2010 Aug Sept MEDANZ News

CALLING ALL TUTORSThis year’s MEDANZ festival feels like it is only just over for many

of us

But now is the time we need you to start thinking about next year’s

festival 2011

We need your submissions for what you want to teach at festival,

because without our local tutors offering to teach workshops it

wouldn’t be the same

And we need it sooner rather than later

no later than 31 October 2010

Please send all submissions for workshops to

[email protected]

Looking forward to hearing from youAdilah/Karen

I like travelling about although I have only managed to leave NZ once and that was to Melbourne forten days a few years ago now.

My work has enabled me to go to Nelson and also to Christchurch so I am certainly looking forward tovisiting there for the 2012 MEDANZ festival and I have a special account where I have started squirrel-ing a few dollars away already.

Meanwhile here in the North Island there is quite a smorgasbord of Bellydance stuff from which tochoose and I have managed so far since MEDANZ to do a couple of 8 week courses arranged by Mirageof Taupo with some exciting new teachers drawn from the group, go to a Hafla with Arabian Spice inTauranga and attend a weekend course in Hamilton with Pip E-Lysaah.

Iris (Suher) is coming to Taupo in August so no travelling for me for that.

Now what exciting stuff is advertised in “What’s On” featured in this issue?

Maybe I will see you there?

Oh and ‘wow’ to the snazzy shiny new MEDANZ Membership card. Have you got yours?

Dancing off now from Thomasina

August / September 2010

Middle Eastern Dance Association of New Zealand

MEDANZ NewsMEDANZ NewsMEDANZ News

ISSN 1177-2808

Information Central 2

Presidential Ponderings 3

Are you Covered? 3

Review: Club Orientale 4

Review: Winter Warm-up 4 - 5

Life Time Membership 6 - 7

When Dancing = Pain 8 - 9

World Record Attempt 10

Review: Go Tribal 12

Review: Taupo Body Art 13-14

Calling All Performers 14

What's On 15

MEDANZ News August / September 2010

Web Site

www.medanz.org.nz

User Name: medanz

Password: bellyroll

Contributions, including original articles, photos, reviews and letters are very welcome.

The cut off date for the October / November newsletter is

20 SEPTEMBER

Bank Account Details: 12-3011-0758507- 51 please note the suffix

Include your name, Membership No and reason (ie: sub / festival /DVD etc)

How to contact us

MEDANZSuite 3051P O Box 13-240JohnsonvilleWellington 6440

Committee :[email protected]

Librarian:[email protected]

Membership :[email protected]

Newsletter :[email protected]

Treasurer :[email protected]

Committee Details

President - Amanda BoundHm: (06) 758 1097Cell: (027) 478 9029

Vice President - Bronwyn MohringHm: (03) 471 0247Cell (027) 234 1024

Secretary - Karen WalworthHm: (07) 823 7232Cell: (027) 448 9001

Treasurer & Membership - Lynley MurphyHm: (07) 886 7742Cell: (027) 454 0478

Linley DuncanHm:: (07) 552 4352Cell: (027) 286 3452

Maarie HutanaHm: (03) 383 4942Cell: (021) 261 4539

Sharnie RileyHm: (07) 549 1017

Dianne ThompsonHm:: (07) 378 1127Cell: (027) 471 7673

August / September 2010 MEDANZ News P age 3

Brrrrrr, I dislike the cold immensely, I find it’s even difficult to get motivatedto practice dancing when its really cold, much easier to sit wrapped up in ablanket in front of the TV!! I don’t know about everyone else, but it seems tome that during winter time people just don’t bother to come out to attendclasses either. On the flip side, it’s a great time to listen to plenty of newmusic and start working out what moves you can do, ready for when its warmer and the inclination andmotivation has returned.

As with all cyclical and seasonal stuff, we are currently seeking submissions for workshops andperformances for Festival 2011 in the sunny, warm, Bay of Plenty. Yep, that imagery is working for me– warm sun, gentle waves lapping against sandy beaches, starting to feel warmer already ……

Now, where was I, oh yes get your submissions in by 31 October 2010 to [email protected] forworkshops; and [email protected] for show and/or hafla performance items. We will becontacting everyone as soon as we can after the cutoff date, but certainly by mid November, to let themknow which of their submissions have been accepted.

It has come to our attention in the past week or so that some people are still using a gmail addresswhich they are sending newsletter items to. If you have used the gmail address and your item has notbeen printed, it is because we didn’t get it. Please resend your item to [email protected] sothat it can be included in the next newsletter. We are in the process of trying to block the gmailaccount.

If you would like to contribute articles, information about upcoming workshops in your area, or anythingelse that you think our members would be interested in reading about, please send them [email protected].

RegardsAaminah

Many of you no doubt subscribe to Bellydance Quickies—a dose of something bellydancethat comes into your inbox every single day. But for those of you that aren't, last Friday'sQuickie gave me something to think about and perhaps you too.

Are your belly dance costumes and props covered by insurance? Imagine what wouldhappen if your car or house was broken into or even worse your house destroyed by fire.

You have a considerable investment in your belly dance gear—get them covered byinsurance—it costs next to nothing and if they are lost you can replace them.

And make sure you have a photographic record of all you own with the date purchased andthe price (and receipts if possible).

For many of us, the combined cost of our belly dance gear makes it one of the mostexpensive things we own. Protect it and yourself!

Are You Covered?


by Fern

It was coincidence that I was in town and partly through my naivety Iwas able to perform in this show. Maarie told me the weekend I was inChristchurch, the School of Contemporary Belly Dance was having aClub Orientale and I said ohh goody can I play too? She did warn methat things were a little more formal in Christchurch than in Dunedin! Ikeep forgetting how much bigger Christchurch is than Dunedin, and itspool of bellydancers and teachers just so much more extensive. So Iwas pretty nervous when it came to performing and I saw the effort somany people had gone to with lights and music and rehearsals andcostumes and practice. It could all be a bit intimidating,… that is, ifthey weren’t so warm and welcoming.

This show had performances by students of different levels and also their teachers. Some timesexperienced teachers performed alongside students, and not always at the front. This was a very nicetouch. And a surprise or two was thrown in.

Some of the show was a blur of colour and nerves but in a lovely night there were pieces that stood outfor me. Please don’t feel offended if I haven’t mentioned you, the whole show was lovely and I am onlyallowed so much space in the magazine. So in no particular order:

I really enjoyed the level 2 Oriental choreography, especially the way some girls kept checking in oneach other smiling and adjusting their position so everyone was seen. These little connections, alongwith their confidence with the music and how their moves related to it, made it special for me. Themixed level Turkish was pretty wild, quite addictive and a successful choreography (it also looked fun todo). I feel the Gypsy Caravan style troupe Clessidra really understands the whole tribal essence, enjoywho you are dancing with, connect with each other and the audience will connect with you. Saryntinegot even wilder, with fab music, great interpretation, sexy costumes and really contagious smiles.Maarie hula’d her way into our hearts. And Angela Mott turned up, how cool is that? I like not readingthe performance list, I like nice surprises. Amanda amazed with an improv drum solo. She says it wasbecause of the costume, but honestly when she starts dancing I don’t even notice the costume I’m tooabsorbed her dance.

And then there was Kenny. I had lent him a Bollywood DVD and was looking forward to seeing what hemade of it. WOW. I mean WOW and like,…. well, WOW. Yeah,… nah,…. sorry I guess you just had tobe there.

Christchurch School of Contemporary Belly Dance

Club Orientale

Just back from the 15th Winter Warm Up in Brisbane with guest teacher Aida Nour of Egypt. This was thesecond short, ie four day, format intensive. Last year we had both Mohamed Kazafy and Lubna Emambut this year was a welcome return to the single tutor format.

What is the Brisbane Winter Warm Up?

For those of you who have never been, the idea is that you slot into the mind set and style of a singletutor for several days. The day starts with lectures and hands on with physios who have worked withbelly dancers over many years. Next the warm up - usually by taken by AMED's Yasmini. Then the realwork begins with a master teacher from Egypt. We have 4.5 -5 hours contact time with the teacher thenthe evening activities. There is always the bazaar and a concert but there are also dinners andsometimes lectures and/or videos.

So what has pulled me back for 14 years? (I missed the first one). Mainly this is a chance to learn fromthe source of the dance unmediated by western bias. All the Winter Warm Up teachers (apart fromBobby Farrah) have been Egyptian born with a long history in professional belly dance. They can danceOrientale. They also know Egyptian folk styles – the movement vocabulary, the music and thecostuming.

Winter Warm up 2010 with Aida Noirby Kashmir


But also the format means you get a chance at depth youcan never get with one or two short workshops. Over four(or even better eight) days you can begin to see patternsin the way a dancer works. Something you couldn’t get onday one, snaps into focus on the third day, for example.

There is also the sense of community. Once a year you getto met in person with those who share a passion forEgyptian belly dance. A rare breed. It’s great to besurrounded by people who can discuss the evolution ofEgyptian dance or who understand that milaya lef wascreated by Mahmoud Reda and can compare differentinterpretations.

This Year’s Workshops

This year we covered four styles with Aida. We looked attwo Reda style tableaux. First a Siwa Bedouin piece thathas probably not been taught outside of Egypt sinceMahmoud Reda created it in the 1960s. The second was afellahi village scene with two groups of duelling girls. Inboth cases the technique was not difficult (“flat feet – youare not ballet girls!”) and the choreography consisted ofonly five or six sequences. What made it work was how thegroups interacted; changing positions, crossing lines andusing cascade sequences.

More complex was the Moushah – often called “Andalusian”. This style comes from the style of poetry ofancient Andalusia rather than having any actual connection with the dance of the area. This was atheatre piece with dramatic costumes addressing issues of life and death with almost constant directionchanges. I failed the challenge to learn in under five hours but a few did master it. Thank goodness theofficial video is now available.

We also learnt three Orientale pieces. With one, Aida specifically directed us to take her structure andimprovise our own variations around the music. This is a task I am currently working on – while trying toretain Aida’s style.

The Sunday Night Concert

In addition to the workshops, there was also a concert on Sunday night. This year I decided to just relaxin the audience and it was well worth missing a few minutes in the spotlight. What a truly great show.For a start most of it was belly dance – which has not been the case in the last three “belly dance” showsI have attended. The excuse often given for adding jazz, fusion and burlseque is that the audience wouldbe bored with a show of straight belly dance – but this proved otherwise. There were a couple of fusionnumbers – but even they contained strong belly dance elements.

Seventeen acts – all but two were solos – and not two even slightly similar. From the comedy ofCleofatra to the elegance of Elenie, from Shaheena’s Turkish Rom to Michelle’s bead popping drum solo,from Nandah’s beautiful Golden Age reconstruction to Virginia’s crafted Modern Egyptian – every act wasa gem. And the jewel in the crown was Aida Nour who danced for us. At least one woman behind me(not a belly dancer) was moved to tears by her deceptively simple performance.

Next Year’s Intensive: Next year Dr Mo Geddawi is returning. For

the first four days (9-12 July) there will be the normal

workshops. From the Wednesday to Sunday (13-17 July) Dr

Mo will presenting his teacher training from 9am to 9pm.

As well as teaching methodology I believe there will be

classes on how to transcribe choreography, cultural

awareness, instrumentation, marketing and lots more.

There will be a certificate. At this stage it is unclear

whether this will be assessed or if you get it for

completing the five days.

As details become available they will be posted onwww.winterwarmup.com.au

I have already booked my accommodation. Maybe I’ll see you there.

Photo by

Jan Stobie &

Tony Gould


What is Lifetime Membership?The constitution of the Middle Eastern Dance Association states that Lifetime Membership is decided bycommittee and membership, based on a person meeting three specific criteria, plus one slightly moresubjective, but difficult to meet criteria. Caveat is placed on how much of the membership can belifetime members at any time.

“L i fe t ime Membership wi l l be awarded by nominat ion of commit tee and by agreement o fMEDANZ membership at AGM. Cr i ter ia for l i fe t ime membership inc ludes f i f teen years orlonger membership to MEDANZ, served on commit tee for at least four years , served at leasttwo years on Commit tee Execut ive , has cont r ibuted s igni f i cant ly in own t ime to MEDANZgrowth and deve lopment . L i fe t ime membership wi l l have the same ent i t lements as a fu l lmember but wi l l not be requi red to pay year ly membership subs. No more than a maximumof 5% of the tota l membership can ho ld l i fe t ime membership at t ime of nominat ion.”

How did this idea start? What is the intent?I raised the idea of an honorary lifetime membership while I was serving on committee. However it wasnot until a number of years later, after much vigorous debate and setting of rigorous criteria within theconstitution itself, that we could actually award an honorary Lifetime Membership. The first recipientbeing Diane James.

The intent of lifetime membership is that it should not be easy to get, and is recognised as an award formembers of MEDANZ who are very deserving. There is nothing stating that only one membership canbe approved per year. When I was on committee we thought that some years there will be nonominations, some years one nomination, some years two or more. The membership has stated throughthe constitution that no more than 5% of the membership can hold lifetime membership at any time. Toput that in perspective, a membership of 300 can have 15 lifetime members. It has to be rememberedthat lifetime membership is that – till death – so consideration of nominations must be given carefully.Exceptions should not be considered so the membership category can be sustained over time.

How do I nominate a person for Lifetime Membership?It’s easy. Any person can be suggested by you writing to the committee with a case for the person toreceive lifetime membership. If you know if they have met criteria regarding time on committee and inExecutive positions, fantastic, put that in with details of dates and what positions. Most importantly put agood case forward on how the person has met the criteria of how they have “contr ibutedsigni f i cantly in own t ime to MEDANZ growth and development.”

What are the Committee Responsibilities? The committee MUST uphold the constitution andensure that Lifetime Membership criteria are met.This can be done by going over historic records length of membership, time spent on committee andpositions held (currently being collated by Beverley Dowling for ease of committee reference). I suggestthe committee also asks themselves the following questions with regard to the final criteria:

Has the person;Been a regular attendee/ teacher of MEDANZ festivalsHosted and created workshops with overseas teachersDeveloped and provided workshops throughout New Zealand.Held positions that are important to MEDANZ but not necessarily part of committee obligation, such

as newsletter editor, website developer, librarian.Has the person assisted in the development of MEDANZ through research, collation of records,

teacher records, keeping of records under their own self-motivation.Any other input towards development of MEDANZ?

I am not suggesting everything be met but these questions are good examples and provide a samplestructure of assessment to ascertain if a person has been/is contributing to the growth development ofMEDANZ in their own time.

RecommendationThe following phrase in constitution needs to be clarified further as there appears to be ambiguitypresent regarding process:

(Continued on page 7)

Life Time Membershipby Moonjelly


“… L i fe t ime Membership wi l l be awarded by nominat ion of commit tee and by agreement o fMEDANZ membership at AGM”

For membership to agree to a lifetime membership they need FULL information on nominations and howthey have met Lifetime Membership criteria. Does agreement mean a formal vote? Or does it simplymean the committee tells them they have made a decision (which is against the constitution as itcurrently stands). For the committee to make a decision without full historic information and withoutgiving members full information seems to fly in the face of the constitution.

There are some fantastic people in MEDANZ but Lifetime Membership cannot be granted based on theirbeing a nice person, or for being around in the early years. Constitution must be met. It also giveseveryone a clear picture of what goals must be met – its not personal, rather it is about process. Forthis reason I am driven to write this article. I am collating as much historic information I can find socommittee decisions become easier in the future, and membership can have all the information theyneed when considering nominating a person for Lifetime Membership.

I would like to extend a huge acknowledgement and “Thank you” to Judith Varga and Tanya Bamford-King for keeping MEDANZ records safe for all of these years. Because Tanya in particular held manyrecords that she forwarded to me we still have all the minutes and AGM’s since MEDANZ began. I hopeto at least have all AGM minutes available soon, along with a reference tool for committee regardinglength of membership, time on committee, time on executive committee, who held extra responsibilitiessuch as newsletter/ librarian and any other relevant extraneous information that can be applied whennominations are received.

Oriental, Fusion and Cabaret Belly Dance Classes

Did you know that A’mal is currently teaching Oriental and Cabaret belly danceclasses in Christchurch?

Thursdays, School of Contemporary Belly Dance (SCBD)

L3 Oriental 6.30-7.30pmThis class focuses on developing good base technique, understanding and interpretingME rhythms and music, veil and zill work, and developing the inner goddess:transitions, performance and working towards your own/group choreographies.

Mixed Level:7.30-8.30pmThis is a revolving topic course, delving into some of the many luscious types ofbellydance out there.

Previous topics have included: Lebanese Belly Dance/Isis Wings Technique andChoreography and The Karsilama Rhythm

Current Topic: Turkish Cabaret: Old School bellydance with spins, big hip articulation and heaps of energy(and zills )

Sundays, School of Contemporary Belly Dance-Starting end of May!Advanced Belly Dance and Technique. Time TBC (90 mins): 45 mins of A’mal drills & Technique, followed bysome of ChCh’s finest bellydancers who will further work their class in a particular style/technique.

A’mal also runs private lessons, workshops and performances to suitnationwide, as an Oriental and Fusion teacher and performer, and as part ofthe quirky Red Queens.

CONTACT DETAILS

A’mal - www.amal.co.nz (Txt: 027 301 5897) · S C B D - www.belly.co.nz


I have come to the conclusion that to continue dancing whilst suffering from arthritis you need to be stupid,stubborn, passionate, or maybe all three!

I doubt that anybody who already had this condition would take up dancing—but to develop it once dancing hasbecome a much loved (some would say essential) part of your life is very distressing.

My story is a little complicated as I had suffered Fibromyalgia for about a decade before being diagnosed withRheumatoid Arthritis. The pain of fibro masked the pain of arthritis and it sort of “snuck up” on me. I was in a prettybad state by the time I finally went to the specialist (thankfully the same specialist as Fibro). At the 2009 Medanzfestival I was having difficulty sleeping due to numbness and pain in my arms, had virtually lost the use of my lefthand which was starting to resemble a claw, had tearfully removed my rings and was in a lot of pain in the hands,wrists, feet, neck, shoulders—almost everywhere really. In hindsight I should have sought treatment earlier—buthad made the appointment for after festival and after our (Arabian Spice) June show. I knew (or thought I knew)that there would be no quick fix and that a new medication regime would take a long time to get sorted. Deep downI was scared that I would be told to give up dancing.

I had started to notice that the pain of what I now know to be arthritis was different to fibromyalgia. Withfibromyalgia one can often not pin point where the pain is—it feels deep inside and there is no outwardly sign of it—apart from one’s stance and scowl on the face! This is because there is no inflammation—no swelling with fibro. Witharthritis there is often a red patch and obvious swelling and the area hurts when touched. There is often a “glowing”joint on the hand etc. In my case I had a golf-ball sized lump on the back of my neck and there were pinched nerveswhich caused the nerve damage to my arms and hands—particularly on the left side. There were days when I didn’t(or couldn’t) get out of bed—and if I did manage it, was not able to do anything constructive anyway. Untilpainkillers started working I couldn’t even make myself a cup of coffee. One day I complained about this and mylovely husband brought me a cup of coffee in bed with my painkillers —to my distress (but also amusement—youhave to laugh at yourself when you get to this stage!) I found that I couldn’t lift the coffee to my mouth!

After finally visiting the specialist (my husband had to drive me to Rotorua and help me down the street by thisstage) in midwinter (cold makes it soooo much worse), I came home with a big bag of medication including thesteroid Prednisone and the chemotherapy drug Methotrexate. Amazingly, I started to feel improvement within thehour of taking Prednisone. This improvement continued—it took two or three months, but I was delighted to find

When Dancing Equals Painby Linley Duncan


that normal sensation returned to my hand. I could feelsoft fabric without it feeling prickly! I could sleepcomfortably at night—I could lift glasses and dishes in thekitchen without dropping them, hold a knife and fork,wipe down a bench, the list was endless—but best of all ICOULD DANCE AGAIN!!! Without much pain, and bendwhere previously I had been stiff. I was still very tired—and slept 10—12 hours a day—but I was comfortable!

I thought that Prednisone was a wonder drug (and stilldo) but then I stacked on the weight, bloated, sufferedhorrendous side effects, especially heartburn and nauseaand my hair stopped growing and started to fall out!

I have had to learn to be content to buy (or make) biggersized costumes and compromise on the hair with a shorterstyle that takes the weight and tension off the hair. I havea beautiful purple silk scarf reserved for “in case” and willnot hesitate to buy a fabulous wig or two if required. Ihave decided to “get over myself” and enjoy being alive,mobile, comfortable most of the time and pampered bymy family at other times. I delight in only shaving underarms and legs once a week/fortnight and take naturalremedies that promote hair growth., especially spirulina. Most of all, I avoid yoga or floorwork type moves—especially the upside down ones, or repetitive ab work that makes me feel sick.

WE ALWAYS WANT MORE!!! I have reduced my pain levels to about 10% and am at least comfortable. I can flourishmy hands and zill again, but I still sleep 10—12 hours a day and this is just the way it is. If I push myself to domore, I just end up with a bout of pain again—so I have learnt to just do what my body tells me I need to do—evenif others think this is strange.

Dancing can be very good therapy if you go at your own pace. If you do some moves over and over—then particularjoints can be aggravated and become inflamed. As my Mother and Grandmother say : MODERATION IN ALLTHINGS. For instance—at the 2010 Medanz festival I taught a veil workshop. These incorporated things that I teachin regular classes all the time, but 2 hours of the same moves over and over again resulted in a lot of shoulder andarm pain the next day—thank God for painkillers! The old adage about drill, drill, drill is not a good one for arthritissufferers.

SO HOW CAN MY STORY HELP YOU? If you find that you have pain, stiffness or numbness without having anyobvious particular cause such as an injury, keep note of the details. What type of pain, when, if there is any swellingor redness and if it occurs after dancing etc are all details worth noting. See your doctor. If left untreated, conditionssuch as arthritis can result in bone damage that is not reversible, so don’t leave it as long as I did. If you find thatyour doctor does not take you seriously, consider going to somebody who does. Sometimes there is a family historyof arthritis, or old injuries that are susceptible to it, and sometimes it seems to be quite random. But don’t think thatit is acceptable to have to live with pain and as I told my husband “everybody has aches and pains as they age” towhich he replied that “40’s is not old!”. Even children can get arthritis—I’m lucky that I didn’t develop it until I haddone my adventure sports and had a family.

All doctors seem to agree that we all need some sort of exercise in our lives. I have been told that it doesn’t matterwhat form this takes—so long as it is gentle and not overdone. It is the old adage about “use it or lose it”! My doctorsaid to do something that I like: so the choice of dancing was easy for me. The vibration of the music we use indancing is very therapeutic, and the colours of the veils and costumes can be virtually colour therapy.

The main rule I think is that IT SHOULD ALWAYS BE FUN. Stress and pressure make every illness worse andFibromyalgia and Arthritis especially thrive on stress. It is not the physical movement of the dance itself—but thecircumstances of the situation that we undertake it in. There is always a certain amount of pressure from ourselvesand others when we have a performance looming. So long as the benefits and joy outweigh the negatives. You needto create the best environment for yourself—this applies to every aspect of your life—especially dancing. If youenjoy the dancing, but find your group setup is placing too much pressure on you—try talking to others to see ifthere are some changes that can be made to the group dynamics that will be better. I set up my group according tomy ideals to provide the social aspects that I found lacking elsewhere. If you can’t find it—how about creating it foryourself? Others may be looking for the same thing as you and join you.

YOU WILL NOT BE ABLE TO PLEASE EVERYBODY ALL THE TIME. I have also learnt this the hard way.Especially when you are sick, you need to do what is best for you and your family—if others cannot understand thisthen you must leave them to their own opinions and move on. So-called friends are not true friends if they arealways pressuring you. If I were to wait until my house was clean and tidy before I went dancing, then I wouldnever go dancing. Dancing (for me) is an essential—so I give it priority in my life. If people call in at lunchtime andI’m still in my dressing gown after having been out dancing and then slept in—I will make no apologies—they mayhave to clear a seat before they sit down, but they will still be made welcome. If they cannot handle this, then this istheir problem.

I WISH YOU SUPPLENESS, JOY AND GIGGLES IN DANCE


CINCH DANCE UNLIMITED

We have new stock:

Men’s Dashiki shirts · art print tie at the side · wrap skirts !BINDIS - $2 BEGINNER ZILL SETS - $15 ISIS WINGS WITH CARRY BAG - $120

BEADED FRINGING FOR BRA & BELT - $90 COIN SCARVES - $25 VELVET COINED BRA & BELT SETS - $70 BEADED BUTTERFLY TOPS - $25 STRETCH VELVET CHOLIS - $20 CHIFFON GOLD COIN BELTS - $25

CHIFFON GOLD COINED & BEADED PAYETTE BELT - $40 VELVET COIN BELT - $50 BEADED KURTI TOPS - $60

EMBROIDERED KURTI TOPS - $60 COLOURFUL GOLD SHOT SCARVES - $12 COLOURFUL CANES - $20 BEADED BEDLAH SETS - $160

Visit my webstore at www.cinchdanceunlimited.com

Or come to the shop at 12b Homestead Drive · St Johns · Auckland

If you cannot come in person you can reach me by

e.mail: [email protected] phone: (09) 5272-350 Mobile: 021-1158-548

Dear Members

Have you heard of the Guinness World Record for the Longest Bra Chain?

Apparently Australia hold the record at present with a chain of 166,000 bras. This took them 3 years toachieve. Now let me tell you a little story.

Robyn Martinovich sat struggling with how her Girl Guide Unit in Dargaville would achieve the goal that theBreast Cancer Foundation had asked of Girl Guiding New Zealand. “Raise awareness of Breast Cancer” they said.

How could this be incorporated into the activities of her Guide Unit? Whilst she thought, she flipped throughher children’s Guinness World Record book and came across the record for the Longest Bra Chain… Imagine if asmall Unit from Dargaville managed to break this record by November 2010!

She realized that this opportunity was also a fantastic way for the Guides to achieve their Community Actionbadge and would help them realize they had a voice that will be heard.

After the November Record count, Robyn knew of a group called Breast Mate in Cambridge who coulddistribute the bra’s that were in good condition to ladies in Africa, which would also help her girls to participate in“World Poverty” Thinking Day. The End.

Wait! That is not the end. The end is when we all help Robyn and her Unit win the Guinness World Record.How do you help? You organize local bra raising events. You give public performances and promote the event witha request for donated bras. You have tea parties where there is a prize for the most bras donated. You have a BraHafla. You promote a walk down your main street in bras....

If you have one or one hundred bras to donate, please send to:

Robyn Martinovich, 550 Mahuta Road, R D 1, Dargaville

Or you can deliver to anyone of the 79 Postie clothing stores throughout NZ.

For more details and an up to date count of Bras collected (today’s count 14,519) you can visit “World RecordBra Chain” on facebook.

I have managed to collect 27 bras but I know I can do much better. If you live nearby you can drop your brasinto me and I will dispatch them for you. My address is: 12B Homestead Drive, St. Johns, Auckland. Happy Bracollecting. Suezy [email protected]

World’s Longest Bra Chain Record Attempt— YOU CAN HELP!


Tribal Style, Tribal Fusion

& Base Belly Dance Classes

Have you ever wanted to try Tribal Fusion or American TribalStyle, but weren’t sure what classes were out and about? Wellevery week Pip E-Lysaah teaches classes in both styles inWellington AND Christchurch.

Every Saturday Pip E-Lysaah teaches Tribal Style Level 2, Level3 and Mixed Level Tribal Fusion at the School of ContemporaryBelly Dance in Christchurch. Tribal Style Level 2 covers theessential cues, formations and movements of American Tribal

Style, Tribal Style Level 3 steps up the challenge by adding shimmies, levelsand layers to the technique, advanced formations and props such as sword,veil and finger cymbols.

Mixed Level Tribal Fusion takes students through an exciting 35 min belly drillsection, which leaves you warmed and sweaty, and then into the combo-graphy portion of the class. Combo-graphy is choreography by combination,learn a combination and then add then together with a modern twist onmusical stylings.

Saturdays, Christchurch

School of Contemporary Belly Dance, Level 1, 82a Lichfield Street,Christchurch

Tribal Style Level 2: 1.30 – 2.30 pm

Tribal Style Level 3: 2.45 – 3.45 pm

Tribal Fusion: 4 -5 pm

Every Tuesday Pip E-Lysaah teaches classes in belly dance at the TarrantDance Studio on Cuba Street in Wellington. Building Blocks of Belly Danceare revolving six week courses, that cover technique for major parts of thebody from ‘ The Belly’ , through ‘Arms and Turns’, ‘Shimmies’ and ‘Travelling’.Tribal Style is a class for those learning Tribal Style Belly Dance, focusing onadvanced combinations and technique. She also teaches Tribal Fusion classesthrough private instruction.

Tuesdays, Wellington

Top Floor, 125 Cuba Street, Tarrant Dance Studio

Building Blocks of Belly Dance: 7.30 – 8.30 pm

Tribal Style: 8.30 – 9.30 pmPip E-Lysaah

http://www.hedonistacal.com; http://www.belly.co.nztext: 021 542 013

twitter: pipbellydance


It’s a funny thing how much I have learnt about people and our miscellaneous differences over the lastthree months and all because I wanted to introduce Hamilton to Tribal Style Bellydance, have Pip in myhome where I could get to know her better and more importantly ask, ask, ask her everything !!!

From an organizer’s point of view would I do it again ? Bigresounding NO.

From a workshop participant’s point of view ? Sign me up -wouldn’t miss it for the world or wedding anniversary (whichwas on July 11th in case you were wondering).

Hamilton put on the most fantastic weather even includingthe frosts and many thanks to Fabienne for showing mehow to work the heat pump (the heating was the mainreason I choose the venue) and keep things warm.

Saturday was all about Tribal Style and Pip delivered a greatoverview; nice gentle warm up and then straight into somemoves. I firmly believe we can’t focus on getting the basicsright enough and personally was shocked at how badly myposture has slipped but Pip made it all fun and doable. Fastmoves, formations and slow moves were all covered overseven hours and although by then our eyes were glazingover we were still smiling. After such an intense day andbecause I could, we brought the Hafla ie food forward and got to enjoy each other’s company and join insome dancing. Thanks to Pip here for showing some fantastic Tribal Fusion on her laptop and for herdancing (note to self: offer to dance before the Teacher next time). Then home to unwind and bed.

Sunday was more about technique and a few new faces. First up, a layering Workshop involving loads ofdrills which I tried to write down but haven’t started practising yet and Pip showing us how hard workpays off by moving 5600 parts of her body at once. (Did I mention yet that I want to be just like herwhen I grow up ?) Certainly on Sunday she thought we were ready for her four and a half minute warmup but no one is ever prepared for that haha. Then after a quick lunch break on to ChoreographyComposition (which I had missed at Festival) and was a revelation. Thanks to Pip for being willing toshare all the tips and tricks she has learnt in this area. It was great to split into groups giving it a go andthough the non verbal communication tried my fortitude sorely my efforts to not talk did keep everyoneelse amused !

Once again thank you to Pip for all your hard work and polished teaching.

Thanks to ladies coming all the way from Taupo, Warkworth and Whitianga as well as the local dancersbecause without you it couldn’t have happened.

Thanks to Rebecca for the great supper at the Hafla, loved thatcheesecake and Christine my right hand support and vacuumer.

Thank you to MEDANZ for the funding for Pip’s travel expenses.

Big thank you to my husband and sons who put up with my extraangst during the lead up and you go girl to anyone who’s organizedanything !!!!!

(N.B. I lied about not doing it again. I have Suher coming to teachKhaleegy and Cane in September and hope to have Pip back andanyone else wanting a “holiday” in Hamilton call me . . .)

Go Tribal in Hamilton with Pip E-Lysaah

10/11 July 2010by Shelley Dawson


Part 1: Children, a busy schedule and why is it you get so many events on one weekend?

I know why they say never work with children or animals - it comes under the “To Hard to get them to dowhat you want” basket

When they finally do get up and dance with you – no one ever watches the big dancers really but the little kids

We started our weekend with getting ready for a performance at the Hamilton Gardens Summer Festival –Buskers Square they included this year and my two little girls who have been learning to dance with theiraunty wanted to dance with us – so in their own little costumes (very sweet) off we went – well when they diddance they really did steal the show just by doing a move the crowd went wild – ah well we could have beendoing the bird dance and no one would have noticed – just as well really I’m sure I mucked up mychoreographies we were performing but who would know apart from you the reader and me the writer (andyes as you think to yourself every other dancer who reads thearticles in the newsletter now)

Then it was pack kids in car and off to Taupo to dance at the BodyArts Festival

Sue from Mirage was in a bit of a state as we got there about 10 or15 minutes before they started there set as we were joining themon stage for Mirages Wahda We Noss choreography (*that went wellthe girls in Mirage are very helpful with calling cues…, thankgoodness) once the dance was over it was our turn – the wonderfulmusic man got this bit right but threw our music on straight awaywithout giving the ladies of Mirage there time to get off stage…. Ohdear – so we do our first dance with two stage stealers and agorgeous line of backing dancers – a troupe well prepared forperformance rule one (well my rule one) if it can go wrong it will

All fine and dandy – we then have to stand about for an hour or so

being painted with fluro paint …… uh yeah we did in costume too…..

for the black light show later the evening … if it can go wrong it

will… the fire show got moved to before the black light show… uh ok … then the music man put the wrong

music on for the black light show – so much for our performance piece – we managed to get it working about

half way through, it was supposed to start belly dancers, black light angel wing dancers, triangles spun with

chains on them used a lot like fire poi- into a fire dancer doing a burn off on the runway – this is wear they

send up large flames off a fire staff into the air with a big whoosh finishing with getting the crowd on stage

with a stilt walker for a dance party… we went home (well where we were staying) about now for some sleep

and to get two little tired girls to bed

On Sunday – the joys of dancing bare footed – eek I suggest that you invest in a pair of shoes – even Scottishcountry dance shows or learn how to grin and bear cooking the soles of your feet if ever performing on a catwalk runway stage in the sun… OUCH steel bits do really burn then we danced out in the field – much nicer onthe feet - And I had my 5yr old princess decide she would do a sword dance with me – Mum gets her swordand I can use its case thing she declared – and lo and behold she did – there goes the day - every one will betalking about the fairy with amazing balance talent – never mind the gypsy in red!

Part two: Body Paints Fire and Belly dance

The body arts festival and competition we danced at was in its firstyear. And wow now I remember why I wanted to go to a makeupartists school – even though I had the nagging father – the only jobyou could ever get doing that is teach

As we all know everything happens for a reason and I applied for thecourse and after being accepted it got cancelled because they saytheir weekend intensive teacher was no longer available …. Ah well Iprobably never would have started belly dancing if I had done thecourse

When we got to the festival the artists were finishing there day’sworks in creating gods and goddess of the elements – The modelswere in various state of undress from ladies g strings Y fronts for themost cover to one who had a bit of plastic or something similar stuckon where her knickers would have been ! Unless you were up close

Hamilton Gardens Summer Festival & Taupo Body Artsby Karen of The Desert Gypsys


you couldn’t tell as they were covered form head to toe in paint including there hair being styled in interestingways – some even had sculpture attached, creating the ultimate walking canvas

Now while you’re wondering what has this all got to do with Middle Eastern dance? Its quite simple we talkedto one of the sun goddess models and found out not only was she a fire dancer but belly dancer too! When itcame to the fire god and goddess’s turn on the catwalk /stage – she walked out with a pair of fire fans closedand lit –you tube fire fan dancers and you will be able to see what I am talking about (there are even clips ofbelly dancers performing with fire fans as props) – she then opens out the fans using a gentle sidewaysswaying motion which becomes a definite under 8, while doing snake arms and holding what are reasonableheavy fans out at arms length

From the 8’s the goddess then transitions into a glorious full body undulation

She then slinks further forward with rippling movements. In an amazing combination of body art, fire andbelly dance!

While waiting back stage for our dance set one of our troupe members asked the goddess what it was like tofire dance or belly dance well naked?

“Fire dancing naked is incredibly liberating I would love to dance like this all the time!” you don’t have toworry about setting a costume on fire and if you only come into contact with your skin for a moment fire isn’ttoo bad as most fire dancers burns are from there clothes catching fire!

Well with a body like hers I think I would quite agree – now after two kids and being well a very plus sizecomparison I think I will keep my clothes on and look for the more fire resistant natural fibres for now –learning fire dance is fun and I have some more ideas for combining use of fire fans and belly dancingtogether in a routine – now to find the right fiery combination of fast slow and dramatic music to create thedance too!

Would you like to perform in the Festival 2011 show ?

Planning for Festival in April 2011 is well under way, and it is now time to call for performers to be innext year’s Show on Saturday 16th April in Tauranga. Please send your interest in performing for theShow sub-committee to consider.

Include details such as whether you are offering a solo, duet, or troupe item; what is the style of thedance, costumes and music; what props may be used; how long is the music? 3minutes, 5 mins, or ifover 5minutes you may be required to offer a video of it.

Please keep in mind that to be eligible to perform in the show, you must be a Full Member of MEDANZ,and will be attending at least one Festival workshop ( as a student).

You will also need to have performed previously in public— not necessarily at Festival, but somewhere!

Let us know if you performed in the show last year, or if you applied but were turned down. Let usknow where you live, as locals get an extra ‘credit’ when it comes to the decision-making.

Also let us know if you intend to teach the choreography or style of your performance as a workshop atFestival 2010; include anything you feel may be useful in the decision making.

We are also wanting expressions of interest for performing at the Hafla on the Sunday night (this yearthe Hafla and Dance/Drum Jam will be combined.

Apply now at [email protected]

OrMEDANZ

Suite 3051 PO Box 13-240Johnsonville Wellington 6440

CALLING ALL PERFORMERS


WHAT’S ON?INTERNATIONAL

WHAT’S ON?NEW ZEALAND

Marakesh Movers presents:A folky day of dance with Suher teaching

Khaleegy and Cane

Sunday 19th September 2010 in Hamilton9am - 4pm with shared lunch

$35.00 per Workshop

For more details contact Shelley:[email protected]

07 8493328 a/h or 027 717 2699

Creative Combinations Workshop

Sunday 26 September

10am—12pm

Massey University Recreation Centre Gym SH 17 Albany

(opposite Westfield Albany)

Early Bird Price $35:00 (before 15 Sept) $40:00 thereafter

Candice will take you through the various techniques of developing your individual movements into

creative and powerful combinations that will add versatility to your dancing.

There will also be a mini market (if you would like to sell, contact Candice)

For more details contact Candice

021 170 4183 09 483 3553

[email protected] www.phoenixbellydance.co.nz

NOTE YOUR DIARIES NOW!!

WINTER WARM UP 2011

TEACHER: Dr Mo Geddawi

9—12 July—Dance Workshops

13—17 July—Teaching Bellydance 9am—9pm

For more details visit

www.winterwarmup.com.au


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The cut off date for the October / November newsletter is:

20 September 2010

2010 Aug Sept MEDANZ News

Documents

Transcript of 2010 Aug Sept MEDANZ News