The 300 Eyed Chemical Monster Bedlah!

(previously published on Facebook in October, 2011)

This is an odd costume to be the first one I show you here. It is completely impractical -- not really representative of someone calling herself "the Practical Dancer." But, it is Halloween, after all.

And, there were a lot of good techniques used.

It started something like this: I am sitting at a "Haflaween" a year or so ago, watching performers in their crazy Halloween / bellydance costumes. And something, some piece of music, made me thing of putting wiggly eyes on a belt.

Flash forward a year or so, and my brother- and sister -in- law play a joke on my mother- and father- in law while they are out of town. They sneak into the house and put wiggly eyes EVERYWHERE. On the fridge when you open it. On switchplates. On the toilet lid when you lift it. It was hilarious.

And I just *had* to make a costume with them. Had to.

So, step one was figuring out how to attach them. For a while, I had some idea (crazy) about quilting them down under tulle. That wouldn't work -- it would make them hard to see from a distance. So, I thought about some kind of clear plastic, lightweight, but like contact paper that would seal them to the fabric.

You get really strange looks from the clerks at fabric stores describing a problem like that.

But, bless the ladies at Hancock, they have a sense of humor. (Mental note, I owe them a trip with the finished product; I promised after all.)

The clerk there took me to the glue isle and really recommended Fabric Tack. I had Sobo and (something else) already; but, 3 is the charm. So, I took the Fabric Tack home for a glue test.

I had 3 dimensions for success:

1. dries clear

2. ease of application (can I control the squirt?)

3. how well does it hold?

Here are the 3 lined up. The fabric tack was the hands down winner.

Construction . . . and a LOT of fumes . . .were in my future.

Knowing that the bedlah was going to have a white satin cover, I knew I needed an all white bra and belt base (so I wouldn’t have to cover it twice – once in an underliner and then again with the cover fabric). Off to Target for a sacrificial bra for underneath. When I buy bras for use in costumes, I always (now) follow the rule about buying a cup size that is at least one size up from my streetwear bra size. By that, I mean that I am a 32 B by day and a 34 or 36 B or C when I sew. Cups do shrink – look for what that can do when I post about the Turquoise, Copper, and Root Beer costume, and how upsetting that can be! I also pay attention to cup shape. I can write more about that later, but you DO need to think about how you will attach the straps, whether you will turn the cups in (I use this for strapless bra cups, where I rotate them “in” toward the center by up to 40 degrees so that they push in rather than up) and how you want the fit to be in general.

In this case, due to the circumstances below, I knew I needed a cup with a pretty shape that covered completely, without gaps.

This was because this bra would have to stand on its own. It needed rigidity, so that the embellishments could move.

This project required that kind of thinking through. Let’s see if this makes sense: I was going to cover the entire thing in wiggly eyes. If the fabric flexed too much, they would pop off (having this issue with the belt after 1 wearing, folks!) and the more rigid the surface, the more my movement would transfer to the eyes. Draping fluid was in order.

I can’t remember if I first heard about draping fluid from Ozma or from bellydanceforums.net; but, it is basically a very thick glue used to stiffen fabric, as when making bows, little lace hats for dolls, or those lovely little snowflake Christmas ornaments my Mom made when I was a kid. The directions say to wear gloves, and you should. I have a box of the simple (almost plastic wrap like) food service gloves I keep on hand for messy projects, and I highly recommend having a box on hand. The instructions also say to put the fluid in a bowl to work it into the item; but, I have watched enough Good Eats episodes to know that a zip bag will come in handy. The directions go in to say to cover your mold in plastic wrap, which you REALLY should do, and I also completely lined the baking pan that housed this mess in plastic wrap as well.

The directions do advise that you can thin up to (25, 50%?) – which I may well do next time; and, they say to work it in thoroughly into the fabric. Bag and gloves did this nicely. Put garment and fluid in a zip bag. Prep molding surface with plastic wrap. While wearing gloves, massage fluid in. Massage some more. And more. Carefully open bag (with gloves on), remove item, and shape onto mold. Pull gloves off by turning them inside out, toss in messy plastic bag, dispose of mess, and thank yourself for wearing gloves. Resist temptation to rearrange mold. Wait until dry, about 24 hours.

The bra came out so hard, you can literally knock on it with your knuckles. For the first time in my life, I have KNOCKERS! Literally!

Granted, I could also see where the fluid didn’t work all the way in, giving the fabric an odd translucency. IF you go full strength when you use this stuff, do consider leaving an edge without the stuff where you will sew. Because sewing on dried draping fluid is about like sewing DRYWALL. I had to use a rubber quilter’s grip to get the needle through, and had to push the needle against the table, kitchen counter, or any other hard surface (except my head) to sew it.

Seemed like a good idea at the time!

It’s not that monster from the horror movie (what was his name, Pinhead?), it’s how you have to hold the cover fabric on after you soak the bra in draping fluid. Sewing was a whole ‘nother proposition. There was a lot of cussing, a lot of washing blood spots out, and after washing 3 out, a LOT of waiting after every finger prick until the blood stopped flowing and the sewing could resume. I have learned that many dancers only make ONE white bra in their day. Guess why?

On to fitting the belt. I am about to reveal one of the secrets of the belly dancing universe. If you have had a child, like to eat, or are past “a certain age,” you have a “goddess belly.” A belly that has . . . shape. Curve. Dimension. And, as a result, your belt sits under that cute little belly curve that you may not think is so cute, after all. You have that thing that is jokingly diagnosed as “Dunlap’s disease” where the belly done lapped over the belt.

Hence, panty liners to the rescue!

A good friend taught me this method. What you need to do is to thicken the belt where it falls under the belly. This brings the visible edge of the belt forward so that the belly sticks out less, making the belly appear a bit nicer. To do it, take out a handful of panty liners near a surface like a table or counter. Start with two as your base layer, but do not peel the backing off, yet. Arrange them so that the narrow ends are touching, as if you needed a double-long liner. Now, take one pad, peel the backing off, and lay it on top so that it covers the area where the bottom two meet. Keep building up in a 2-1-2 pattern, until the entirety is the thickness you need. I need about 5/8 inch, or 9 pads total. To check thickness, put on the belt that you are working with and slide in the liner stack (centered under the belly button), look in the mirror, and see if it is enough. When you are happy, open up the lining of your belt where you want to place the pads and THEN you can peel the backing off of the base liners to expose the sticky part. Use that sticky part to help position the liners, then sew the belt lining fabric back into place. Replace pads when your body shape changes or you replace the lining. And hey, they do help absorb sweat, protecting your hard sewing work!

(PS: I have also cut them up to use as bra padding, too!)

The silly part (really, *this* is the silly part) is that this bra was inspired by a Sahar mirror bra. Heh!

The one eyed spider hair accessory. The feathers are so light that the float and wiggle like Daddy Long Legs legs when I dance.

Close up of belt lining, inspired by the lovely work that Ozma's Costumes does. This lining is *really* an "inside joke" if there ever was one!

And, in case you wondered how it moves, here is a little documentary / video silliness I did for it:

https://www.youtube.com/watch?v=lKmxT1lds8U

Some (new!) interesting context behind Facebook "Name Gate"

I am sharing this here on my blog because, well, Facebook may use an algorithm to hide it.

Why I am concerned about this:
- Dancers tend to have "dance profiles" as well as personal ones for privacy
- Other FaceBook users with an interest in privacy follow the same pattern
- FB "namegate" has died down, but it is still simmering as an issue for many, causing friends to change to their "real" names or leave FB altogether
- Users who do this enjoy the ability to separate who sees their interests and content, as we are complex creatures who would like some division between the public and the private

I came across two VERY interesting articles yesterday that help to explain why "namegate" is still occurring.  From a technology perspective, it makes sense. (I worked in IT for the last 7 years until a recent job change.)  But, from a User perspective, this is troubling.  As this affects a broad part of the audience here, I wanted to let you process it in order to decide how you want to manage your profiles and information:

Article 1: http://adage.com/article/digitalnext/facebook-s-atlas-means-brands-agencies/295293/

Article 2: http://money.cnn.com/2015/01/09/technology/security/super-cookies/index.html

Essentially, web sites like Facebook realize that you may have multiple machines by which you get to their content.  They also know that they cannot "connect" what you do on one device versus another using traditional technology methods, "cookies," because cookies don't cross machines.  And, they know that you, like me, may frequently delete cookies, browse privately, use different browsers for different surfing (or private surfing), and may feel ultimately secure by using different machines to do your surfing.

But, they need to make that connection in order to increase their value to advertisers.  And, let's face it, unless you are playing Candy Crush instead of reading this, they aren't making money off of you.  Their employees like to get paid, just as we do.

So, looking at this just as a privacy issue* (my day job coworkers don't really need to see the inside of my dance costumes), there are still a few things you can do to have some sense of separation of public and private:

1. Recognize that FB knows and tracks every link you actually click.  If you don't want them to do that, open a different browser and copy / paste the link there, google the article if you have to, or at least log out of FB in your browser if you have only one to work with. (Really, it's not that hard to install Firefox or Chrome.)
2. If you feel that you HAVE to have more than one personal login (i.e. not a page) to Facebook, then use different email addresses and different browsers / machines to separate those activities.  Also, try to avoid names that include variations of "dance" as those are coming under scrutiny.  Be prepared that FB may ask you to prove identity.  Be prepared that if your proof is a business license, you may be asked to move that content to a page.  Be prepared that if your content is on a page, it may be buried or not shown in feeds unless you pay to promote it.
3. If you only have one profile, be aware that every time you like or comment on something set to "public" it will show up in your Facebook friend's list newsfeed as a story.  This is magnified if that like or comment is for a promoted page, such as for a news organization. If you like or comment on a Facebook page, especially a promoted one (my page is not), it will appear in news feeds, too. If a friend tags you in a photo or a post (not a comment), then that information is automatically not only in your news feed, but also the feeds of all of the other persons tagged.  If any of those is set to public, then that information is now public.

Scary, eh?

I give you these tips because, frankly, Facebook is a wonderful way to connect with people who share your interests.  I have friends I have met or gotten to know better because of the service.  I have learned from it and benefitted from it, and I have a very hard time imagining how I would grow as a dancer without it.

But, view it as a tool.  A power tool that can hurt you if used incorrectly or in an unsafe manner.

So, use this Facebook tool wisely dancers.  And, change how you use it if it starts to hurt you.

*There are a lot of issues we could discuss here.  I focus on privacy because that is a top concern for dancers. I believe in the protection of the stage name, I like to create a sense of mystery on stage, and some of my interests either bore or irritate my friends and family.  Feel free to share this, then discuss the other aspects and issues elsewhere.

Washing a Costume

Sometimes, your "workhorse" needs some love.

After a recent performance, I realized that my beloved gold bedlah had gotten a little "funky."  I had been using it about 3-6 times per year, and over the last 3 years.  I had always been careful what I ate in the days before dancing (onions and garlic just pour out of my skin); but, it was time.

Then, as I changed after the performance, I realized one strap was literally hanging on by a thread.

So, off to the bath and rehab unit!

Steps for washing a costume:

1. Carefully remove all hooks, eyes, velcro, snaps, safety pins, or other things used to fasten the costume.
2. Remove any padding in the bra or belt.
3. Inspect the lining and decide whether to keep or remove it.  (In my case, it was coming apart and needed replacement.  If the lining is particularly think, you may want to remove it anyway, to speed drying.  And, if the wash alone does not freshen your costume, a new lining can really help.)
4. Place the costume in a bucket with tepid water and a squirt of a gentle soap like Ivory liquid.  (This is what I use for my street bras, by the way.)  If you are concerned about the effects on the sequins and beadwork, test an armband or hidden edge of the belt first.
5. Stir the water gently, agitating the costume.
6. Let the costume soak for about 15-30 minutes -- no longer.
7. Pour the water out of the bucket and through a strainer to catch any beads that come loose.

The water will probably be the color of weak tea.  My friend, mentor, instructor, and favorite purveyor of costumes, Scheherezade, calls this "Cairo Dust."

8. Gently add clean tepid water, swish it gently and let it soak to rinse for about 5-10 minutes.

9. Drain the water through a strainer.

10.  Repeat if needed. NOTE: usually at either the first or second rinse, the water will start to look like it has glitter in it.  This is most likely the lining from the beads.  Shorter soaks, faster rinses and fewer washes will minimize this,

11.  CAREFULLY drape the costume across a drying rack, preferably a wooden one, arranging the costume so that it is well supported and reshaped.  If you don't have a drying rack, you can lay it on a counter on a towel, changing the towel often so that it does not stay wet.

12.  Once the costume is thoroughly dry, you can reattach the fasteners, restore any loose beadwork, and reline as needed.

13.  For interim cleanings, the best thing is to lay out your costume to air immediately after each performance.  A drying rack is, again, the best way to ensure air circulation. Some dancers spray a mist of 1/2 cheap vodka and 1/2 water onto the lining. Avoid laying the costume in the sun, however, as this can fade the fabric and trim.

Chapter 1: Introduction

Long ago, about seven years before I set foot in a dance class, before I started sewing again, and when I was a teeny 32 A, I took a job in retail.  I was desperate, because the economy decided it was a great time to have a recession, right when I was just out of college.

I wound up working at the local Leggett over the Holidays as a temporary clerk.  Because they were desperate, and because I seemed like I learned quickly, they decided I would be a “floater.”  I would show up for work, and they would put me where they were understaffed.  The Holidays ended, but the recession didn’t.  Fortunately, they let me stay.

So, I floated between departments for a while.  Then, Inventory time came in the Lingerie department.  Even the regular staff hated this chore.  The very reason that made the department wonderful made Inventory horrible: We had a wonderful Buyer who knew her Brands and ensured we had an inventory to fit almost anyone.

This meant there were hundreds of styles and over a thousand bras to sort and count.

Retentive, organized me loved it!  I volunteered to help there, counting carefully and quickly learning how to read the style codes, how to understand the sizes, and all of the Brands (at least ten) that we carried – and that was just the bras.

When Inventory ended, they asked me to stay.  I wound up working there about a year, earning my first TWO Professional certifications, from Bali AND Playtex, and became a Certified Fitter.  I still have the measuring tape from Olga; but, the certificates stayed on the walls after I left.  I wish I had kept them.

I learned a lot, not just about Brands and fit, but also about the women who wear them.  Even a few men, as I had the delicate honor of helping a young, tentative drag queen try to find something in that conservative store and conservative environment.

One of the things I learned is that shopping for bras is one of the most painful, nerve-wracking things women do.  Many avoid it because they think it is better to have a poor fit than to go through shopping again.

It is time to change that. 

Come with me to understand that garment you wear everyday.  Let me help you see what it is telling you about fit, and what to change to make it fit better.  We might even have some fun along the way.

Will you join me?

Bra: An Owner’s Manual, by The Practical Dancer

Working Table of Contents  (This will be updated as I add more material.  As sections are posted, they will become hyperlinks.)

1. Introduction

2. Let’s call it “shape,” not “size”

3. Signs it is time to buy new bras

4. Fit issues, and how to fix them

5. Preparing to shop

6. A note about brands and shapes

7. In the fitting room

8. Making the purchase

9. The longer test drive

10. Careful cleaning = longevity

Caveat dancer: A Public Service Announcement about Online Vendors

We all hate getting cheated.  We are devastated when we pay money we worked hard to save, only to be cheated out of it by fraud.

And, when the fraud is taking our money for a costume, or other dance purchase, it hurts ten times worse.

Now, imagine that the item in the photo used for the fraud was one of your creations.  That is the pain some of my friends feel right now.  Online “Vendors” are using photos of the other people’s costumes, veils, etc. to try and sell YOU an item the online vendor does not have and will not have.  All they have to do is take your money, then run to the other end of the internet.

Fraud will happen, sadly.  But, here are some tips on how to tell the good vendors, the REAL vendors, the REPUATBLE vendors from the fake ones.

Reputable vendors will have:

1.     Actual contact information on their Facebook page or website.

2.     Links to websites that will work when you click through.

3.     Links to the sites where they list with eBay or Etsy, where you can check their reputation.

4.     A solid reputation with your friends or online forums.  They may even have an established online presence on the internet forums (Bhuz.com, Bellydanceforums.net), and Facebook groups.  You may even find out that the person behind the business is a friend of a friend. Which is how I met the lovely Silkdancer, who was kind enough to let me use her FB page as an example of signs of a REPUTABLE Vendor:

I learned about Silkdancer through friends.  I checked her reputation at Etsy.  I saw raving recommendations from happy customers, both there and on Facebook.  I saw my friends happily credit her in their photos where they posed with her veils.  She offered great customer service when I asked questions, and never, ever rushed me to make a purchase.  I ordered a veil and was delighted.  And, I should disclose that I met her and she is even sweeter in person!  I am happily waiting for my second veil from her!  Silkdancer exhibits all of the “good” traits one wants to see in an online vendor.

Which is why I get angry when I see other “Vendors” use her photos to “sell” “their” goods.

Now, without getting into specific “Vendors” who prompted this post, there are some red flags to watch for:

1.     Lots of photos, with few descriptions.  If you are really selling something, you tend to advertise it.  You’ll have details like sizes, shipping costs, and payment methods accepted.

2.     Divergent styles.  Costume makers have a definite “style” – if you are reading this, you can probably tell the difference between tribal and cabaret, and maybe even the difference between an Abla and a Bella.  Someone who makes hand painted veils typically does not also make bedlah with skirts.  (They might; but, there would be stylistic traits that unify the pieces.)  If it is a dance clearinghouse, that is one thing – but, if it looks like a contemporary, well made piece, next to a contemporary, completely different well made piece, something is up.

3.     Cheap prices.  If it seems too good to be true, it IS.  $106 for a fully beaded dress?  Really?  With shipping?  From some unspecified country to your (oh they never asked?) country?  Warning sign!

4.     Blurred water marks.  It probably means they stole the photos.

Now, when “real” Vendors are just starting out, they may not have all of the “good” signs.  Not all reliable Vendors have all of the good traits; not all of the scary ones have all of the bad. But, starting with a free site like Facebook and suddenly having hundreds, if not thousands of photos of costumes at rock bottom prices that can be made in any size . . . 

Watch out, dancer, somebody’s after your money.

Some notes and thoughts about my weekend away at Art of the Belly

1. This is an awesome festival that is well run and full of talent.  I heard about it via word of mouth, and wanted to pass it along for you to consider attending.
2. Festivals can be overwhelming.  I did the exact thing I was warned about when I first went to another East Coast festival, and signed up for a pile of classes.  But, I planned out lunch breaks, did not perform, and chose sleep over partying all night.  (Having a cold made those choices easier.)
3. Scouting around your location ahead of time makes #2 easier.  Knowing there was a kitchenette in the hotel and a small grocery run on the way there allowed me to stock up on essentials for my diet.  What I should have done was to also phone screen restaurants to find GF friendly options and to check for latex glove use.  (I am horribly allergic to latex.  Eating food prepared with them can send me to the hospital.  Thus, if they use the gloves, I have to eat heavily cooked foods, which also tend to be the ones with wheat.  Thank goodness one restaurant was really sympathetic and modified a dish for me!)
4. Take advice from Ozma's Costumes: take extra paper and pens to lend, say Hi to your classmates, and if you see someone in more than one of your classes, introduce yourself!  I made some new friends this way; and, making friends like this in a prior workshop was how I even found out about this festival!
5.  If you see a dancer after a performance, and you enjoyed his or her performance, say so!  And, introduce yourself!  You may make more friendships this way!
6. FAAAAAAAAAAAAAHTIEEEEEEEEEEEEEEEEM!  I spent 6 luscious hours with her over the weekend.  I swear: you can learn more from just watching where she places her big toe than you can in many other 6-8 week classes.  She is warm, and supportive, and wonderful.  If you know a teacher you love and don't have ready access to is teaching at a venue like that, go on and take several classes with them while they and you are there.  She built on concepts over the weekend, so it became more of an intensive and less of a workshop.
7.  Sometimes, it is wonderful to just study and watch.  I did not perform, which I think made the festival FAR more relaxing for me.  Instead, I was able to take in the bulk of the show.  (Some classes clashed with the show; but, you can't do everything.)  It is hard work to sit there for hours at a time when the show started at 12, you got there at 2, and it runs until 10.  This is where some planning ahead (see #2) can save you.
8. Support every dancer.  Every one!  There will be dancers whose nerves show, props that misbehave, costume issues, and even visible lack of rehearsals.  It happens at every show and it has happened to everyone of us.  Still, your smile in the audience may be the thing that reenergizes them.  My favorite thing about this festival was the lack of competitiveness and the incredible support each dancer showed the other dancers.  THIS is the type of event we should have.  If you want that experience, you have to create it by providing that support to others.
9. Ask questions without shame!  I ask a LOT of questions when I study, because I want to get as much out of the course as I can.  As Fahtiem said, "You paid for me!"  The question you have is probably shared by others.  And, people will probably come up and say that after class (more ways to make friends!).  Plus, it can help the instructor to grow in their teaching style.
10.  Sometimes, taking the same workshop a second time can be a worthy investment.  I confirmed this with at least 3 of the ones I took this weekend.  While the concepts were the same, the instructors had new exercises to drive them home, a new perspective on the topic, or a new way to convey the information.  Teachers (the good ones, at least) grow too.  You may be amazed at how they have grown since you last studied with them.