The Practical Dancer’s Guide to gifts for the bellydancer (and, for the dancer who may not have told their family)

The holidays are here!  Your family may have been asking you for gift ideas – but, you may or may not have told them you dance.  “Outing” yourself is your call; regardless, here are some items they can get you to support your dance habit, that won’t put them on mailing lists they’d rather not be on, and that can stay within a budget.  I have included links for visual aids.  You may find better prices elsewhere

1.     A good wooden drying rack – an all wood rack is best.  This can be used for airing out costumes without stretching them.  If you pick one with a flat top, bedlahs can be stabilized and not slide off.  While metal ones may be cheaper, wood will not rust and stain your clothes.

2.     Luggage dedicated to dance.  Tired of finding glitter on your clothes when you travel for your day job?  (Tired of your significant other complaining about this happening to them?)  Get some inexpensive luggage dedicated to dance clothes.  I started with 2 or 3 totes, later added a duffel that I practically live out of, and eventually added a full size suitcase.  Mine are all black with pink polka dots, so I don’t confuse them with my “regular” luggage.  AND, I can find them easily in crowded dressing rooms.  Look for good quality relative to the price as well as a configuration that suits your needs.

3.     And, while you are at it, perhaps you need a train case to hold that stage makeup separately from your costumes! Not your speed,  they also make toiletry bags.  I have one of these, and it has held up well, packed to the gills, for a few years now.

4.     Jewelry organizers.  I LOVE my Neatnix stax!  I found mine at the Container Store while killing time for a workshop, and I have NEVER regretted the purchase.  The single compartment style is on my own list for this year, as it looks like it will hold those lovely collar necklaces such as the ones from Shiny Sparkly Things!

5.     A foam roller can be a godsend to a tired dancer.  It is a massage therapist and a chiropractor that works on YOUR schedule.  I take mine on the road to workshops if I am driving and it has rescued me from kinks caused by strange beds and air mattresses.

6.     A tripod for your phone.  There is no feedback like video feedback!  If you already have a smart phone, ask for a tripod or stand and turn your phone into a feedback partner!

7.     For those who sew, or need to do repairs, Stanley Levy’s book, Bead and Sequin Embroidery Stitches is a must-have.  Techniques are clearly explained with plain language and lots of images to assist.

8.     If you are a note-taker, a journal or diary can make a beautiful gift that helps you to record notes from workshops, online classes, and personal practice.  Taking notes allows a different part of your brain to work, enhancing your learning and helping you to retain more.

9.     Multibar or scarf hangers can help organize veils and hipscarves in the most cluttered closet.

10. Been collecting back issues of Arabesque?  Want to preserve your vintage collection of Habibi issues?  Ask for magazine storage containers, preferably acid free ones.  They can keep your copies safe, even at the bottom of a closet.

11.  Got snaps? Hooks and eyes? Beads coming out of your ears?  A safety pin collection to make the Bellydance Superstars envious?  Asking for bead storage containers can yield infinite storage possibilities, whether you sew or not.  What you put in them is up to you.  Look for secure clasps and preferably segmented lids that only open one section at a time.

12. Two Faced’s Shadow Insurance Glitter Glue, because you really want it ON your eyelids, not IN your eyes!

13.  A magnifying mirror, because eyes seem to fail us in dimly lit changing rooms, after workshops, when we are mature enough to have something to say in our dance.

14. Need to preserve that vintage Abla that you won in an online auction?  Have a Bella to store?  Have non of the above, but still want to keep that costume that TOOK FOREVER preserved nicely?  Ask for acid free storage boxes and protect those investments.

STOCKING STUFFER TIME!  The following items make great small gifts for troupe mates, students, teachers or stocking stuffers for dancers:

15.  An eye mask for the traveling dancer, sleeping in a hotel or at another dancer’s house.

16. And, since the other dancers you may be staying with can be rowdy, how about some ear plugs?

17. Dry shampoo can save you as you scramble from a workshop to a hafla performance, can perk you up between gigs, and ad sticking power to hair for sword work or slippery head gear.  My favorite is by Big Sexy Hair and is small enough to fit in a travel gig bag.

18. Also good for freshening up quickly are Wet Cleansing Towelettes, such as these by Ponds.  Larger packs are good for home, smaller ones can be found in the travel section of drug stores.

19.  BIOFREEZE!  My chiropractor introduced me to this wonder gel and I swear by this stuff.  The roll-on version keeps it off your hands, which is good when you have eczema (like me) or a tendency to rub your eyes.

20. Diaper pins, because so many large safety pins are just plain poorly made.

21. Cover Girl Outlast lipstick.  I SWEAR by this stuff.  “Eternal Flame” and “Ever Red Dy” are my standby colors.  These things go on, stay on, and clean up easily with baby oil.   Let me put it this way: it survives a steak dinner, once dry will NOT stain your veil, and the gloss stick doesn’t seem to trap hair or chiffon.  I am not a paid endorser, just an enthusiastic user.  I love this lipstick!

22.  Fuzzy socks!  Seriously, I won’t travel without them now.  I toss some in my dance bag for workshops and have been saved from frozen toes on cold, vintage floors.  Besides, you want some comfort and pampering after dancing all day, don’t you!

23.  Finally, that bastion of 80’s fashion that you can ONLY get between now and January 1^st, LEG WARMERS!  They keep foot cramps at bay, tame errant flare leg pants, and still let the instructor see your feet.  Wear them without shame!

24. Battling cold hands and still need to play zills?  Arm warmers are your friend!

25. Know someone who takes on REALLY complicated costume projects?  Consider giving labels, whether premade or custom for them to sew in and declare their commitment to the project!

The Hard Behaviors

Aslahan wrote a wonderful post about some of the hard conversations that a teacher must have with a student over time.  I encourage you to read it, even if you are not yet an instructor.  This got me to thinking about the other side of the relationship, and some of the harder behaviors one should embody as a student, where it may be more beneficial to NOT say something, but, to still take an action that can benefit you as a dancer without disrupting the class.

With all of these strategies, the key is to not “take away” or otherwise make a spectacle out of your actions.  This is a time for discretion, not confrontation.

Issue: The instructor is asking students to do a challenging movement without ensuring they are able to do it.  This could be a Turkish drop, a complex yoga move such as pigeon pose, etc.

Problem: You could get hurt.

Action: Make it a habit to introduce yourself to the instructor before you start to study with them. If you have a limitation or injury, always inform them before class starts and advise them that you may have to modify or exclude yourself from certain movements that involve [X].  Even if you do not have a pre-existing condition, if you are worried that a movement will injure you, STOP.  Do not do it.  If you can modify the move safely do so.  If not, here are some non-disruptive strategies to avoid injury: Use the time to get some water, take some notes off to the side or back of the room, or use the restroom.  If the movement at issue is part of a longer part of the lesson, quietly explore the vending if there is some, take detailed notes on a part of the course you liked, or go outside for some fresh air.

Issue: The instructor starts to explain something in a manner that contradicts what you have been taught, or what your research does not agree with.

Problem: The instructor does not know the material.

Action:  Well, does the instructor really not know?  Or, could it be that you simply have not encountered this explanation yet?  This is a time to be open.  Hear what the instructor has to say.  Listen with an open mind and an accepting expression.  If you are a student with only a little experience under your belt, this is a time to learn that there are both “known” and “speculated” things about our dance.  Take notes, mental or physical, and follow up with your own research.  If you are more experienced, listen for nuggets of truth.  If you have a great deal of experience and know that what is being said is a bunch of hooey,  use the time (while keeping a “listening” expression) for some honest self-assessment: are their things YOU teach as absolutes that you, perhaps should learn more about?  Where are the gaps in your own study?  How many corroborating sources do YOU require before accepting something as “true?”

Issue:  A movement is described one way, then performed another. Or, the students keep trying to get what the instructor says; but, when it is performed for the instructor, the students are told they are doing it wrong.

Problem: The instructor may not be communicating clearly.

Action:  This is the time to ask questions, very carefully worded questions.  As the expression goes, “A problem well stated is a problem half solved.”  As you watch the instructor and the students move, look for places that may prompt a question: the direction of the movement, the placement of the weight, the point of transition.  Try to ask an open ended question (one that cannot be answered “yes” or “no”) to get the most out of the answer.  If needed, follow up with more.  Be sure to ask from a perspective of curiosity, not confrontation, from a place of learning rather than being right.  As you hone your skills at asking questions, you will help others to have the courage to ask and to shape their own questions.

Issue:  The instructor cannot communicate clearly, is asking students to do something dangerous, is clearly not educated in a topic, and may be a bad dancer, to boot.

Problem:  You cannot find anything useful in this class, and it seems like a waste of time to be here.

Action:  This is the hardest situation to be in, for it requires the most professional of responses.  Outwardly, keep an open, “listening” face.  Perform the movements asked, unless they are dangerous, while working on something that is part of your own development (crispness, arm placement, intensity, etc.)  If that is not possible, then there is one action that you can take quietly, and with great discretion: learn what NOT to do.  It is very hard to do this without being noticed; and, the key is to not show that you are doing this.  Take notes, mentally or physically, on things the instructor could be doing to “be better.”  Honestly assess your own actions when you practice, perform, or teach to see if YOU embody any of these behaviors.  Develop strategies to change your own behaviors: How can you identify the simple ones and remove them? How can you break down the complex ones to over come them?  This is the time for the greatest discretion and greatest honesty.  Resist the urge to make a show of  your discomfort with the situation, and turn it into the most valuable learning opportunity.  Remember, even manure helps things to grow, when applied properly.

These are the top three issues I could think of after reading Aslahan’s wonderful post.  There are probably others, too.  Again, the key is to get what you can out of every course you take – even if it is learning what not to do.

To quote my beloved, late grandmother, “Discretion is the better part of valor.”

Public Service Announcement: Finding Saroyan Zills while you can

Harry Saroyan has apparently announced that he is retiring and will no longer manufacture his wonderful zills.  Since his zills are so wonderful and high quality (I own three pair, even though I am a struggling student), I thought I would assemble a list of vendors where you might find some while they are still available new on the market.  (And, I type this with the guilt of one who KNOWS how good the zills can sound, but also needs to get a practicin’ instead of a slackin’!)

So, as of this writing, here are the vendors I could find.  Please note that some vendors also stock zills by other manufacturers.  And, this is just a Public Service announcement and not an endorsement, unless otherwise noted.

His own store, which currently has a notice that it is closed due to unforeseen circumstances: http://www.saroyanzils.com/

The Belly dance shop of NC, who kindly sold me two pair over the years:

http://www.thebellydanceshop.com/products.php?id=18

Shimmy Shimmy: http://www.shimmyshimmy.com/

Bellydanceshoppe.com: http://www.bellydanceshoppe.com/Finger-Cymbals-s/100.htm

Dahlal International: http://www.dahlal.com/categories/musical-instruments/finger-cymbals/saroyan-finger-cymbals/

Stellar Advantage used to sell them (bought a pair from her years ago); but, you will have to contact her to see if she has any more: http://www.shimmystuff.com/

Fahtiem, who has a longstanding relationship with Mr. Saroyan and has endorsed his zills for years.  (By the way, study with her – it is a transformative experience!) http://www.bellydancemagic.com/zils/index.html

Miss Belly Dance: http://www.missbellydance.com/Zills_Finger_Cymbals_s/133.htm

Bellydance.com: http://www.bellydance.com/Finger-Cymbals_c_8.html

The dreaded Amazon: http://www.amazon.com/Saroyan-Zills-Finger-Cymbals-Zils/dp/B002TIF8MG

ETA one more, from a friend: http://www.artemisimports.com/finger-cymbals-zills/

I regret that those are all of the listings I could find.  If you take your playing seriously, or, if you want the motivation to take your playing seriously, do invest in a good pair.  And, I have to add with regret: while you can.

Time to Set a Stage . . .

Here it is – the first show YOU are helping to put on!  You may be a teacher, part of a troupe, or just hosting an event for the first time.  And, just as you may fret over what costume you should wear, you are probably fretting over what costume your STAGE should wear!  After all, it may not be a “stage” at all.  If it is, you are lucky, because it has lighting (of some sort) and a back drop.

If it is not, you may be staring at a cinderblock wall and a gymnasium floor.

So, how to dress it up?

Regarding the gym floor, please resist the temptation to put down rugs, veils, etc.  Your dancers WILL slip.  It is dangerous.  Draw the eye up instead with a backdrop.  We’ll talk a little more about floor options later.

So, how do I make a backdrop?

•         EASY WAY: Drape veils behind the dancers, using whatever ledge, window, or trim you can.  Use pretty, but not valuable veils.  Secure with thumbtacks.

o   Pros: Fast, simple, reusable, no storage needed

o   Cons: veil damage, wall damage (Do check with your venue to ensure thumbtacks are OK!), sudden veil failure behind someone’s otherwise perfect performance . . .

• SLIGHTLY HARDER, BUT NOT IMPOSSIBLE: Use a portable clothing rack and your speakers.  Place the rack in between the speakers.  Drape pretty fabric over them to cover.  Use LOTS of safety pins to secure it in place. IF your fabric is NOT flammable, drape some Christmas lights behind for sparkle. 

o   Pros: Good for venues that do not allow thumbtacks.  Good if you have vending in the day, hafla at night.  (You were using that clothes rack to vend anyway, right?!?)

o   Cons: LOTS of safety pins, like 5 per yard.  LOTS of fabric.  Some storage needed.  And, time to assemble and disassemble.

•         REQUIRES PLANNING AHEAD AND COMMITMENT TO A VENUE: Removable, reusable backdrop based on your location.  When I was in a troupe, we held several events at the church I attended, which, while it had a good space, also had windows that distracted behind the dancers.  Cars’ lights would shine in, the sun would muck with the camera’s focus, etc.  So, I measured the windows (which conveniently had a ledge over the wall between the windows) and use some skills learned by ripping apart custom window treatments to make matching skirts for me and a friend [yes, we called them the Scarlet O’Hara skirts!) to make a very simple swag and drape backdrop. The vertical panels were wrapped over boards, which lay on the ledge.  A staple gun secured the fabric to the board.  (BTW, you should be thinking, “So THAT is what I do with those ten yards of [whatever] I bought [whenever] and didn’t make a costume from it!” Use that fabric for backdrops!)  Then, I used about 1.5 the length of the verticals to drape fabric in between as a swag, again stapling the ends.

o   Pros: Planning around your venue allows you to “solve” problems with it.  But, you have to both plan well and have the skills to build what you need.

o   Cons: Storage of backdrop between shows.  And, what if you never use that venue again???

•          PIPE AND DRAPE: The classic pipe and drape (best how-to I could find is here: http://www.smittenby.net/2012/04/06/1832/) is a theatrical staple.  You can build the frame and then reuse it time and again with different backdrop fabrics.

o   Pros: looks great, converts any space.

o   Cons: Requires measuring, cutting, thinking about parts.  And storage.  For the committed event producer or the completely insane (like me).

Now that you have a backdrop (and, stick with neutral colors, as too dark or too busy will drown out the dancer), you need to light the stage.  There are how-to’s for making stage lights; but, I found using a portable work light such as http://www.lowes.com/pd_394369-40642-UT-1002_0__?productId=3699586&Ntt=work+light&pl=1&currentURL=%3FNtt%3Dwork%2Blight&facetInfo= worked just fine.  You can even get ones on stands, for which your videographer will thank you.

•         Pros: Inexpensive, practical, and reusable around the house.
•      Cons: Any stage light will get HOT.  Keep away from costumes, spins, and children.  Bulbs do not last more than 5-8 hours and shatter when touched.

And, as a videographer, I can say that there is no challenge greater than an undefined dance space.  Dancers will go on safari after the one smile or cute kid in the audience, leaving the video full of the backs of heads and chairs.  How can you solve this?  Define the dance space by laying out some kind of frame – but, make it dancer friendly.  After seeing a few youtube videos with Christmas lights around the stage, I tried that.  A few dancers, including myself, came dangerously close to stepping on  the bulbs.  Plan B: back to Lowes, where I found the 8 foot long clear plastic tubes used to cover florescent bulbs. I got about 4 of them and wrangled them into the cart.  (This may be a good time to go measure your car and find out if you can get them in there, too.)  Then, I went to the plumbing section and got 2 right angle connectors that fit over the tubes (I think they were 2 inch) and one straight connector, same size.  Then, I went to a store that had the white rope lights on sale (I LOVE after Christmas sales) and got enough rope lights to fill the tubes.  Some snaking and cussing later, and I had a nice “frame” for my stage that shouldn’t hurt a dancer if she stepped on it.  Some dancers complained; but, some dancers will ALWAYS complain.  Oh, and I will spare you the lecture on electrical resistance by saying that if you are framing 3 sides of a stage like I did, plan on having the cord of the stage come out both sides, so the non-corded ends meet in the middle.  (This avoids having the lights get dimmer as you look from one side of the stage to the other.

•          Pros: Relatively easy, looks cool
•       Cons: Measure your car and the storage space.  Not recommended with stick shifts. ;)

Best of luck with your own events!