2011 Apr May - MEDANZ Newsletter

These are some things that I have come across that first time festival attendees might think about – or not think about as the case may be. I have written these questionsdown with the answers you may find this helpful if you’re attending your first MEDANZ festival

Are you wondering “what is the etiquette for workshop attendees?” This is pretty much common sense – Use your manners and don’t talk when your tutor is talkingCan I ask questions? Don’t be afraid to ask about a combo or move the teacher thinks is common place as her class may do this move all the time, and she isn’t used

to having to break it down. This is especially true if the teacher has said we will be using a Camel/Omni/Maya or any other move that you thought you new, but turns outto be different to what you know the move to be. Also Remember teachers are human and experience has taught me that some teachers think expressively – whensearching the data files upstairs (often untidy with artists like their houses) they pull funny faces – this is no reflection on the student – I am guilty of doing this many atime myself and have been in workshops with international artists where they have done it too! Also remember dance teachers are human and make mistakes as well,some don’t know left from right! And if asking for a count prepare for it to be wrong with some as they change moves with the music not on a number as it makes for amore fluid dance when not counting…

What about lunch? There is a short break between classes but is it enough? No - the break between classes is to give students time to get from one class to thenext this is not a lunch break and there is no lunch break allocated. I advise my students who book into festival workshops for the first time to do the following – planyour breaks – know your own limits - if you have to do all the workshops offered in a day – and you forgot to book in breaks foods like bananas are great, as you can eata banana and still dance afterwards without it getting too much of an issue, marathon runners will often eat bananas before the race too. Nut mixes can also be good (Ilived on them during my time at festival last year) – If doing a drumming workshop without dancing – eat something at the start of that workshop – with lectures sameapplies – taking food with you? Don’t take noisy packaging put in into quiet containers, this way you don’t interrupt the teacher when you absolutely have to eat… Andlast but not least – Shake meals ok they don’t full the stomach but the can provide the nutrition energy to keep you going you know your own dietary requirements sostick to them plan your meals accordingly and take them with you if you don’t have time to go and eat!

Why can I not use my beloved coin belt in workshops as I get to in class? There are no coin belts allowed in workshops – as when you get a lot together somepeople have concentration issues others have problems hearing over the noise and occasionally a teacher has a quiet voice and just cannot be heard over the quiet jingleof even 2 or 3 the next question that came to mind is also to do with this is what if I don’t own a Hip scarf that’s not a coin belt? If this is you go to your local op-shopand see if you can find an old shawl/scarf that ties round your hips – even a nice chiffon veil works for this if you have one, if you want a nice hip scarf there are usuallyoptions to buy one available at the hudra!

What sort of clothing should I wear? Unless the workshops specifies a certain item of clothing like a skirt – my fav workshop outfit is a pair of tights – the teacher cansee your knees for technique –yes even in arm workshops as you need to be in correct posture. On the top half I would recommend a crop top bra that you can getfrom the warehouse with a stretch t shirt…. Our Medanz ones are quite good, for when it is cooler..I use mine a lot like this even for when practicing at home. Otherthings that are useful – LYCRA! Its fast drying and stretchy so you can go back to the motel and rinse in warm water and hang it up in the bathroom Just make sureeveryone has had their showers etc first … or outside if fine and dries quick! Failing all that hang over a towel in your room / area near an open window

Also sometimes vendors sell practice wear at the HudraAm I allowed to take notes? Yes you are even if notes are handed out in class it pays to make your own notations on the paper –as you may have different wording for

a choreography that makes it easier to follow later – In technique classes this may be essential, if you’re doing a drills class write your notes directly after class while it isstill freshest in your mind or if there is something you MUST write don’t be afraid to nip to your paper and jot it down then and there,

I took a class above my level without realizing how do I cope? Most of us take classes based on what is written on a piece of paper if you find yourself in a class

that seems to be above your level do not panic you may get something out of it –if there are moves that are not sinking in try a basic variant you may have done in

class? Don’t just walk out, sit in back at least and take notes did you enjoy the style, is there a combo in a choreography you just love and want to use in your own

dance?? Is there anything you liked that you can go back to your tutor and ask her about later that just doesn’t sink in then?

What is the Hudra? You have mentioned it a couple of times but I have no idea what you are talking about! The Hudra is a Market place type area that is setup through festival –this is somewhere that I have to say is ideal to spend money at, many of our wonderful NZ basedvendors sell items relating to belly-dance here including practice wear and hip scarf’s, veils costumes and jewelry

Do I need to attend the AGM/Meet n Greet –My answer is YES Attend the meet and greet get to know yourfellow dancers, and the AGM well that whole festival is based around getting members to attend the AGM this isyour dance association the committee are volunteers who are the ones keeping it running whilst on committee-the show the workshops the Halfla are all icing on the AGM cake as it were. If you want to be more involved inMedanz and you are a full member, with a bit of spare time why not volunteer to be on the committee? Thisshould be an honour for members to serve on the committee not be something to be shied away from and thinkif someone who is on the committee or has been on the committee that this should be considered a complementas they think you would be an asset to MEDANZ!

And my last bit of advice while you are still at home – Make a check list of EVERYTHING you’re going to need dothis now don’t wait till the last minute include everything – make up something to wear for the hafla, costumes ifperforming what clothes you will going to be wearing all your undergarments make a detailed list if you can packyour bag in advance too so all you have to do is pick it up and travel on the day you leave, This may remind you ofschool camps but there is a reason they do this – it is that the list works! Make up a list of basics – undergarmentspractice gear – special items – write them in separately and this list will be like a grocery list for when you goshopping adding in the bits you need for your workshops!

All that is left now is to enjoy your festival experienceYours in DanceAdilah/Karen from the Desert Gypsys

April / May 2011

Middle Eastern Dance Association of New Zealand

MEDANZMEDANZMEDANZ NewsNewsNewsISSN 1177-2808 (Print)

Easter Raffle 3

MEDANZ 2012 4

Taking Photos 5

I B C C 6 - 7

Getting to know: A’mal 8

What’s On 11 - 12

ISSN 2230-357X (Online)

MEDANZ News April / May 2011

Contributions, including original articles, photos, reviews and letters are VERY welcome

Email to: [email protected] or [email protected]

All contributions will be deemed to be authorised to be reprinted on the website. Material does not necessarily represent the views of MEDANZ members, not those of the MEDANZ committee.

The cut off date for the June / July newsletter is:

20 May 2011

Web Site

www.medanz.org.nz

User Name: medanz

Password: bellyroll

Bank Account Details: 12-3011-0758507- 51

Include your name 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 [email protected]

Hm: (07) 823 7232Cell: (027) 448 9001

Treasurer & Membership - Lynley [email protected]

Hm: (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) 874 1087

April / May 2011 MEDANZ News P age 3

Because we are coming up to Easter, the committee thought it would be a lovely idea to

have a huge Easter Raffle - all the committee are putting in something for the prize

basket and we are inviting you to contribute too!

That way we can donate the WHOLE of the proceeds of the raffle to a fund we are

setting up to help the Christchurch belly dance community

With so many people moving away, the teachers in Christchurch have lost alot of

pupils so we thought perhaps a hafla to show the people of Christchurch what a great

community we are and perhaps recruit more dancers.

Anything accepted - be it Easter related or Bellydance related

Leave your contributions at the Info Desk

TICKETS$2 EACH

OR3 FOR $5


I know we haven't even got MEDANZ 2011 out of the way but we must think ahead.

It was decided last year that 2012 and 2013 would be held in Christchurch.

Well as we all know - unfortunately this is not going to happen.

But we are COMMITTED to holding the next two festivals in the South Island

And where better than

DUNEDIN !!!!!That’s right folks - Festival 2012 is going to be held in Dunedin so start saving your pennies.

The actual dates are yet to be confirmed but it looks like around the same time as this year

Friday 13 April thru to Monday 16 April

So we’ll see you there then


Taking photos at the Performance

This is particularly directed at the performers themselves but those of you in the audience can take note as well.

We know that you are going to look stunning - drop dead gorgeous - for the show and you would like nothing better

than to immortalise yourself on film.

Well we on the committee understand that - only too well - but we also

understand how invasive the flash of the camera is - you might think you are

back stage and out of sight of the audience - but trust me ya aint!

So we have come up with a plan which we think will satisfy all your needs. We

have engaged the services of a professional photographer who will be coming

along to the DRESS REHEARSAL and taking photos of you all before you

rehearse your number - so you’re not all hot

and sweaty and flushed - which means you

are going to have to be in full make up and

costume (which is what a dress rehearsal

means funnily enough)

Then all the proofs will be available on Sunday at the Info desk and orders taken.

The cost of a 6 x 4 will be $2.50 plus $1;00 postage. And anyone can buy the

photos - anyone at all.

And as per usual we will be having the show video by the same man that did it last

year - slight increase in price - $35:00 this year - so you can order and pay for your

2011 DVD at info desk as well.

So this means without exception - no cameras in any way shape or form will be

permitted back stage on show night or indeed in the audience. And we will be

policing this rule most vigorously.

YES - YOU TOO CAN ADVERTISE IN THE NEWSLETTER !

In addition to keeping a list of available services which MEDANZ will print

from time to time, MEDANZ accepts paid advertisements for the newsletter

at very reasonable rates:

A4 : $20 / issue - $80 per year

A5 (landscape): $10 / issue - $40 per year

Business Card Size: $5 / issue - $20 per year

This is for black and white only.

Text and/or graphics should be emailed or sent on disc at least ten (10) days before issue deadline. Acceptable

formats are (in preferred order): pub, tif, jpeg, doc, pdf. Resolution must be no more than 200 dpi.

The Committee reserves the right, in its sole discretion, to refuse to accept any advertisement for publication.


Opportunity of a Lifetime

The International Bellydance Conference of Canada

The day the email came, I wondered if I’d lost my mind. In the final days of completing my MA thesis onbellydance in New Zealand, I had daydreamed about how great it would be if one of the dance scholarswhose work I’d used read it and invited me to be part of some conference or other. So the email fromBarbara Sellers-Young inviting me to be on her globalisation panel at the International BellydanceConference of Canada in 2010 was almost too much like a dream come true.

Conference organiser Yasmina Ramzy confirmed that I, like all the other guest speakers, would be compedinto every show, workshop and presentation of the four-day event in Toronto – teachers at that stage tobe confirmed – so all I had to do was get there. I agreed at once and slunk off to talk to the bank.

Previous IBCCs had featured such luminaries as Aida Nour, Tito and Randa Kamel, so I knew that whoeverwas teaching was bound to be good. When the teacher list was finally released, there were thrills in store.First up, Mahmoud Reda! And Khairiyya Mazin. Such opportunity! Then, Sema Yildiz, who I’d heard goodthings about from Turkish-loving dance friends, Delilah – she of the beautiful veil work – innovative SeraSolstice, Yasmina herself and Jillina! On a more personal note, I was thrilled to see Hadia and Amel

Tafsout in the line-up too. Hadia was highly influential on my teacher, Gendi, and she was the first non-Australasian teacher I everstudied with. Amel I’d met at Oasis Dance Camp in 207 and I was happy to get to see her again. If only Cassandra of Minneapolishad been going it would have been the perfect reunion… but you can’t have everything.

Going to international events is always a bit daunting but it’s particularly odd when you’re going alone. There were one or two peopleI knew of online, or through their academic work, who were going to be there, but I didn’t actually know any of them. I’d originallyplanned to look for the cheapest possible, backpacker -ish accommodation as usual, but decided to take up an offer from Lynette, theeditor of Gilded Serpent webzine, to split the cost of her hotel room in downtown Toronto.

Days before I was due to fly out, a volcano erupted in Iceland, disrupting flights all over Europe. Mahmoud Reda and KhairiyyaMaazin ended up stuck in Egypt, to everyone’s disappointment. But Yasmina was able to bring in one master teacher at short notice.Cassandra!

The conference opened on the Wednesday evening with registration and a show. Registration was much like going to MEDANZ butwithout knowing anyone, and it was pretty disconcerting. I spotted Shira (of shira.net) with whom I’ve butted heads online beforeand introduced myself. She was friendly and welcoming. So at least I had someone to sit with! Then Cassandra appeared in thecrowd, gesturing towards the large piece of pounamu she was wearing because she knew (via Facebook) that I was going to bethere. Things started to feel far more comfortable. Later, as I hung round outside the Hungarian Centre while all the Canadiansscuttled home to catch the end of the hockey, they felt less so. Lynette was lost and her phone was out of juice. At last, though, shearrived – a great, warm woman with a ton of strawberry blonde hair and a velvet coat – and we headed back to our hotel. Which, itturned out, was swarming with Names. As I checked back in, I saw a woman in uggs and a skirt over pants who looked oddlyfamiliar, kind of like a Kiwi chick – that was Delilah. Cassandra and Amel were there too, and a small woman with dark burgundy hairwho I realised belatedly was Jillina.

The choice of hotel and roomie turned out to be incredibly fortuitous. It turned out that all of the workshop instructors were stayingthere. Lynette was driving and because she loves to network, she became unofficial taxi driver between the venue and the hotel formany of the teachers – and me. Breakfast and after show drinks became somewhat surreal.

The IBCC is unlike many belly dance festivals because it has a parallel programme of non-dance, mostly academic sessions as well asdance workshops. If you wanted to, you could spend the entire conference learning and discussing fascinating things, and notdancing a single step. Every day, there were five dance workshops (an hour and 45 minutes each) run one after the other – therewas no need to choose between them because none ran concurrently. Each teacher was scheduled to teach once a day, on threedays. Each of their workshops was different. At the same time, there were panel discussions, lectures, drum and zill lessons, filmsessions and, later in the day, open stage performances. Every evening there was a show, culminating in the Gala performance byteachers and invited guest artists in the Ryerson Theatre, and on the last night there was a party.

The workshop, lecture and main stage show venue – the Hungarian Centre – was a strange and sprawling place, with a café andvendors downstairs and lectures upstairs. In the middle, we used a large theatre-type space with a raked floor for the danceworkshops, which became a theatre-proper in the evening for the main stage performances. Sandwiches – beef, tuna, vegetarian –sweet muffins and water were provided for us during the day and there were plenty of nice places to eat for when we wanted more.The whole event was incredibly well organised. We’d also received bags, T-shirts and full programmes, complete with show runningorders and participant biographies, when we arrived.

I’d decided to concentrate on the dance workshops, because I have so little access to classes at my level now. In the end I found Ihad to take breaks quite often, sitting out a couple a day. I was fit enough, due to weekly ballet and oriental dance classes at thetime, but I was jetlagged, not sleeping much and in sensory overload. There was just such a lot on offer.

To make up for the loss of Reda and Khairiyya, several of the other workshop teachers pitched in with an extra workshop at the lastminute. As it happened, Cassandra had been studying with Khairiyya in Luxor only a few months before, so she was able to open theconference with a Ghawazee workshop that was probably actually better, in terms of easily taking away material to pass on, thanwhat we’d have had with Khairiyya herself. I do hope to meet Khairiyya and study with her in real life one day though. Apparentlyshe was terribly disappointed at not being able to come – she has never left Egypt or even been on a plane before, and had a newold-school Maazin style costume made especially.

My surprise connection was with Sema Yildiz. I’d never studied 9/8 properly and was determined to do her 9/8 Rom workshop, eventhough I’m not a big Turkish dance person. I ended up loving the earthy gritty Roma style, taught in “follow Sema for an hour and ahalf” fashion. A few days later I was pestered into helping out with a Gilded Serpent interview with Sema – her English is limited –which involved hanging out in her suspiciously tobacco-scented non-smoking room with Lynette and Sarah Skinner, eating Turkishbread and piecing together her life story.

I had a weepy fit of nostalgia after one of Hadia’s workshops – it made me miss my teacher dreadfully. My other favourites were

by Zumarrad (aka Brigid Kelly - Canterbury)


Jillina, who taught a challenging and exciting drum solo (unfortunately I didn’t get the music, which was a big mistake), andYasmina, whose choreography skills workshop with live music from drummer Suleiman Warwar and violinist Eddy Suleiman was areal paradigm shift. And the guys were delicious to dance to! Amel’s workshops were also awesome, but I already knew that fromhaving met and worked with her at Oasis. She sang and made everybody cry. She does that.

Because I was usually in a workshop or “networking” with fellow researchers towards the end of each day I didn’t catch any of theopen stage performances, but I attended every evening performance on the main stage. These were hand-picked from manyapplications, and represented the higher quality dance on offer from workshop participants and local dancers. Most of theperformances were in Orientale or folkloric style, with quite a few interesting fusion pieces and a little tribal. The dancers weremostly Canadian or from the States. There were a few from other countries, but several planned performers had also beengrounded by the ash cloud.

It’s really commonplace for people to return from international events saying that New Zealand dancers are at least as good asthose they saw overseas. In this case I cannot say that. The Orientale performances were in general far superior to the majority ofOrientale performances I’ve seen in New Zealand, though I felt some of the North Americans did have a tendency to over-stufftheir dances. The group work in particular was amazing, probably because it was being presented by well-rehearsed troupes andcompanies, rather than class groups. The tribal dance was about on a par with what I have seen locally. The tribal fusionperformances were far more varied in style and took more risks, as did the other fusion or contemporary dance-type performances.Some worked for me, some didn’t.

The performers and workshop participants were, in the main, quite a bit younger than those yousee in New Zealand, and many obviously have extensive dance training in other dance genresand a lot of experience as solo performers in Arabic clubs. But the more mature dancers certainlyheld their own. Of the soloists who performed at the week-night shows, I particularly lovedTamalyn Dallal and Mariyah Elizabeth of New York, for their gorgeous individualistic Orientale,and Ebony Qualls who shone at both oriental dance and hip hop fusion, though there were manyothers who impressed me.

Because Mahmoud Reda had been expected, there was quite a bit of Reda-style folkloric and itwas exciting to see it presented at such a high level. Even though they would later perform atthe Gala as well, the dance companies of Ranya Renee and Habeeba Hobeika gave folkloricperformances during the week too – either their own work in the Reda style, or recreations ofReda choreographies from his movies. These women really know their stuff!

All the dance workshop teachers performed at the Gala, along with a couple of guest companies(Ranya Renee, Habeeba Hobeika, Zikrayat) and, for the entire second half, Yasmina’s company,Arabesque, who performed excerpts from their show Oum with live musical accompaniment. TheArabesque orchestra is reckoned to be the best Arabic band in Canada and one of the best in allof North America. Their piece “Coffee Shop” may be my favourite dance number of all time. Oumitself, which is a long medley of Om Khalsoum songs presented almost as if an abstract ballet,performed by dancers in white and gold, is very beautiful but possibly a little samey for my taste– I longed for a solo or duet and a costume change here and there to break it up. It was alsothrilling to be in a theatre packed with people who were obviously not all belly dancers and theirfamilies. Toronto has a large Middle Eastern population and a very thriving cultural scene, and many were obviously there for themusic as much as the dance, if not more. A man in my row was crying openly during one of the songs.

The other performance that grabbed me was by Zikrayat of New York City, who present multimedia recreations of Golden Agemovie numbers. Lead dancer Mariyah Elizabeth, with Yogi Rosario (in drag), presented the climactic dance scene from TamraHenna, with the movie scene playing in the background. I did actually burst into tears when I realised they were going to play outthe whole thing! It was so powerful and so sexy! And laden with layers and layers of representation that made my academic heartsing.

In general I found the dance work I saw in Toronto very creative and thoughtful. Often it was just straight-up oriental dance – sucha rare delight in these days of 90 percent novelty act haflas - but I was also thrilled to see the level to which dancers were able tobe innovative and theatrical without feeling the need to add fashionable props or “tribal” movements and costuming. I wasespecially impressed by the management of groups and floor patterns. Yasmina’s male troupe were there, and I loved them, but itwas interesting to see that in several performances, most notably the folklore, when groups needed male dancers and had none,some of the women would just don a male costume and dance as men.

My presentation earlier that day had looked at my notion of a globalised belly dance culture, the ways some Kiwi dancers hadworked to make the dance their own, and the issues inherent in that. I selected some examples from my thesis that centred on thecreation of Kiwi Iwi, as I suspected the Maori side of things would excite the participants, and I was right. Our panel went very welland we later discussed putting together a publication from it, which is still on the cards, though earthquake disruption has put it onthe backburner for me.

The final night party was a highlight – I honestly consider it worth the cost of the flights. It was held at a small club a few blocksfrom my hotel and featured performances from Cassandra and Jillina, to live music from the Arabesque Orchestra, who also playedfor social dancing. To my delight, as an invited speaker I was seated right beside the dance floor area, along with the other invitedspeakers and teachers. It was incredibly exciting to watch both featured dancers, plus Sema who’d been handed a hip scarf andasked to perform impromptu, working with the band so close up. Cassandra and Jillina both danced full sets, Jillina’s with *three*costume changes. It is, apparently, quite a coup to get Jillina dancing in what is essentially a restaurant these days, so we werevery lucky.

It was also thrilling to dance socially on a floor crowded with belly dancers, all loving the classic tunes Bassem and the rest of theband were playing. No complaining about the lack of pop or Western songs, nobody refusing to get up and dance because theyweren’t drunk enough – what a blast! Jillina and Cassandra were down there with us grooving in their post-performance outfits,and it was so awesome to dance with Jillina and receive compliments on my dancing from Sema. Belly dancing withoutperformance pressure is a wonderful experience and one I fear we’re starting to lose. Later we had a mighty debke spiral goingaround the tabl beledi – some of the dancers doing the quite complicated debke in crazy platforms.

Overall it felt so refreshing and comfortable to be among dancers who liked and admired oriental dance styles. I met many well-known US and Canadian dancers, musicians and belly dance researchers over the course of the conference and had such afantastic time. It was great to be given such an opportunity and to feel so appreciated and recognised for my work, while, at thesame time, being able to take part in workshops as just another dancer.

Jillina


Oriental, Fusion and Cabaret Belly Dance ClassesDid you know that A’mal is currently teaching Oriental and Cabaret belly dance classes inChristchurch?

Thursdays, School of Contemporary Belly Dance (SCBD)

L3 Oriental 6.30-7.30pmThis class focuses on developing good base technique, understanding and interpreting MErhythms 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 of bellydanceout there. Previous topics have included: Lebanese Belly Dance/Isis Wings Technique andChoreography and The Karsilama RhythmCurrent Topic: Turkish Cabaret: Old School bellydance with spins, big hip articulationand 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 by someof 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 suit nationwide, as an Oriental and Fusion

teacher and performer, and as part of the quirky Red Queens

CONTACT DETAILS

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

Do you just have to dance??? Well, to be honest, I originally started looking for a creative outlet when I was at unit, I thought I would berubbish at dance but slowly and surely, the music and rhythm got under my skin. So now, yes!

How did you come to be a Middle Eastern Style dancer? How could you not love this style of dance? There is so much breadth to themusic, it doesn’t matter what mood you're in. Sometimes I’m feeling very Oriental with wafty veils, sometimes cheeky Saiidi,sometimes intense Tribal Fusion, you can never get stuck or bored with this dance style which I love.

Who have been/are your major influences in style and technique? My first teacher, Gendi te Keepa for great base technique. Since then,it's been a mix of dancers with different styles but whose passion for their craft has inspired me: Melusina, Rachel Brice, Mira Betz, ZoeJakes, Amar Gamal. At home, my dance partner in crime Pip E-Lyssah is always pushing me to improve, be creative and think outsidethe square. Oh and trying to get me to do the splits, which alas, aint happening.

How did teaching evolve – why are you teaching? Teaching came at the right time! I was starting to really consider teaching, I hadbeen dancing at the SCBD for a few years and I wanted to become more serious about my dance. Then my friend, the fabulous dancerDori who was teaching the Thurs L2 Oriental class at the school moved to England for a few years so I took over her class. And it's justgone from there

What are you wanting your students to get/take away from a Class/Workshop? To be excited by what they are learning- dance shouldbe an uplifting experience. I am a technique weenie however, I really like to focus on making sure a student comes away with great postureand technique. As Mira Betzonce said to me, your range of technique is like a box of paints. If you want to paint a great picture, you wantall the colours of the rainbow available. I want to give students the tools and hopefully some inspiration to go and paint their own pictures(without cutting corners, cos sometimes it's hard!)

Are you available to encourage me outside of Class? Absolutely, give me a call or email.

How do you manage with different levels in the same Class/Workshop? Start with the base layer of technique and add layers for themore experienced. I usually work from the floor up: feet, then torso/chest articulations, then arms and hands if we are looking atsomething complicated. If you can get your feet in time to the music, you are on your way!

What do you do for your own learning – do you think this is important? I make sure I can go to classes when I can (although with kidsetc, not as often as I like): as a teacher, it's good being a student in other people's classes. I try and train internationally once a year atleast, as well as attending workshops at least 3-4 times a year with national and international teachers. I dance with Pip/Rachel andHannah in ChCh which is great as we all have different strengths and weaknesses which we can use to practice and influence our owndance. And of course, I am constantly on YouTube and buying DVD’s to see what my favourite superstars are doing, great forinspiration and to give you the 'I want to be her when I grow up' feeling. And I have to say restaurant dancing is really improving myperformance skills and improvisation.

In this technological age are there any “moving pictures” of you I could see before signing up ? YouTube is the fav, there are onlya couple of me on there as it is one of those 'one day I really need to upload some videos clips onto YouTube', I'll try and upload somebefore Festival for y'all!!

Amanda MaCauley - aka A’mal


Tribal Style, Tribal

Fusion

& Base Belly Dance

Classes

Have you ever wanted to try Tribal Fusion or

American Tribal Style, but weren’t sure what classes

were out and about? Well every week Pip E-Lysaah

teaches classes in both styles in Wellington AND

Christchurch.

Every Saturday Pip E-Lysaah teaches Tribal Style

Level 2, Level 3 and Mixed Level Tribal Fusion at the School of Contemporary Belly

Dance in Christchurch. Tribal Style Level 2 covers the essential cues, formations

and movements of American Tribal Style, Tribal Style Level 3 steps up the challenge

by adding shimmies, levels and layers to the technique, advanced formations and

props such as sword, veil and finger cymbals.

Mixed Level Tribal Fusion takes students through an exciting 35 min belly drill

section, 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 on musical stylings.

Classes at the School of Contemporary Belly Dance, Christchurch

Tribal Style Level 2: Saturday 1.30 – 2.30 pm

Tribal Style Level 3: Saturday 2.45 – 3.45 pm

Tribal Fusion (hard): Saturday 4 - 5 pm

Tribal Fusion (easy): Thursdays 5.30 - 6.30 pm

Monday – Thursdays you can find Pip E-Lysaah in Wellington teaching where-ever

there is a desire and studio space, please contact directly for class dates and times.

Pip loves travelling for workshops, so if you would like some belly dance

workshops in your town, contact her for details; everything from drills,

technique and choreography composition.

Pip E-Lysaahhttp://www.hedonistacal.com; http://www.belly.co.nz; http://www.theredqueens.webs.com/

text: 021 542 013twitter: pipbellydance


DURRIYA BELLYDANCE COSTUMES

Range of Bellydance costumes and other goodies available

Outfits for practice and performance

SPECIALISE IN PLUS SIZE, TRIBAL FUSION & TRIBAL

I also order on request, so if you have something in mind, just let me know.

Contact louise on 021 256 4843

Or email [email protected]

Www.tribal.windblown.gen.nz


WHAT’S ON?NEW ZEALAND

Floorwork and turns

Workshops in Palmerston North - 17 July 2011

With Ziva and Antonia of Zilzal Tribal Bellydance Wellington

At Dean McKerras School of Dance/Rocket Studios - 35 Ngata Street

Advance payment by 14 July: $25 per two-hour workshop or $45 for both

Payment on the day (correct change only please): $30 per workshop or $55 for both

Both workshops are suitable for bellydancers of all styles

To register, contact Ziva: [email protected] · www.tribalbellydance.co.nz

10:30am - 12:30pmFit for Floorwork

Strengthening, safe ascentsand descents, floor work

moves and standingvariations

Bring kneepads & yoga mator towel

1:30pm - 3:30pmTwists and Turns

ATS slow combos combininggraceful turning with elegant

poses.Variations for travelling and

levellingDance slippers recommended


WHAT’S ON?INTERNATIONAL

WHAT’S ON?NEW ZEALAND

TAKING IT TO THE NEXT LEVEL:TRIBAL BELLY DANCE WEEKEND WITH RED QUEEN PIP E-LYSAAH

25/26TH JUNE 2011HAMILTON

ATS Tribal Day 1: 10am – 1pm Technique, Combos, Formations $50.00ATS Tribal Day 1: 2pm – 4pm Basic Zill Technique and Layers $30.00

Tribal Style Hafla 7:30pm – 10pm $10 per person (includes light supper)Belly Dance Day2: 10am – 1pm Essential Technique & Brills for Belly Dance covering fusion,

oriental and tribal $50.00Belly Dance Day 2: 2pm – 4pm Techniques for Improv and Free Style $30.00

Individual Workshops as priced.All four Workshops $150.00

Early Bird Special (up till 30 April 2011) $120.00Hafla $10.00

Register with Name, Contact details and Workshops attending via:Email: [email protected]

Post: 38 Burbush Rd, RD 8, Hamilton 3288Phone: Shelley Dawson 027 717 2699

WHAT’S ON POLICY

1. All MED related events are entitled to an entry in the WHAT’S ON CALENDAR

2. Maximum entry is half a page.

3. Brochures, registrations forms, etc may be included in the newsletter if sufficient copies are supplied in atimely manner. Limit of one full A4 sheet per person/event in any one newsletter. Membership num-bers available on request.

4. Information received after the cut off date may not be included.

5. We attempt to have the newsletter out in the first week of the month but this is not always possible.

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

2011 Apr May - MEDANZ Newsletter

Documents

Transcript of 2011 Apr May - MEDANZ Newsletter