto her (or his!) fingers, they can feel unwheildy and alien. We are taught to move our hands with grace and ease, but the addition of these instruments can quickly lead to frustration as a dancer must now learn to hold them and wear them properly. In the �tips and technique� section of the DVD, Elsa shares some wonderful secrets that will make the addition of zils far less daunting. For the novice dancer, this section is invaluable as Elsa covers everything from how to wear the zils and what type of elastic to use to the different sizes and materials of zils. For finger cymbal veterans, this serves as an excellent refresher course and will definitely have a few new ideas, too. She also explains her technique and philosophy, offering an bit of a different perspective on how to play the finger cymbals. This was a nice addition, as it really helps viewers who are familiar with zils (but new to the idea of switching hands and alternating instead of using a leading hand) to understand the method to the various patterns featured later on the DVD. Rhythm Sections: After the Tips and Technique section, the DVD moves on to the instructional portion where viewers will learn how to play a variety of Middle Eastern rhythms using finger cymbals. A total of seven rhythms are covered with variations on many of these standard favorites; patterns to accompany Baladi, Maksoum, Saidi, Ciftitelli Masmoudi, Rumba, and Karsilama are offered. Elsa first describes the rhythm and often explains a bit about its history and/or use in Middle Eastern music. The rhythm is then broken down according to counts (Baladi Triples, for example, are described as the familiar: 123 123 123) and Elsa demonstrates it very slowly. Viewers have the opportunity to practice along with her, following first to numbers that appear on the screen and then just with her playing. There�s plenty of time to play, too � Elsa doesn�t simply demonstrate and then move on. During each rhythm there is between 2 and 4 minutes of just slow, steady playing to use as practice time. This provides an excellent opportunity to focus just on getting used to the rhythm. During the various pattern sections Elsa provides several short zil drills. For nearly every rhythm Elsa demonstrates a section for �arms and hands,� simple yet elegant arm movements that can be used with the zil pattern. For those dancers new to finger cymbals, this is an invaluable time to slowly practice the rhythm while integrating movement. It is critical for dancers to not simply sit and play � one must *move* while practicing in order to prepare for dancing while playing and this section will certainly provide both those new to zils and the veterans with drills to accomplish this goal. There are also demonstrations of �basic steps� for many of the included rhythms. These are meant to simply give viewers an idea of some (of the many) movements that might be performed with the rhythms � the real focus, of course, is on playing the zils and learning the various patterns. The steps are not broken down in too much detail, allowing viewers to focus on the zils and not worry, necessarily, about what is going on with the movement. However, the explanations are clear enough for the viewer to understand each suggestion. After presenting viewers with the opportunity to practice the patterns with music and then to slowly layer in arms and basic movements, Elsa ups the ante with a series of combinations. The inclusion of the combinations benefits intermediate dancers who, up until this point, may have found the DVD a bit easy. The combinations utilize steps that are a bit more difficult, such as Soheir Zaki drops and traveling hip bumps and pushes with interesting body angles and layers. For each rhythm there are usually at least 2 combinations to try. �Practice with Music:� Are you ready to just jam with the music? Also included on the DVD is a section of music for each rhythm. From Baladi to Karslima, Elsa has carefully selected a song that viewers can play along with while viewing the pattern (and the accompanying counts for it) on the screen. Nice touches include the inclusion of the title, artist, and album of each song as well as a website vendor for each. A great surprise in this section was the addition of a drum solo by Raquy and Brian Carter which, of course, viewers can play along with or just simply enjoy. There are also several performances on the DVD. In the first, Elsa dances to an �Arabic mix;� a standard recorded music track. Her zil playing is superb � she really uses the finger cymbals as instruments and it was wonderful to see a dancer perform like that. Listening to her use of zils to interpret and enhance the music will certainly inspire novices and pros alike! The second performance is a lively drum solo with accompaniment by Raquy and Brian. While some may teach that zils should not be played during a drum solo, Elsa does a wonderful job of showing viewers how wonderful the addition of zils at the right time, working along with the drummers, can make a drum solo even more entertaining. What worked for me: � I really liked Elsa�s technique of switching hands and playing the zils in a different manner to a drummer�s interpretation of rhythms on a doumbek. The introduction where Raquay played the rhythm on the doumbek, and then Elsa contrasted it with the same rhythm on the zils, was wonderful to see. I found it challenging at first to switch and play in her style, but it was a refreshingly new way to play and a nice style to add to my repertoire. � Elsa jumps right in to help students become comfortable moving while playing zils. It was wonderful to see the inclusion of different moves for each pattern. While she recommends students first familiarize themselves with just playing, Elsa spends a great deal of time demonstrating how students can work their way up from playing, to playing while moving just the arms, and then incorporating a full repertoire of movements while zilling. � The practice with music section was great � I loved being able to play along while having the pattern on the screen in case I forgot where I was with it! � I have to say I was really, really impressed with Elsa�s performance. Regardless of whether or not you like her style of dancing, her zil playing is absolutely superb. Not only can she play incredibly fast and complicated rhythms cleanly but she actually uses the finger cymbals as instruments and plays to compliment and interpret the music as opposed to simply playing along or repeating a memorized rhythm. � This DVD was a FABULOUS production! The overall look of the DVD�s menus was just beautiful. WDNY has added lovely transitions from the main menu to the various sections, too. What might not work for you: � Elsa�s style of playing without a leading hand might take a bit of time to get used to. If you�re just starting with the zils, however, you should be able to pick it up fairly quickly. If you�re used to always beginning with a certain hand this might not work for you. � This is not a �rhythm� type video, exactly � while Middle Eastern rhythms are indeed covered on the DVD they are not broken down into great deal. There is no in-depth explanation, here, of �dums� and �teks� beyond a very basic introduction. It is intended for dancers who are going to play zils while dancing who may not need to know the drum pattern breakdown or want to play a contrasting pattern to that which is being played upon the drum. The rhythms on the zils are explained in terms of counts so if you�re looking for a video that describes rhythms in more detail you may need to look elsewhere. � The steps used in the combinations assume a familiarity with basic belly dance movements. Elsa does not always go into a great amount of detail with these steps, too, although they are clearly demonstrated.

The World Music Folklife Center

Kostana — Thu, 3 Apr 2008 00:00:00 -0400

The World Music Folklife Center

The World Music Folklife Center grew out of our shared passion between my husband, Brad and I for music of the Middle & Near East, Turkey and the Balkans. The idea for this organization took many forms before it developed into a 501c-3 nonprofit. We originally thought of founding a percussion school. We wanted to give area percussion students a chance to study with Masters in the field from around the country and the world. However, we also wanted to sponsor concerts and performances to bring more live music from these traditions into the local area. We saw a niche that needed to be filled. There are other folk societies and centers in our area, but most concentrate on Euro-centric and American folk music. Also, as a performer I was unhappy with the lack of opportunities to perform with live Arabic music in our area � the nation�s capital! There are a few Moroccan bands that play locally, but there are not a lot of opportunities to perform to live music.

My husband and I also share a passion for Romani (Gypsy) music and have studied in Turkey on several occasions. I began my dance career studying under Artemis, and later took classes with Eva Cernik and several Rom dancers including Reyhan Tuzsuz. Brad�s experience with Romani dance and music goes back to the mid 70�s when he was a folkdancer, dancing to Macedonian, Albanian and Hungarian Romani music. In the early 80�s, he befriended Seido Salifoski and became a dedicated student of Romani percussive technique.

Being aware of the plight of Roma everywhere, both Brad and I wanted to be able to give something back to the communities where these traditions originate. For me, I especially feel satisfied if we have done something to empower women in these communities. We knew if we were eligible as a nonprofit to apply for grant money we could achieve much more than we could as a profit-making business. Plus it leaves personal gain out of the picture, and encourages like-minded people who want to make a real difference to get involved. From the beginning, we didn�t want any one person to �own� the organization. Rather, we feel it should reflect the needs of the local community as a whole. Everyone is welcome to participate, and to volunteer.

Our vision is a world where all people have the opportunity to embrace and share their culture and come together in peace through music and dance.

So, we gathered a Board of Directors, incorporated in the State of Maryland, and filed our nonprofit papers with IRS. (Our original Board included Piper Hunt, Dale Hall and Bryndyn Weiner). Bryndyn currently serves as our President and also performs with the local band, The Balkanics. Our Board members also have a long history in the folk music and/or dance communities.

Our mission is to:
- foster understanding of cultural traditions and heritage through folk music and dance,
- preserve folk traditions through education programs for the general public, with specific programs for the youth population,
- enrich the local community by sponsoring Master Artists from around the world to teach & perform their traditional music/dance in the local Baltimore/Washington area,
- & give humanitarian aid to those displaced and/or impoverished populations from where these folk traditions originate.

The struggle for survival as a folk organization has only just begun, but so far, in our first year as a nonprofit, we produced the first annual Herdeljezi Roma (Gypsy) Music and Dance Festival in the DC area with music and dance classes all day plus evening performances with live Romani music; we brought Reyhan Tuzsuz out of her Romani community in Istanbul to the United States to teach and perform for the first time; we orchestrated the first all-volunteer Balkan music & dance event, �Balktoberfest� in the DC area, and raised money for the Seeds for Common Ground�s Mozaic education programs in Macedonia; we hosted the Balkan Brothers from New York in DC for an evening of music and storytelling, and we sponsored Master Percussionists Souhail Kaspar (with Rachid Halihal and the fabulous Dahlena) and Issam Houshan of Bellydance Superstars for percussion workshops and performances in the local area.

Both our Herdeljezi Festival and Balktoberfest will become annual events celebrating the rich culture of the Romani people from around the world as well as the folkdances & music of the Balkans. Throughout the year we will continue to sponsor and produce concerts, workshops and performances as well, and hope to expand to include Indian, Persian, Asian and African traditions.

Why the name �World Music Folklife Center�? Most of our programming centers around folk music from the Balkans, Turkey, the Near East and Romani communities. Dance traditions in these countries are closely knit to the music. While music can exist without dance, very little dance exists without music. So, we hope to provide original and unique programming as well as opportunities to enrich the musical community and opportunities for the local community to engage in dance performance accompanied by live music.

We also strive to bring some of the highest quality teachers and performers from around the world to share their traditions with us.

We hope you will join us and look forward to seeing you at an event soon!

Photos courtesy of Roger Wood and Margaret Loomis

Egyptian and Iraqi Music on the Radio

rosey — Wed, 19 Mar 2008 00:00:00 -0400

View listing:
Radio broadcast on Egyptian and Iraqi music

Sami Abu Shumays, Dimitri Mikelis and Salah Rajab of ZIKRAYAT along with good friend Amir El Saffar of SAFAAFIR made a special appearance on the program 'Moorish Orthodox Radio Crusade' yesterday evening on WBAI. The show featured an interesting discussion on traditional Egyptian and Iraqi music, as well as several short musical performances live in the studio.

To play the broadcast:
http://archive.wbai.org/pls.php?mp3fil=17376

save the file to your desktop, and you will be able to play it with realplayer or your choice of media player.

Or to download the entire broadcast:
http://archive.wbai.org/files/mp3/080319_000001morc.MP3

Visit WBAI:
http://www.wbai.org

Starting Teaching

mmaude — Wed, 12 Mar 2008 00:00:00 -0400

My name is Melanie (Jasmine) and have been dancing now for over 12 years professionally in restaurants, weddings and Haflas. I recently started teaching and would like to share my thoughts and experiences with other dance teachers. I'd like to download video clips of my students dancing, pictures and other stuff so that they have a web address to go to and can access the great material on Bhuz. I'm learning as I'm going along, but I try to get a balance between teaching technique and making sure everyone is still having fun. At the moment I've choreographed a four minute piece and am using that as a framework to give the students something to aim for. I am then able to see where my students are having trouble and use these problem areas as mini technique 'blasts' that we iron out as a class before picking up the choreography again. In order to keep things fresh and fun, I've tried to incorporate a 'quick fire' technique by putting on some fast music with a steady rhythm and shouting out some moves that the students have to make. I count in either fours or eights and it usually leads to much raucous laughter as people try to keep up. Its also a way of getting some cardio vascular exercise into the sessions which balances well with learning the technique. I'm dancing at The Hip Kandi Showcase event at the Lowry Theatre Friday April 25th. Tickets can be bought at www.bellydanceuk.co.uk and I hope as a successful teacher I would be able to take a group to the event next year and take pride in their performance!

How to Make a Skirt

khalisah — Wed, 23 Jan 2008 00:00:00 -0500

I have sewn a number of these skirts and thought I'd try to explain the quick method I use for cutting the half-circle pieces. Please let me know if you are having trouble understanding the pictures - I can try to make them better!

I am assuming that the fabric is in one piece, with two selvages and two cut ends, around 7.5 yards long. I use one of those foldout cardboard cutting surfaces you can get at a fabric store, I think it�s 3� x 6�. I also have a rotary cutting mat that is 24� x 36� and a rotary cutter.

I like a 37� skirt, so I usually cut the bottom of the skirt at 42�. Start at the 42� mark and lay out a cut edge of the fabric so that it is along the 42� line. I pin it to the cardboard surface on both sides at the 42� mark, so that it doesn�t slide around. (On one side, the pin will be on the selvage of the fabric � on the other side the pin will be partway across the fabric because the board is only 36� wide and the fabric is either 45� or 58� wide). Let�s call what we just pinned the �bottom� for reference.

Now, lay the fabric towards the 0� mark on the cardboard surface and pin it at the 0� mark. Let�s call this the �top�. Fold the fabric back over until it meets the �bottom� again and pin this at the same spot as the other. This is a complicated way to explain that you�ve just folded one end of your fabric piece into two 42� segments.

Now repeat these steps again, taking the unpinned part of the fabric and bringing it to the �top� and pinning, then back to the �bottom� and pinning, both times on top of the original fold of fabric. Now you have 4 42� segments.

Repeat the same again so that you have 6 42� segments.

So, the �top� should be 3 folds. The �bottom�, starting from the lowest layer of fabric, is cut end, fold, fold, cut end.

Now comes the hard part to describe. You need to fold the fabric along the diagonal. You have pins on the �top� in both sides. You�ll need to remove the pins from the upper left-hand corner. Then you grasp the fabric on the �top� at 42� and fold it over to meet the 42� mark on the left selvage. This gives you a right triangle with I guess 12 layers of fabric in it.

Now the fabric layout is completed, and it�s time to mark the cut lines. I stick a pin at the top left corner of the fabric and put the hole at the top of my tape measure over the pin. This creates a compass of sorts. Then I mark on an arc at 5� and one at 42� (the thick black lines). Then I cut those with a rotary cutter.

Sword Tips and Tricks from Ms. KittieSparkle

s1dur1_sab1tu — Tue, 15 Jan 2008 00:00:00 -0500

Sword Tips and Tricks from Ms. KittieSparkle

Sword dancing: dangerous, empowering, proof of true isolation, technique and balance. Crowds fall for even the sight of a sword, and can be easily impressed, but it�s up to dedicated dancers to deliver a quality performance. As Ansuya says �Don�t let the hard stuff die!�

Sure some folks luck out and have a really flat head that they can literally spin a sword on like a propeller (neat trick, I�m not knocking it), but the rest of the pointy-headed belly dancers of the world struggle on.   Here are some helpful tips for learning how to balance the sword, truths I�ve learned along the way about performing with the sword, neat tricks that are easier than they look (always a Godsend in a difficult sword routine), and thoughts on purchasing the sword that�s right for you.

In the Beginning:
We all do it at first, we get the sword in the mail, and we slap it on our heads and try to move a bit. Nothing will show you so quickly, you need to work on isolation. I took the sword off and on so much my first day I bruised my head. However, there are kinder, gentler ways to go about learning sword work. So, are you a throw �em in and let them swim person, or a let�s take lessons at the Y first? I�m the latter, so indulge me if you are in the first category.

First find the balance point with your finger or two fingers if your sword is heavy � make a mental note of it, or cheat (more about that later). For balancing on the head, I recommend beginners start with a head wrap and use sequentially smaller ones, as they get more comfortable balancing. When you get down to a thinner headband, or no headband you have to make a choice. Decide if you are going to cheat or not.

I myself am big on cheating, though I�ve done performances where I�ve not cheated.    Using something to diminish sword slippage is what I�m referring to.   My personal favorite is a thin strip of sand paper super glued to the balance point.    I used to use double stick tape, but when it came off with one of the flowers from my headdress stuck to it, that relationship was over.

Movement:
Yes, yes, but what movements should you practice with this sword on your head? All of them, with the exception of the hair toss. Just try doing your normal choreography or movements from class with your sword.   This is not to be confused with taking a normal choreography and slapping a sword on your head � viola a sword dance � please don�t do this! I�m only suggesting that you try everything, and see what works for you. You may come up with something cool and new. But more about that later�

Hot Tip #1: If you want to turn with your sword, always turn your head slightly in the direction you are about to turn, this will keep you from having to put your arm up to stop the sword from spinning on top of your head as you turn. Start slowly and build speed. When it�s time to stop, raise your arm to stop the spin of the sword, or lift the sword up and overhead in a dramatic fashion.

Hot Tip #2: This is actually a RULE, when you handle the sword blade, act as if the sword is sharp, even if it isn�t. Anything else (gripping the sword blade like a steering wheel) takes on the look of a baton twirler and destroys all the wonderful elements of sword in one fell swoop. So it�s not an option, just don�t do it - ever! Hold the sword by the handle; or if you�re holding in the blade section, in web of your thumb and forefinger, with your other fingers gracefully positioned for a glamorous effect.

Performing:
My favorite tips for sword come from my own experiences and the advice of various instructors and notables such as Suzanna Del Veccio, Ansuya and Princess Farhana. First rule is don�t ever begin your dance with the sword balanced on your head. No, no, no! I know you want to, because it seems like what sword dancing is at first, but don�t do it. Build suspense and your audience will be so much more impressed. Dancing is like telling a good story, you don�t tell the exciting stuff first! You build.

First you present the sword, so make sure your music has a nice intro for that, you show it to the crowd, and you may want unsheathe it at this point if you have a sheath. Next you balance the sword on your wrist, hip, knee, shoulder, finger, building up in levels of difficulty and of course, dancing at the same time. Try not to have too much �dead air� time while you are getting your balance on. Instead, do some figure 8s or some other �back up movement� or give the audience some face if nothing else.

Then there are the classic questionable balances, the boobs and the chin. I personally choose to avoid these as the chest is problematic for me (I don�t have enough to hold it up), and it�s considered tacky by some. The chin balance looks really masculine to me, even though I respect that it takes a lot of skill. I don�t mind seeing it, but I don�t do it. I�ve just gotta look pretty with that sword!

I usually save the head balance for the early mid section of the dance. Towards the mid section and end of the dance is a great time for floor work. More on that when we get to the Godsend moves.

Keep in mind you may want to remove the sword from your head during the mid to late section of your dancing with the sword on head.   This shows it�s not stuck on by any artificial means. When you remove the sword, it�s a good time to add any of the balances you didn�t already do because they were too impressive to give away at the beginning of the dance. The single fingertip balance is a good example. Just be sure you�re not flipping off the audience! Use your index finger! Other options would be a pose, or flourish. Posing is no problem, but if you are going to flourish, (swing the sword in a figure 8 pattern or in front of you or over head like a helicopter blade) be sure your sword is strong enough not to come apart. That could be a little too scary for the audience. Watch out for low ceilings, ceiling fans and disco balls.

Hot Tip #3: When you are performing, with the sword on your head, and you feel it slipping, do not look up at your sword. You won�t be able to see it anyway and a photographer will most certainly take your photo in this �not so glam� eyes rolled up pose. Instead, stop, smile and fix your balance. Letting your sword wobble and hoping it stays on is usually a disaster. The audience is distracted, you are distracted, just stop and fix the dang thing with the �dead air� fillers discussed before. If you are part of a group choreography, continue the dance as you rebalance in a professional manner.

Hot Tip #4: If you are doing a wrist balance, remove your bracelets, sleeves, etc. if they�ll hinder you; or at least be prepared to move them back. Of course you should always practice at least once in full costume, but in case you forgot to do that, just thinking ahead will help.

Hot Tip #5: If your sword slips off catch it as gracefully as possible and give the smile/�oops� look, or you may wag your finger at it �naughty sword� and then continue calmly. Having a contingency plan will help you feel more confident, rather it slips or not.   I am not a fan of letting it fall since it makes a horrible clang, and can damage you or the sword.   Which brings us to Tip #6

Hot Tip #6: Bleeding on stage is not part of the colorful drama of Belly Dance. If you cut yourself on stage and blood is flowing, you�ll have to excuse yourself. It�s just too distracting for the audience. I know it�s cool and dangerous to work with a sharp sword like the CAS Iberia battle ready Hawksbill, but really, it�s best to have it dulled for our purposes.

The Godsend Moves, and the Hellish ones too:
First the �easy� stuff that looks impressive:
1.    The Dip � with the sword on your head, walk forward and then do a quick level change (if your knees can take it) and come back up quickly. Sword stays on surprisingly well, as long as you keep your torso straight up and down.
2.    Ansuya Style Knee Turns � if you know how to do these, it�s surprising how easy it is to do it with a sword on your head. Use the same advice for beginning your turn as you would for a regular turn, turn your head slightly in the direction you are turning to start.
3.    Sitting Princess Turns � You sit with your feet curled under, your butt to one side, then make your butt hop over your feet to the other side, raise your knees gracefully and reposition to the side again, butt jumps over your feet � you travel in a little circle. Combine this with a pretty hand movement, and a sword on your head, and people really seem to like it.
4.    The �Reverse Table Pose� Flutter � If you can flutter, this always gets a laugh�with sword on head during your floor work, go into the reverse table pose (like a table pose from yoga, but with the stomach facing up, arms extended behind you, legs straight, making a triangle between you and the floor) and undulate, and then flutter.
5.    Lock crossed hands with a dance mate (swords on head) and slowly start to turn, build speed, then when ready break away and catch up the sword for a nice finish.
6.    While sword is balanced on the shoulder, do three point turns across the stage arms out.

The Hard Stuff:
1.    Sword Toss: In the reverse table pose, with sword on head, drop the sword to your stomach. What helps: A nice soft landing spot. If you are not fluffy, you can dip your stomach down a bit as you catch the sword.   Try not to worry about your nose, and remove your belly button rings for this one. Practice a lot.

2.    Lying Down: I always find it hard to get into position (on the tummy or side) without wobbling the sword (on the head again). Best advice? Go slowly, move with grace and pointed toes.

For the side lay down, go to the Sitting Princess position first (legs bent under you, feet to the side of your butt), slide your legs out to the side while supporting your self with a hand on the floor arm locked out. Gracefully position your other hand with some florets if possible.   Remember, the knee closest to the ground is bent under you, supporting most of the weight; the top leg is straight, ready for figure 8s or relaxed for undulations.

For the lay down on the tummy, it�s not so bad getting down as it is getting up with out looking like an old lady rolling out of bed. Here�s my take on it. Put the hand nearest the audience on the floor and slide towards your chest, place hand that was under chin (Farhana style) flat on the floor and perpendicular to your body, push up with both hands while gracefully positioning the legs and pointing the toes.

3. Getting up from a layback with your sword � So you�ve done a layback, balanced the sword on your tummy and done some hand work and some twisting shimmies, now how in the heck do you get up?   Assuming you don�t have super human strength and can come up out of a full layback using your lifted chest and thighs, you may want to try rolling up on an elbow (sword in hands) and continuing the circle forward with some dramatic hair whipping. Practice a lot.

Say Hello to my Little Friend
So, you�ve read this far and if you have a sword it�s probably on your head at this point. But if you don�t have a sword, you may be asking yourself, what�s the best sword to get? I usually recommend one of three models, though there are many other swords out there perfectly fine.   First, if you are in a dance company or �troop� as they say, you may be required to have a matching troop sword. So check with your instructor before you spend your hard earned money.

My personal favorites are the one I sell (of course � I wouldn�t bother to sell something crummy), the Hawks Bill from CAS Iberia or Kult of Athena.   I like these for a couple of reasons.

1.    They are all heavy enough to feel secure on your head.
2.    They are showy enough to look nice on stage and at closer range.
3.    They balance well and are sturdy, or can be rebalanced easily.
4.    All except the CAS are easy to care for.
5.    The sword I sell, and the Kult of Athena sword are relatively inexpensive.
6.    They are easy to find and purchase on the Internet.

Pros and Cons:
I know there are many other great swords out there, but these are the ones that I have experience with and believe work best for my personal criteria. The CAS sword finish has to be wiped down with oil after every use and kept free of any pitting elements and stored carefully!   But it is the biggest, and it�s impressive in quality and shows well on stage. The CAS is pointy and sharp, so I wouldn�t want it in close quarters or at a belly gram, where it might impale someone�s darling little poodle. It�s definitely a stage only sword.

The Kult of Athena (KoA) sword looks similar to the CAS and it�s shinier, but is not as well made in the hilt � however I�d still recommend it gladly since the finish is easier to care for. The KoA sword is a little bit shorter, but does come with a scabbard.   It does not need the high maintenance care of the CAS sword.

The sword I sell is easy to care for, durable and pretty and feminine, also very safe for dancing in small places, since it�s really no more dangerous than a golf club. The only downside is it does not come with a scabbard.

You must treat all of your dance partners (including what some people call �props� � canes, veils, etc.) with respect - build a relationship with them. A sword is no exception. Each sword is a little different, and has its quirks and it�s history. Reading this article is only the tip of the ice burg. Take the time to study sword with a good instructor like Ansuya, Suzanna Del Vechio or Princess Farhana. Research the topic on Shira�s site (www.shira.net) or here on Bhuz. Check out videos if an instructor is not available, Princess Farhana�s is a good place to start. With practice and patience, your sword can add mystery, danger, excitement and proof of fabulous technique to your performance.

THE WILD SIDE #3 SUPER CRAZY TIMES IN NORTH AMERICA

princessfarhana — Thu, 3 Jan 2008 00:00:00 -0500

Whew! Back in the USA after a three week tour of Portugal and the UK, I departed a mere three days later for lush Lexington, Kentucky, where I was graciously hosted in workshops and performance by Phyllidia,

who is a super-human force of nature! A thirty-five year veteran of Middle Eastern dance , Phyllidia heads The Desert Dancers and teaches many classes per week, but she is also a full-time RN, and a great grandmother! She also puts on an event full of wild performances and dripping with Southern hospitality. The gals attending came from Kentucky, West Virginia, Missouri, Tennessee and Ohio� and were well-versed in performing everything from Egyptian and Lebanese cabaret, fusion, tribal and Spanish. Judy�s Creative Costuming � all the way from Missouri- came to vend. Love her stuff!

Azure Aza performed a spirited raqs shamadan; Leila and Sadera did a beautiful duet with Isis wings; Odessa slayed with a drum solo; Alexandria and the Amber Gypsies took the stage by storm, and Phyllidia and her gals made the audience�s jaws drop with her melaya leff fusion piece� after the black veils dropped, the dancers were attired in T-shirts that read DIVA GIRL, pink feather boas and jaunty Fedora hats raqqin� out to Tom Jones� �She�s A Lady�! Then, two members of Phyllidia�s troupe came out post-performance to sweep the stray feathers off the stage with leaf-blowers!

As if that wasn�t enough, the next morning bright and early, Phyllidia threw a sumptuous brunch . I entered her Nefertiti-themed kitchen, she was scrambling eggs, attired in high heels, skin-tight snakeskin pants and a black bustier. Hello! This woman RAQS!!! Most of the gals chowing down were The Beledy Hens, Phyllidia�s belly dance �sorority�, which includes her life-long pals and dance sisters. During our meal, they regaled me with crazy stories, including one about actually kicked out of TGI Friday�s a few weeks before, because Phyllidia and Alexandria were getting kinda rowdy and shamelessly flirting with other patrons� or as Beledy Hen Ligaya specified, � cute younger men�� I wanna be a Beledy Hen when I grow up!!!

On the way home, imagine my surprise sitting on the runway at Chicago�s O�Hare Airport, when I saw none other than Heather Stants boarding my plane- and she was seated in my row! What are the chances?!?!? Heather had just come from an appearance in Chicago ( along with our mutual pals Kajira Djoumahna and Karim Nagy) and was just as shocked to see me as I was to see her. Being seat-mates made the five-hour plane ride pass quickly as we yakked non-stop. Check out her website www.urbantribaldance.com for future dates!

After another two days back home in LA ( yes, really�*yawn*� um�what time zone am I in again? Can I walk through the house without tripping over multiple half-packed suitcases? ) I took off for Canada, where I headlined Susu Abdo�s Belly Dance Conference Hips Oh My!

Susu at the cemetary

in Chatham, Ontario, just over the border from Detroit. I thought Phyllidia might take the cake for eccentricity- but she was rivaled by Susu, who is not only a teacher and event promoter, but a cemetery manager! Like a belly dance version of the show �Six Feet Under�, Susu took me on a tour of one of the oldest memorial parks in the area, Maple Leaf Cemetary. Well-versed in the history of this venerated burial ground, Susu regaled me ( much to my delight) with true ghost stories, her recent experiences with gruesome dis-interments, and tales of Prohibition-era bootleggers who concealed their illegal whisky stills inside Victorian bronze grave monuments! All I could think of was that the Gothla UK dancers would have been all over this like a cheap suit!

The five workshops ( including belly dance, fan dancing fusion and burlesque) I taught were attended by dancers from the all over Canada, as well as Indiana, Michigan and Ohio. Classes were held at the wacky Wheels Inn, which in addition to being a hotel and conference center, houses a full indoor amusement park, featuring a Ferris Wheel, roller coaster, kiddie rides, miniature golf, an arcade, and a gigantic swimming pool with a huge waterslide. But the show itself was even more surprising�

It took place at a Chrysler dealership. I can hear you asking why- it was because Susu rented twenty-foot high Egyptian hieroglyphic backdrops for the stage, and the dealership had a fifty-foot high ceiling that could accommodate them. As if that in itself wasn�t over-the-top enough, Susu arranged a pre-show massage for me, a full bar to serve the audience, and hired two musclemen to carry me in on a golden Cleopatra-style sedan chair. Whoo-hoo, I LOVELOVELOVE this woman�s style!

Of the many great performances I saw that night, I was very taken with Shifra Tobiasch, who did a lovely ethnic number, Meghan�s cabaret performance, and of course, Susu�s student troupe. You can read all about Susu at www.susuabdo.com

Having experienced true Royal treatment, I was once again sad to go home�but not for long because I knew more adventures awaited me.

The very next weekend brought me to Asheville, North Carolina for AABSFEST � The Asheville Americana, Burlesque And Sideshow Festival. This event was conceived of and put on by swashbuckling tribalista Onca O� Leary and her right-hand gal Torva of World Spirit and Barakamundi fame- and what a wild weekend it was. My roommates for the weekend were Bendy Lindsey and Marin Orlosky, a duo of former ballet dancers who are now incredible contortionists and aerialists with the Brooklyn, NY-based Firefly Aerial Arts. As I walked into my hotel room, they were both on the floor �stretching� but they were twisted into impossible human-pretzel positions which I can�t even begin to describe- and Marin was casually talking to on her cell-phone. Man, I tell ya, if I had a web cam I would be a VERY rich woman!

Speaking of cameras�. Here�s a Shameless Self-Promotion Announcement: Award-winning director Steve Balderson is in the process of making a Princess Farhana documentary, called �Underbelly�, so you , dear readers, can be assured I�m not makin� any of this $#&%@ up. He�s been shooting since 2006, starting at Tribal Dreams in Nebraska and has followed me to my gigs all over the world. The movie features live performances, kookie backstage stuff and some insane guest stars being interviewed� peeps like Rachel Brice, Zoe Jakes, Jim Boz, Sashi, John Compton, Margaret Cho, Samantha Riggs, Rachel Lazarus and Jeremiah Soto, Atlantis, Mher from Hollywood Music Center, Amy Sigil Tempest, Zahra Zuhair, Kajira Djoumahna,�the list is endless! It�ll be released theatrically AND on dvd in 2008. So make sure to visit www.dikenga.com/films/underbelly for all the gory details and updates!

The Princess Parts Center

But back to AABSFEST- there were circus and sideshow history lectures and workshops in everything from fire arts to acrobatics; from stage-combat and showmanship to burlesque taught by local troupe The Rebelles ( www.therebelles.com and yours truly. La Zoom, ( a wildly decorated ex-school bus) gave festival attendees a hilarious vaudeville-style tour of Asheville complete with skits and audience participation activities. The evening show, held at The Orange Peel Social Aid And Pleaure Club , sold out with over five hundred attendees. The backstage scene was hectic, because it being Asheville, the hippie-enclave of the South, there were a lot of babies backstage in the crowded dressing room, crawling around happily oblivious to all the hubbub, which included fire props, scantily �clad women and sword-weilding tribal dancers! On-stage, the awesome sound and lighting made everything appear fantastic and magical.

Mab, Just Mab ( www.JALADrum.org ) of the Accidental Circus was not only a fabulous emcee, she introduced acts in between her own, which included glass walking, human block-head carnival tricks, and other scary, dangerous stuff ! This Washington DC circus siren is also a fantastic percussionist and street performer. Only a few of the fifteen �member Rebelles performed, but they impressed the hell out of me with their sassy, spunky style. Lindsey and Marin wowed the audience with their afore-mentioned contortions, but this time they were doing it in mid-air on aerial silks! The sassy LisaZ ( www.lisazahiya.com ) did a sassy Fosse--esque number; enchanting Claire did a triburlesque- fusion �naughty fairy� dance which we dubbed �The Wrongs of Spring�- as opposed to �The Rites of Spring� (!) and Cabaret Coast 2 Coast (www.fabianasdance.com ) did a perfect re-creation of a Weimar Republic nightclub. Afterwards, outside, fire artists Draven Arcane of Temple Valor and Djinntana as well as Unifire flamed away, and then incredible Eastern European funk ensemble Dr. Balkanstein had both performers and audience up on their feet and sweating.

I wanted to stay in Asheville longer cause it was such a hoot� but I missed my kitties at home and had to pop in for nose-kisses before embarking on my next wild adventures�so stay tuned!

Happy dancing,

Princess Farhana