Tribalation! bids farewell to Arwyn

Long-time guild member and tribal performer Arwyn bade a fond farewell to troupe Tribalation this month. She's moving north, having taken a job in Portland for the school year, and then plans to move to Seattle in June. Arwyn has been a guild member for many years, and served on the MEDGE board as webmistresses from 2003-2005. She's been a member of troupe Tribalation! since 2003, and continued performing with the group even while she lived in Salem for a year.

The MEDGE Fall Festival was the scene of her last "official" performance together with Tribalation (though I am sure we'll probably visit her and dance together again, for old times sake). Meanwhile, "The Red Tent" belly dance troupe in Seattle has already laid "dibs" on Arwyn's talents, and she's not even yet in the city. Arwyn, we wish you much success in your future, in teaching, in dance, in family, and in friendships. We'll miss you!
~With love, from Sabine, Najma, Portia, and Ziola, ladies of Tribalation!

Dancer for Hire, by Marah

“Wow, $150? But my daughter is only 12, and there will be only 7 other girls, they just want an hour lesson, can’t you come down in price a little?”

“Oh! That’s a lot more than I thought it would be for just 20 minutes of dancing.”

“This is a special occasion but I just can't afford $250 for a few hours of ambiance. Can't you give me a discount if I include dinner?"

“It would be good exposure for you to dance with our band, or you could come dance in front of the stage while the band gets set up—you could work for tips.”

Every professional belly dance performer has a whole list like these, from people who want us to come into their homes or businesses, and entertain for parties and events.

Dance is an art form, and the road to becoming a professional takes much effort and many years. We belly dancers are trained, disciplined, prepared, and expected to look and behave a certain way. We spend countless hours on our education, training, practice, and preparation; we purchase expensive costumes (or spend hours making our own); spend untold amounts on music, jewelry, hair, nails, skin products. We prepare a complete routine for each individual event, often tailoring it or taking requests to make it unique and special for the patron of our art.

We run risks before, during, and after our performance, which often make interesting stories in retrospect, but which at the time can be frustrating, embarrassing, humbling, belittling. We fight against ancient stereotypes, and hope to enlighten our audiences. Working as a professional belly dance performer is hard work, and we must love it or we wouldn’t do it.

Most dance guilds set standards for instruction and performance rates, which serve as guidance to all members to avoid the issue of undercutting. Razia weighed in with some comments for dancers just entering the performance realm: “If you don't charge the standard in town because you feel you're 'just a student' or you're 'not a professional', you shouldn't be taking the gig. You're undercutting, no matter what your intent, and that's bad not just for us dancers, but the dance itself.”

The only way to discover the standard in town is to ask—ask your fellow dance performers, ask your teachers. It is a vulgar subject, and each event carries its own price, so some dancers won’t talk about what they charge. Hopefully this article will prompt some open discussion.

Once, years ago, I received a call from a lady wishing to hire a dancer for a birthday party. She asked me my fee, and I stated $120. To my horror, she said she had previously contacted another dancer who wanted $150 for the performance, and was happy to hear I could do it for less. Knowing I would be undercutting, I immediately backed out, and told her I couldn’t dance that evening. Even though I was in the “ballpark,” it would have been unethical for me to take the gig, especially since she had informed me another dancer asked for more. If she hadn’t told me about the other dancer’s higher fees, I would have had no way to know I was undercutting. This is a risk we all face.

All the performers with whom I’ve spoken are conscientious about not undercutting each other. The Middle Eastern Dance Guild of Eugene does not maintain fee standards, because we have many performers and instructors who live throughout the state. Although prices vary for each region, they remain comparable.

Samara from Bijou Project in Bend explained her fee system, “I charge $100 for two 10 minute sets, or $150 for 30 minutes, broken in half or thirds, not to exceed a two hour period of on-site time. As for the Bijou Project, we vary. Some places will supplement our fee with food. But $50/dancer with at least two dancers for two 10 minute sets is our going rate. As a general rule we dance for free at events that support community, special causes, or raise awareness for important issues.”

In Eugene, Razia’s fees represent the going soloist standard, “I charge $125.00-$150.00 for a 15-20 minute party set or bellygram. Minimum $200.00 for a 15-20 minute wedding set. Minimum $150.00 for lesson/mini performance (for kids/girl's parties) of 45-60 minutes, and the fee goes up depending on number of students. Out of town? Add $100.00 or more for travel fees. Want me for ambience? I charge at least $150.00 for the first half hour, and it goes from there, as these gigs are typically really boring. One's prices should always be negotiable for the good things, like charities, a friend or family member's party, and so forth. Think of it like giving a really expensive gift!”

For Luminessah, with its four members, the fees run $200-250 fora half hour, longer sets are more. Says Lila, “We are flexible depending on type of event (ie food, lodging included, tips, etc), and other factors change ittoo, like mileage, and of course we give deals to good friends! And we arealways willing to work with people.”

People love to hire belly dancers for special events and occasions, because live entertainment lifts any party to a whole new level. There are pitfalls, too, and it’s important to do research on any event to find out exactly what the party organizer expects of the dancer. I once was asked, and declined, to pop out of a cake. Says Razia, “I never, ever take a gig in which I'm supposed to 'embarrass' the guest of honor (I'm sorry, but I don't consider what I do to be embarrassing!), and I learned the hard way never to take 'surprise' wedding gigs. It's a waste of everyone's time if the guests aren't thrilled to have a belly dancer there.”

Those who do hire dancers with best intentions may not recognize that they are getting a living breathing work of art, but that is what they want. They wish to be entertained, they want to be moved, to see something beautiful, to be amazed, mesmerized, and dazzled. They want to sit quietly and watch the dancer move through beautiful shapes, they want to hear the tempo change so they can clap and stomp their feet. They want to feel their whole range of emotions, and this dance is an art form because it can express all those emotions.

What is the price of art? Unfortunately, dance seems the most price negotiable of art forms. The same patrons who fork out $1200 for a reproduction of a bronze dancer statuette balk at the thought of paying $120 for the ephemeral delight inherent in a living, breathing performance in the special comfort of their own home. Not one of those who would hire a dancer for their party would ever walk into an art gallery and try to talk down the cost of an original painting, because that’s gauche. But they will expect to bargain with a self-employed dancer. They readily pay $120 a month for cable tv, but a live performer? They expect it to cost $50 or less.

Most patrons hiring a dancer wish to bargain. How does one handle this situation, which is so foreign to us in our daily lives here in the US? For starters, be prepared for it, and find out all the details of your gig before you give a price quote. “It takes the same amount of time and effort to prepare for a 10 minute performance as a 30 minute one, so never lower your price for less time,” says Razia. “If someone wants you to dance for less time, that's fine, but the price shouldn't go down.”

State your price both with certainty and stick with that price, or quote slightly higher than you intend to receive, drop it only $5 or $10 at a time, and know ahead of time exactly how low you intend to “discount” your art. Be flexible, but as Razia says, “Just don't sell yourself, your training, your costumes, and your fellow artists short.”

Sometimes the Best Option is Retreat, by Samara

The first week of school came to a screeching halt leaving me dazed and stunned by the year that lay ahead, and the mountainous pile of ungraded papers I had managed to accrue in just four short days. As I shuffled to my car the wheels of my granny cart squeaked behind me.

Shoving my sleeping bag to the side I hoisted the basket of papers and notebooks into my station wagon and stared blankly at my travel bag. With papers to grade, lesson plans to revise, and a head cold setting in, I faced the fact that I had foolishly registered for a bellydance retreat that weekend-- at the time I thought it would be a well deserved treat. Now my only thought was that I was way too busy for this.

I left Albany at about 4pm on Friday and headed straight to Camp Myrtle Wood—stopping only for gas and some food along the way. The drive took about four hours. By the time I made it through the maze of back country roads that led to the camp, it was dark. The registration kiosk was closed; everyone was at the camp fire. Not knowing where anything or anyone was, I meandered around in the dark until I came to the dining hall and saw some friendly faces.

Halima and a friend sat hunched together, enjoying their first meal in what appeared to be a bliss thick and body taxing kind of day. Shortly into our conversation campfire dwellers began to glimmer past the windows of the hall. I excused myself, and decided to figure out where I was in relation to where I was supposed to be.

As I left the hall I heard a familiar snort followed by a warm, rolling southern accent, and instantly knew I had found my cabin mates. After settling into the cabin with the ladies from Central Oregon, we headed back to the dining hall for the evening show. As we joined the gathering crowd I remember briefly convincing myself that I was way too tired for this. Fortunately, that was the last time that particular thought attempted to interrupt my weekend.

Each night the shows were a potpourri of styles and experience levels. We were greeted by dancers from all over the Northwest and beyond. Friday’s show allowed me a brief glimpse of what I’d missed as Roya took the stage and amazed me with her energy, grace, and spirit. On Saturday the show boasted over 30 performances—each one unique, yet bound together by the common threads of the dance.

Among the more notable performances were those of Rachel George and Unmata. Rachel took the stage with her usual strength and confidence, and then proceeded to take the audience with her captivating and charismatic presence. I was at least equally impressed by the ladies of Unmata. While I’ve been smitten with the troupe since the first time I saw them, they entered with veils, and I foolishly thought “what would Unmata be doing with veils”? I often think of veil work as soft and fluid. They forced me to succumb to their way of thinking. In Unmata’s hands it was sharp, crisp, precise… a variable cat of nine tails.

The retreat spanned four days this year. It was with deepest regrets that I was only able to be present for the weekend portions. As a new twist this year Mez requested that each workshop instructor offer two classes, one for beginners, and one for intermediate dancers. This approach ensured that there was something for everyone.

The first workshop I took was a Turkish Rom taught by Saqra. She was able to teach 9/8 rather effectively and in spite of technical difficulties that left us without music. This was only a small sample of Saqra’s vast repertoire, and my ears perked up when she mentioned she was available for private and semi private lessons as well. When it was time to switch, I ventured to the opposite side of the field for another Turkish treat, this time focusing on chiftetilli with Sahara. Using modern influences and classical twists Sahara illustrated 5 different variations, and then taught combinations that illustrated each variation in numerous ways. It was a treat to watch two such talented teachers engage their students in musical exploration through physical expression. Too often we forget to feel the music in our dance.

On Sunday Ayesha did an excellent job of breaking down zil/move combinations and then proceeded to drill them into my head at an alarming rate. Each combo was simple and yet effective, and could easily translate into cabaret or tribal style. This is a workshop I would definitely take again; only, hopefully I would retain more the second time around! After this I found myself slowly fading under the power of my rapidly advancing head cold. I watched, and half participated in Halima’s workshop which layered isolations on top of basic movements.

As I sat in the shade, visiting with friends who strolled by on the path crossing mine, I could feel gradual goodbye of the weekend’s fade. With only a few hours left before dinner I decided to head north again before my achy head and joints filed a formal complaint. My bags packed and water bottles filled, I said goodbye to my long time friends and new acquaintances.

I had spent two days and two nights doing exactly what I needed to do at that moment in time. I smiled until face hurt, laughed until I no longer needed sleep, and danced until I forgot all those things I was trying so hard to remember. The papers in my granny cart would be graded in time, but until the end of the drive home this time was mine. I turned the music up, reclined my seat a notch, and began to sing along to songs whose lyrics I didn’t know, but whose meanings were deeply felt.

Bellydance Adventures in London, by Razia

I recently returned from a two-week vacation in London, and besides having a fabulous time with my boyfriend, Mark, I got to experience some of London's finest belly dance in person. Long before I left Eugene, I had started to scope out the ''who's who's'' of the belly dance scene via the internet, and although there were many dancers teaching in London, only a few names were repeatedly recommended. The main one was Josephine Wise and her dance school, the Josephine Wise Academy of Arabic Dance (JWAAD).

I attended two of Jo's weekly classes, and was lucky enough to get in on the beginning of a cute Tango/Baladi fusion choreography. I really enjoyed the JWAAD experience, and Jo had the perfect combination of experience, technique, and a really naughty sense of humor! She made me feel welcome in her classes, and I must have impressed her because she asked me to join her dance company after my first class!

I was also able to attend the Queens of the Nile show put on by Hossam and Serena Ramzy. As this was a big theater production, with tickets costing $50.00 US per person, I can honestly say I was a little disappointed. Half of the show was set to CD, which, if you're there to see an orchestra made up of some of the finest Arabic musicians in the world, will obviously be a bit of a let-down. The quality of dancing (as well as the energy of the dancers) really improved with the addition of live music, and I was pleased to see that Serena Ramzy is quite a lovely dancer. In the end, I was grateful for the opportunity to have gone, but I guess I was expecting something different.

Saving the best for last, I booked a private lesson with Shafeek Ibrahim, another one of those 'names' in London that I had heard over and over again. Shafeek is Egyptian, and according to his bio, was a former member of the Reda Troupe and is trained in a multitude of Folkloric and Oriental styles. How could I argue with that? My lesson with Shafeek was nothing short of awe-inspiring, and I gained some of the most useful critique from him that I have ever recieved. I left feeling excited and motivated, with a new mentor and a great contact.

As some of you know, I plan to make my next visit to England even longer! I will be leaving in March for a six-month stay, where I plan to spend every minute I can being in love with Mark (we miss each other so much, and all this travelling is starting to get expensive!), studying belly dance, experiencing a new culture, and working my butt off to further my dance career!

I just hope I don't come home with an accent...

Why Eugene Hafla, by Mariamma Jones

She moved with the grace and speed of no woman I’d ever seen or known. Her skin shimmered and glistened with wet and heat. Supple and fresh didn’t describe it. Her moves were liquid, emotive, transcendent and unique. How could she move like that? How could anyone quiver like that? And how do I learn how to do it?
We’ve all seen that woman. That woman who moves like silk in the air. Whose hips flicker with whisper softness. Whose hips move and whisper lullabies to future children. I was seven when I first saw that woman. She was belly dancing and I’ve been trying to be that woman ever since.

That proud woman who parts a crowd like a ship’s prow. That woman who is sensual and beautiful and independent. That woman who is strengthened by the support of her friends and sisters. That woman who understands the value of sisterhood, of beauty and adorns herself with grace and poise. That woman who attracts a special man because she wants him, not because she needs him. That woman who moves like no one else, loves like no one else and lives strong and free. I was seven when I first saw that woman and now I see her everywhere.

This is why we started Eugene Hafla. To support each other. To learn from each other. To respectfully watch the women who adorn themselves with giggles and pride. To respectfully watch them move and see if we can move like that too.

It requires no ability, just courtesy. It requires no money, just sharing food or drink and leaving the space clean. It requires no dancing, just being part of the scene.

Eugene Hafla meets the first and third Sundays of the month at McNail-Riley House, 601 W. 13th, corner of 13th and Jefferson from 1pm to 4pm. Please park on the street or your car may be towed. Children allowed, dancing children encouraged.

Travels with Annette & Lola, by Lola Powell

Last August, Annette and I went to the coast for a special event – Ireta’s Beachcomber’s Belly Dance. It was an all-day festival of workshops, festival dancing and souk, with an evening show. There were many vendors present, Saqra, Halima, Gaylene and Ireta among them, with all kinds of beautiful things for sale. There was costuming, jewelry, music, videos…..everything a shopper could wish for!

Workshops were given by Saqra (shimmies and techniques of choreography) and Wedad of Portland (isolations and belly rolls), with a special costuming class given by Gaylene. The festival dancing featured performers of all levels, including some very first performances which are always fun to share with the baby dancers. Annette wowed the audience with her performance of Alf Layla Wa Layla. Then there was the evening show, led off by a beautiful performance by Ireta herself, and featuring a whole evening of dancers including myself (lucky me).

The setting at the coast for the festival was ideal. The event was held at the Lincoln City community center, the former Delake School, right on Highway 101 in town and convenient to dining and lodging. The venue was really lovely, with ample room for the vendors, separate classrooms for the workshops, and a beautiful stage for the performances. And then, the next day after the festival, we still had the beautiful Lincoln City coast! Needless to say, we took our time coming home that day.

Then, in November, we went on another dance getaway, this time to Oasis Dance Camp on Vashon Island in Puget Sound. Accompanying us on this trip was Marianna, a friend and former dance colleague, who used to be a Eugene resident but who now lives in Ashland. We arrived Wednesday evening, just in time for dinner and to get settled for the next four days of intensive dance. The teachers were Cassandra of Minneapolis, Kay Hardy Campbell, drummer Nicole LeCorgne, and the Northwest’s own Hasani of Gig Harbor, Washington.

Each day started with sunrise stretches by Cassandra, followed by breakfast. Then down to the main lodge for a day full of dance. Hasani led off with warm-ups and turning. This was followed by an hour of khaleegy (Saudi) technique and choreography with Kay and another hour of technique with Cassandra. After lunch, we split into two groups for more intensive choreographies with Kay and Cassandra, one and a half hour classes with each instructor. Other classes were offered, including several drumming sessions with Nicole. Each evening featured a different event to fill out our day – one evening was a special Hafla night with performances by the instructors and the campers ourselves.

After the first day of a minimum of five hours of dance, I thought I would not survive! However, by the last day of camp I had gained in strength, endurance – and optimism. The last day was spent in performing the choreographies we had learned, and we left for home full of the fun of sharing the dance with others who love it too.