Melina and her family's Performance Clips
Saturday October 17 Helping Hips Gala
Save the Date! Saturday October 17. Details TBA.
Stellar Belly Dance Performances and a whole lot more.
Stellar Belly Dance Performances and a whole lot more.
Melina's Spring 2009 Combo
Hope this broad-stroked write-up helps jog your memory for what we did in class recently. I did the very first part of this combo in the Level I classes, and the rest in the level III.
Step hip (first one is a step left, hip right) for 4 with changing arms:
"Elbows in doorway" arms
"Classic Egyptian" arms
"L" arms
"Reverse L" arms
On balls of feet, backwards chasse step with left hand at temple, right arm outstretched in front. Switch arms as you switch lead leg:
L,R,L
R,L,R
L.R,L
R,L,R
Folkloric 'suzie Q' crossover step into pivot turn and 4 hip pulls to left
Cross Left foot over Right, heel of left hand pinned to left hip, right hand behind head
Cross Left foot over Right again, lifting onto releve for a safe pivot turn around,
Transition into Hip Pulls to left for 4, arms sweeping slowly up to left side (direction you are going)
Large Hip Circle into sit hip, flick foot
Step out to right, feet positioned under armpits, push right hip to right, pull hips back, left, then position right foot in front, "showgirl" thighs, for hip lift and drop, lift and drop with right foot flick.
Tunisian twist step traveling in tight circle around to right on balls of feet.
Arms lift elbows outstretched, chasse step forward RLR, LRL, RLR, LRL
Walk back with dramatic pushing forward arms in modern dance fusion style - R, L, R, then lean back into left foot with "Artemis Huntress" bow and arrow pull, Left arm pulling arrow back, right arm outstretched, then lean into right leg, lift right arms up and walk under it to pivot around, bring left foot behind right in a "Melina killer lunge" position, up on ball of left foot. Left hand at left hip, right arm stretched in front, shoulder pull from shoulder blade for accents as you do level changes down and up, down and up....
Step hip (first one is a step left, hip right) for 4 with changing arms:
"Elbows in doorway" arms
"Classic Egyptian" arms
"L" arms
"Reverse L" arms
On balls of feet, backwards chasse step with left hand at temple, right arm outstretched in front. Switch arms as you switch lead leg:
L,R,L
R,L,R
L.R,L
R,L,R
Folkloric 'suzie Q' crossover step into pivot turn and 4 hip pulls to left
Cross Left foot over Right, heel of left hand pinned to left hip, right hand behind head
Cross Left foot over Right again, lifting onto releve for a safe pivot turn around,
Transition into Hip Pulls to left for 4, arms sweeping slowly up to left side (direction you are going)
Large Hip Circle into sit hip, flick foot
Step out to right, feet positioned under armpits, push right hip to right, pull hips back, left, then position right foot in front, "showgirl" thighs, for hip lift and drop, lift and drop with right foot flick.
Tunisian twist step traveling in tight circle around to right on balls of feet.
Arms lift elbows outstretched, chasse step forward RLR, LRL, RLR, LRL
Walk back with dramatic pushing forward arms in modern dance fusion style - R, L, R, then lean back into left foot with "Artemis Huntress" bow and arrow pull, Left arm pulling arrow back, right arm outstretched, then lean into right leg, lift right arms up and walk under it to pivot around, bring left foot behind right in a "Melina killer lunge" position, up on ball of left foot. Left hand at left hip, right arm stretched in front, shoulder pull from shoulder blade for accents as you do level changes down and up, down and up....
Fall 2009 Belly Dance Classes begin September 9 & 10
Melina's next session of belly dance classes of all levels in Newton Highlands, MA at the Newton Highlands Women's Club (72 Columbus Street, Newton Highlands 02461) will begin on September 9th and 10th 2009. Drop-ins at the Women's Club group classes are welcome at a no-commitment drop-in rate of $20 per class (other payment options below).
Fall 2009 Class Schedule (starting Wednesday and Thursday September 9 and 10)
Level I: Thursdays at 6:45
Level II: Wednesdays at 6:45
Level III: Wednesdays and/or Thursdays at 8 p.m.
These Weekly Group Classes take place at the Women's Workshop/Club in Newton Highlands, MA
72 Columbus Street
Newton, MA 02461
Payment options:
Drop-in rate for a single class, payable before class: $20 (cash/check only)
Punch cards are new for 2009 and are available for purchase in class - 10 classes for $150 (again: cash/check only). Punchcard classes must be used within a year of purchase - please email Melina (melina[at]daughtersofrhea.com) if you intend to come to class and purchase a punch card so she can estimate class size.
More information as always on my family's belly dance website, www.daughtersofrhea.com
LIVE LONG AND SHIMMY!!!
Cleopatra's Frenzy Choreography by Melina
Melina's Cleopatra's Frenzy Choreography
Set to the song of the same name by musical Artist: SUSU PAMPANIN
Album (available on itunes): CAIRO CATS
Daughters of Rhea Karmically Correct Request
** as with all choreographies you learn from your teachers or even from DVDs, if you perform this choreography at a hafli or public event, please give me credit as choreographer, and list Susu Pampanin as musical artist. Let us strive to always give credit where credit is due. It is the karmically correct, Daughters of Rhea way.
Without further ado, here it is!!!
Start in place on stage, cue music when ready in position.
Bounce 4 with arms out in dainty “classic egyptian”, 3 shoulder accents RLR, torso lean to right as hips slide left, finger cymbals to ear - mime zills tac-a-tac-a-tac
On second pair, bounce only twice. 4 sets total: Alternate sides and ears you bring finger cymbals to (start on right). Last one – keep hands at left ear. The music cues you brilliantly.
Listen and clap
2 sets total: Arms go out to left and listen (in lunge on left leg with right out -- weight is into left leg); clap left to right side 4 times as you shift your weight into right lunge. Repeat once more - listen/clap right to left. End holding your left lunge.
“Get ready”
3 sets total: left arm up, right out in “L” arm position, then 2 hips as you shift lunge from left to right and switch arms to “reverse L”. repeat, repeat.
Your want me? Can’t have me!
4 sets total: Horizontal figure 8’s with hip accents. start by pushing front and right with 2 hip accents, palms facing up. one hip accent as you figure 8 your hip to left front.
Hands: As hips travel on the right, hold arms out to sides (elbows bent) with palms up. As hips travel on the left, turn palms down.
Proud Queen’s walk - traveling back.
4 sets total: Turn body toward left side of room. Left arm up high with palm facing front of room. Right hand behind right hip; fingers together and pointing down. Chest tall, high heel on your right foot.
**As soon as you turn your body, ‘squinch’ right hip up with a muscle contraction of the waist** Then hips go – down, down, up, down. Try not to bob your body up and down. This is a highly controlled arabic style movement.
Swivel backward toward right diagonal by stepping back on your right foot (end facing right side of room). Repeat all facing right side then back to left; last set facing right.
“Kazakh Cutie shoulder shrugs”
Tiny ball (right foot) flat (left foot) steps forward with quick and small shrugging shoulders. Shoulders lift as you put weight into right foot, drop as you step on flat left foot.
8 counts: Body faces forward; head looks down toward right. Arms at sides; wrists bent so palms face floor.
Keeping a high heel on right and a flat left foot, take tiny steps forward as you bounce shoulders.
Continue previous ball/flat foot pattern but engage your hips to lift and drop more and turn around in place toward your left shoulder (counterclockwise).
8 counts to complete one turn in place toward left: Earth to sky arms.
QUICK Lunge / hip / lunge / shoulder shimmy
2 sets: Leaving left foot planted, small and quick lunge once right (snake right arm). Bring feet back together. side right hip then left. Repeat same lunge and back, then shoulder shimmy as you bend knees deeper.
Circle the hand / hip lifts
8 sets of: Lift left hip 3 times then turn left with a lifting flick of the right foot as you circle right hand. Use all 8 sets of 3 hip lifts to turn one full circle to the left.
Left arm up, right out. Wrist rotation with each turn.
“Suzie Q” with pelvic clutch as you move left / “Tush push” moving back to right
Twisting Suzie Q cross-over step with pelvic clutch left for count of 4: Keeping chest forward; travel left by cross right foot in front of left then step to the side with left. Hips follow the right foot by twisting toward left as right foot crosses front and twisting right as left foot steps out. Clutch pelvis as foot lifts from floor. Count out the steps as right foot crosses front. Arms out to sides in “Classic Egyptian” position.
“Tush Push” right for count of 4: Travel right by stepping right into bent leg and pushing left hip up by gently extending left knee. Leave left foot planted behind you as hip rises. Slide left foot to meet right as hip drops. (Count as you step on right foot.) Arms are in a high prayer and push toward your direction of travel as step on right foot and bring back as side left foot in. Head looks back toward your derriere.
Repeat “Suzie Q” left / push right sets a total of 2 times.
Walk away
4 counts: Walk toward back of room starting on left (arms down) with dismissive hand gesture: “I don’t need you anymore.”
Stop and look back over right shoulder (twist upper body toward front of room) and lift right hip for 8. Slowly raise arms on right diagonal over right hip as hips lift. “But do you still think I’m hot? I’ll give you a last look...”
4 counts: Walk toward back of room starting on left (arms down). “Forget it: I’m outta here!”
Cat walk forward
4 counts: slinky Jazz walk forward starting on right. Lots of attitude and MEOW!!
Sexy figure 8’s
4 slow counts: Horizontal figure 8’s starting front right (2 hips as push right; 1 strong hip as push front left). Hands on back of head with elbows up; holding hair up.
4 fast counts: Same figure 8’s without one hip accent on each side.
Root chakra Roll up
Repeat set 2 times: Feet together, toes and knees pointing forward, Roll up from 1st chakra. Hands at hips; palms forward; fingers curl closed as roll up. Shoulder shimmy at top.
**Listen to music for the count of the roll up and the beats of the shoulder shimmy.**
Charlie’s Angels
A. Shift weight into left leg; ball of right foot; knees bent. Drop into left hip. Hold your “gun” up high.
B. Jump onto right leg; hold left leg slightly lifted and behind you (leg straight and toe pointed). Shoulder shimmy as bend and straighten right leg. (Keep left foot slightly elevated throughout.)
8 counts of each for 2 sets,
4 counts of each for 2 sets,
2 counts of each for 3 sets,
Walk in place to face forward with hands down, palms into hip flexors, Count of 4.
Chest pulses 3
Pull 1, 2, 3, pause on 4. Do this a total of 3 times. Corkscrew on 4 (circle ribcage to right, then circle hips to right).
Pelvic Clutches
For a count of 8: Clutch pelvis as hands make loose fists at hips (palms forward). As tuck pelvis, lift right foot slightly off ground. Turn slowly left as release hips, foot, and fingers (palms open). Do this 8 times to make one full circle to the left.
For a count of 4: Continue clutching and travel to the right. Look down and right.
Salt the earth with your “girls”
Count of 4: Cross right foot in front of left. Ball change to the left and shoulder shimmy. **Get low**
Count of 4: Clutch and travel to the right (same as prior step).
Count of 4: salt the earth again.
Hip Pulls with Hawaiian hands
2 sets – each set a count of 4: Hip pulls traveling right (step right, together, right, together). Hands start near right hip and travel up. Hands go out and scoop energy toward you (arms stay out – circle at wrists). Repeat to left.
Same movement; 1 set right and left to a count of 2.
Quick hip pulls with steady hands
2 sets (1 right; 1 left) of 4 counts: Travel right by stepping on right; push out right hip. Allow the push of the hip to drag your left leg in to meet your right. Arms out to sides: left hand at temple; right pointing in direction of travel. Look where you are going. Repeat traveling left.
2 sets (1 right; 1 left) of 2 counts: Same movement.
Heel Push Hips with Stylized “Classical Indian” Arms
Total of 8 slow counts: Start with feet together. Step forward into heel with right and push weight into right hip. Arms: Right in front of body; left high over head. Index finger and thumb on both hands make a circle. Step back on left. Bring right foot back where started. (With the feet, the count goes 1, 2, 3, pause on 4). Repeat alternating left and right foot stepping forward.
Do same movement stepping with arms forward 1 right then 1 left. Walk in place right/left/right/left while layering in a ¾ shimmy and hip lift. Hands next to hips; keep fingers in circles. (Lift right foot and right hip; place foot down and small hip left then right. Repeat other side.) Count the walk each time the foot lifts (4 counts total).
Do the stepping and walk-in-place set a total of 2 times.
Hips in place
2 hips right; 1 left – listen for music cues
Wipe your brow with languor
Bounce 3 times as you turn body toward left and wipe brow with left hand (right arm toward front of room); repeat right; repeat left; repeat right, but this time ‘smoke a cigarette’ (right hand to lips then back out).
Pulling Love from heart with forward step, back step
Count of 6: forward/back step right. Keep arms up. Hands start at heart; right hand “pulls love from heart” out as you step forward on right foot. As you step back on right foot, left hand pulls forward.
Continue movement for 4 counts turning to the left. (Face side, back, side, front). Repeat 4-count circle still turning left.
Clap
Keep clapping until your turn to join in the next step.
Hipping and shoulder shimmy
Front row starts then others join in at staggered appointed times.
Step back on left (left arm up; right out). Hips drop, up, drop, up, drop. Shoulder shimmy forward, back, forward, back.
Freestyle
Count of 8: Insert your wild act of self expression here.
Shimmy and snake arms
Start snake arms low and slowly raise over head.
END IT!
Jump back on left; point right foot in front; arms up straight.
Set to the song of the same name by musical Artist: SUSU PAMPANIN
Album (available on itunes): CAIRO CATS
Daughters of Rhea Karmically Correct Request
** as with all choreographies you learn from your teachers or even from DVDs, if you perform this choreography at a hafli or public event, please give me credit as choreographer, and list Susu Pampanin as musical artist. Let us strive to always give credit where credit is due. It is the karmically correct, Daughters of Rhea way.
Without further ado, here it is!!!
Start in place on stage, cue music when ready in position.
Bounce 4 with arms out in dainty “classic egyptian”, 3 shoulder accents RLR, torso lean to right as hips slide left, finger cymbals to ear - mime zills tac-a-tac-a-tac
On second pair, bounce only twice. 4 sets total: Alternate sides and ears you bring finger cymbals to (start on right). Last one – keep hands at left ear. The music cues you brilliantly.
Listen and clap
2 sets total: Arms go out to left and listen (in lunge on left leg with right out -- weight is into left leg); clap left to right side 4 times as you shift your weight into right lunge. Repeat once more - listen/clap right to left. End holding your left lunge.
“Get ready”
3 sets total: left arm up, right out in “L” arm position, then 2 hips as you shift lunge from left to right and switch arms to “reverse L”. repeat, repeat.
Your want me? Can’t have me!
4 sets total: Horizontal figure 8’s with hip accents. start by pushing front and right with 2 hip accents, palms facing up. one hip accent as you figure 8 your hip to left front.
Hands: As hips travel on the right, hold arms out to sides (elbows bent) with palms up. As hips travel on the left, turn palms down.
Proud Queen’s walk - traveling back.
4 sets total: Turn body toward left side of room. Left arm up high with palm facing front of room. Right hand behind right hip; fingers together and pointing down. Chest tall, high heel on your right foot.
**As soon as you turn your body, ‘squinch’ right hip up with a muscle contraction of the waist** Then hips go – down, down, up, down. Try not to bob your body up and down. This is a highly controlled arabic style movement.
Swivel backward toward right diagonal by stepping back on your right foot (end facing right side of room). Repeat all facing right side then back to left; last set facing right.
“Kazakh Cutie shoulder shrugs”
Tiny ball (right foot) flat (left foot) steps forward with quick and small shrugging shoulders. Shoulders lift as you put weight into right foot, drop as you step on flat left foot.
8 counts: Body faces forward; head looks down toward right. Arms at sides; wrists bent so palms face floor.
Keeping a high heel on right and a flat left foot, take tiny steps forward as you bounce shoulders.
Continue previous ball/flat foot pattern but engage your hips to lift and drop more and turn around in place toward your left shoulder (counterclockwise).
8 counts to complete one turn in place toward left: Earth to sky arms.
QUICK Lunge / hip / lunge / shoulder shimmy
2 sets: Leaving left foot planted, small and quick lunge once right (snake right arm). Bring feet back together. side right hip then left. Repeat same lunge and back, then shoulder shimmy as you bend knees deeper.
Circle the hand / hip lifts
8 sets of: Lift left hip 3 times then turn left with a lifting flick of the right foot as you circle right hand. Use all 8 sets of 3 hip lifts to turn one full circle to the left.
Left arm up, right out. Wrist rotation with each turn.
“Suzie Q” with pelvic clutch as you move left / “Tush push” moving back to right
Twisting Suzie Q cross-over step with pelvic clutch left for count of 4: Keeping chest forward; travel left by cross right foot in front of left then step to the side with left. Hips follow the right foot by twisting toward left as right foot crosses front and twisting right as left foot steps out. Clutch pelvis as foot lifts from floor. Count out the steps as right foot crosses front. Arms out to sides in “Classic Egyptian” position.
“Tush Push” right for count of 4: Travel right by stepping right into bent leg and pushing left hip up by gently extending left knee. Leave left foot planted behind you as hip rises. Slide left foot to meet right as hip drops. (Count as you step on right foot.) Arms are in a high prayer and push toward your direction of travel as step on right foot and bring back as side left foot in. Head looks back toward your derriere.
Repeat “Suzie Q” left / push right sets a total of 2 times.
Walk away
4 counts: Walk toward back of room starting on left (arms down) with dismissive hand gesture: “I don’t need you anymore.”
Stop and look back over right shoulder (twist upper body toward front of room) and lift right hip for 8. Slowly raise arms on right diagonal over right hip as hips lift. “But do you still think I’m hot? I’ll give you a last look...”
4 counts: Walk toward back of room starting on left (arms down). “Forget it: I’m outta here!”
Cat walk forward
4 counts: slinky Jazz walk forward starting on right. Lots of attitude and MEOW!!
Sexy figure 8’s
4 slow counts: Horizontal figure 8’s starting front right (2 hips as push right; 1 strong hip as push front left). Hands on back of head with elbows up; holding hair up.
4 fast counts: Same figure 8’s without one hip accent on each side.
Root chakra Roll up
Repeat set 2 times: Feet together, toes and knees pointing forward, Roll up from 1st chakra. Hands at hips; palms forward; fingers curl closed as roll up. Shoulder shimmy at top.
**Listen to music for the count of the roll up and the beats of the shoulder shimmy.**
Charlie’s Angels
A. Shift weight into left leg; ball of right foot; knees bent. Drop into left hip. Hold your “gun” up high.
B. Jump onto right leg; hold left leg slightly lifted and behind you (leg straight and toe pointed). Shoulder shimmy as bend and straighten right leg. (Keep left foot slightly elevated throughout.)
8 counts of each for 2 sets,
4 counts of each for 2 sets,
2 counts of each for 3 sets,
Walk in place to face forward with hands down, palms into hip flexors, Count of 4.
Chest pulses 3
Pull 1, 2, 3, pause on 4. Do this a total of 3 times. Corkscrew on 4 (circle ribcage to right, then circle hips to right).
Pelvic Clutches
For a count of 8: Clutch pelvis as hands make loose fists at hips (palms forward). As tuck pelvis, lift right foot slightly off ground. Turn slowly left as release hips, foot, and fingers (palms open). Do this 8 times to make one full circle to the left.
For a count of 4: Continue clutching and travel to the right. Look down and right.
Salt the earth with your “girls”
Count of 4: Cross right foot in front of left. Ball change to the left and shoulder shimmy. **Get low**
Count of 4: Clutch and travel to the right (same as prior step).
Count of 4: salt the earth again.
Hip Pulls with Hawaiian hands
2 sets – each set a count of 4: Hip pulls traveling right (step right, together, right, together). Hands start near right hip and travel up. Hands go out and scoop energy toward you (arms stay out – circle at wrists). Repeat to left.
Same movement; 1 set right and left to a count of 2.
Quick hip pulls with steady hands
2 sets (1 right; 1 left) of 4 counts: Travel right by stepping on right; push out right hip. Allow the push of the hip to drag your left leg in to meet your right. Arms out to sides: left hand at temple; right pointing in direction of travel. Look where you are going. Repeat traveling left.
2 sets (1 right; 1 left) of 2 counts: Same movement.
Heel Push Hips with Stylized “Classical Indian” Arms
Total of 8 slow counts: Start with feet together. Step forward into heel with right and push weight into right hip. Arms: Right in front of body; left high over head. Index finger and thumb on both hands make a circle. Step back on left. Bring right foot back where started. (With the feet, the count goes 1, 2, 3, pause on 4). Repeat alternating left and right foot stepping forward.
Do same movement stepping with arms forward 1 right then 1 left. Walk in place right/left/right/left while layering in a ¾ shimmy and hip lift. Hands next to hips; keep fingers in circles. (Lift right foot and right hip; place foot down and small hip left then right. Repeat other side.) Count the walk each time the foot lifts (4 counts total).
Do the stepping and walk-in-place set a total of 2 times.
Hips in place
2 hips right; 1 left – listen for music cues
Wipe your brow with languor
Bounce 3 times as you turn body toward left and wipe brow with left hand (right arm toward front of room); repeat right; repeat left; repeat right, but this time ‘smoke a cigarette’ (right hand to lips then back out).
Pulling Love from heart with forward step, back step
Count of 6: forward/back step right. Keep arms up. Hands start at heart; right hand “pulls love from heart” out as you step forward on right foot. As you step back on right foot, left hand pulls forward.
Continue movement for 4 counts turning to the left. (Face side, back, side, front). Repeat 4-count circle still turning left.
Clap
Keep clapping until your turn to join in the next step.
Hipping and shoulder shimmy
Front row starts then others join in at staggered appointed times.
Step back on left (left arm up; right out). Hips drop, up, drop, up, drop. Shoulder shimmy forward, back, forward, back.
Freestyle
Count of 8: Insert your wild act of self expression here.
Shimmy and snake arms
Start snake arms low and slowly raise over head.
END IT!
Jump back on left; point right foot in front; arms up straight.
Melina at Kripalu August 9-14, 2009
Melina of Daughters of Rhea to teach week-long workshop at Kripalu Center for Yoga and Health:
"Wild Hips, Gypsy Heart: Belly Dance as Self-Empowerment"
August 9-14th, 2009
Visit the following link for details:
http://www.kripalu.org/program/view/AABD91/wild_hips_gypsy_heart_belly_dance_as_self_empowerment
"Wild Hips, Gypsy Heart: Belly Dance as Self-Empowerment"
August 9-14th, 2009
Visit the following link for details:
http://www.kripalu.org/program/view/AABD91/wild_hips_gypsy_heart_belly_dance_as_self_empowerment
Saturday November 7: Melina Workshops and Show in Enfield, New Hampshire
Raq-On Dance presents Melina in workshops and show.
Saturday November 7, 2009.
Enfield Community Building
Enfield, NH
More info at www.raq-on.net
Workshops:
I. Melina's Magic Medley of Greco-Turkish Gypsy-Flamenco Fusion Combos
II. Melina's Secrets of Floorwork and Prop Balancing
Cheers!
Saturday November 7, 2009.
Enfield Community Building
Enfield, NH
More info at www.raq-on.net
Workshops:
I. Melina's Magic Medley of Greco-Turkish Gypsy-Flamenco Fusion Combos
II. Melina's Secrets of Floorwork and Prop Balancing
Cheers!
ESSAY: Belly Dance as Empowerment by Melina of Daughters of Rhea
My mother Rhea taught me – both explicitly and by example, that belly dance can be both a dance of empowerment and an incandescent way of life. I am very lucky to have inherited this idea as a birthright instead of having to beat a path to its discovery later in life.
My mom is quoted in a 1973 article on belly dance that appeared in the now defunct Venus magazine:
“When I dance, I don’t want to be seen as a sex object; I’m an artisan. I try to mesmerize, hypnotize the audience. I’m a sorceress, a magical trickster, the master of my body. I say to them: “Watch me do this over here, but did you see this move over here at the same time.” And I relate to the men and the women in the audience, and they relate to me. Belly dancing is not just a sensuous dance. Its an extravaganza, showing the feats of human capabilities.”
I love what she says here! And its true - Mom is an artisan, a magical trickster.
When a new student embarks on her belly dance journey, whether by choice or because their friend dragged them to their first class – it often becomes a profoundly transformative and integrative experience for body, mind and spirit.
Undulations, isolations, articulations, trembles, shimmies, flutters and rolls awaken the body and its deeply embedded ancient wisdoms.
Sometimes, for new students, the unfamiliar articulations of belly dance dredge up inarticulate anxieties of the soul – anxieties I see expressed on faces during class:
“My pelvis is tilting! My hips are hipping! My stomach is showing! My breasts are jiggling!”
But the remedy to these anxieties lies in the very movements that dredge them up. The anxieties are processed through practice, they are alchemized into a serenity and sureness that only sinuous training, passionate concentration and dedicated study of technique can bring.
In post-modern American Society, the ancient art of belly dance raises many important questions: Questions about gender, body image, ethnicity, emotion, art, entertainment, social roles and while we’re at it: the meaning of life. It is up to each student to answer these questions for herself. As a teacher, I see my role as encouraging people to think for themselves: to never bow to fear to never be tethered to convention. To use belly dance as a tool of empowerment and joy. Because I am a belly dance fundamentalist: I was born and reborn to belly dance, and I firmly believe it can change your life for the better.
When I have student recitals, I discourage the tense pursuit of perfection and encourage the enjoyment of process. Perfection is overrated. Process is golden. We work hard in class on technique, but in performance we want to present ourselves with our natural grace and personality, incorporating in more and more advanced technique as we grow as dancers. I like to pay homage to process and the journey, accepting ourselves as perfect just where we are along the way. We’re on this earth to have fun and dance, and we’ve found the secret to a joyful and empowered life: Bellydance.
A SHORT HISTORY OF MELINA’S STUDENT RECITALS
I model my student recitals on the many inspired belly dance happenings my mother Rhea puts together in Athens, Greece. Basically, the formula goes like this: bring together a diverse set of dancers in a beautiful restaurant with a lovely large stage and let them work their individual and collective magic on a friendly and encouraging crowd that is intoxicated with good cheer. Mix in unbridled enthusiasm, fun, positive vibes, a few beautiful costumes, great music and a healthy spattering of nerves. Sprinkle in some creative solos, a couple of dashing duets and some group numbers. Practice as much as you can considering that you all have full-time jobs and/or are hardworking mothers, then put perfection to the side and just go for it. Spontaneity is encouraged: last minute entries are accepted. Experimental music is allowed. Self-expression abounds.
My mother and I differ in opinion on one point: I try to keep the recital short, about 1.5 hours. Hers can extend far into the night -- but then again, that’s in Greece, where folks are used to staying out until 3 a.m. on a regular basis.
The basic idea is: never bow to convention or fear. Just come on out and do some joy-fueled dancing.
Visit www.daughtersofrhea.com for more info.
Melina's next student recital is tentatively scheduled for an early February weekday evening at Karoun Restaurant. Details TBA.
My mom is quoted in a 1973 article on belly dance that appeared in the now defunct Venus magazine:
“When I dance, I don’t want to be seen as a sex object; I’m an artisan. I try to mesmerize, hypnotize the audience. I’m a sorceress, a magical trickster, the master of my body. I say to them: “Watch me do this over here, but did you see this move over here at the same time.” And I relate to the men and the women in the audience, and they relate to me. Belly dancing is not just a sensuous dance. Its an extravaganza, showing the feats of human capabilities.”
I love what she says here! And its true - Mom is an artisan, a magical trickster.
When a new student embarks on her belly dance journey, whether by choice or because their friend dragged them to their first class – it often becomes a profoundly transformative and integrative experience for body, mind and spirit.
Undulations, isolations, articulations, trembles, shimmies, flutters and rolls awaken the body and its deeply embedded ancient wisdoms.
Sometimes, for new students, the unfamiliar articulations of belly dance dredge up inarticulate anxieties of the soul – anxieties I see expressed on faces during class:
“My pelvis is tilting! My hips are hipping! My stomach is showing! My breasts are jiggling!”
But the remedy to these anxieties lies in the very movements that dredge them up. The anxieties are processed through practice, they are alchemized into a serenity and sureness that only sinuous training, passionate concentration and dedicated study of technique can bring.
In post-modern American Society, the ancient art of belly dance raises many important questions: Questions about gender, body image, ethnicity, emotion, art, entertainment, social roles and while we’re at it: the meaning of life. It is up to each student to answer these questions for herself. As a teacher, I see my role as encouraging people to think for themselves: to never bow to fear to never be tethered to convention. To use belly dance as a tool of empowerment and joy. Because I am a belly dance fundamentalist: I was born and reborn to belly dance, and I firmly believe it can change your life for the better.
When I have student recitals, I discourage the tense pursuit of perfection and encourage the enjoyment of process. Perfection is overrated. Process is golden. We work hard in class on technique, but in performance we want to present ourselves with our natural grace and personality, incorporating in more and more advanced technique as we grow as dancers. I like to pay homage to process and the journey, accepting ourselves as perfect just where we are along the way. We’re on this earth to have fun and dance, and we’ve found the secret to a joyful and empowered life: Bellydance.
A SHORT HISTORY OF MELINA’S STUDENT RECITALS
I model my student recitals on the many inspired belly dance happenings my mother Rhea puts together in Athens, Greece. Basically, the formula goes like this: bring together a diverse set of dancers in a beautiful restaurant with a lovely large stage and let them work their individual and collective magic on a friendly and encouraging crowd that is intoxicated with good cheer. Mix in unbridled enthusiasm, fun, positive vibes, a few beautiful costumes, great music and a healthy spattering of nerves. Sprinkle in some creative solos, a couple of dashing duets and some group numbers. Practice as much as you can considering that you all have full-time jobs and/or are hardworking mothers, then put perfection to the side and just go for it. Spontaneity is encouraged: last minute entries are accepted. Experimental music is allowed. Self-expression abounds.
My mother and I differ in opinion on one point: I try to keep the recital short, about 1.5 hours. Hers can extend far into the night -- but then again, that’s in Greece, where folks are used to staying out until 3 a.m. on a regular basis.
The basic idea is: never bow to convention or fear. Just come on out and do some joy-fueled dancing.
Visit www.daughtersofrhea.com for more info.
Melina's next student recital is tentatively scheduled for an early February weekday evening at Karoun Restaurant. Details TBA.
SHIMMY Rx: Dr. Weil prescribes undulation cure: Belly Dancing is Good for your Health!
http://www.drweil.com/drw/u/TIP03141/Alternative-Exercise-Part-2-Belly-Dancing.html
“Women in Melina’s classes will embrace a new physicality that combats forces of depression and releases unadulterated joy!”
--Nassim Assefi, M.D.
“Women in Melina’s classes will embrace a new physicality that combats forces of depression and releases unadulterated joy!”
--Nassim Assefi, M.D.
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