Yes I am up at 2am. And yes I can appreciate the irony of writing on nourishment w hen I am clearly not sleeping. I swear it is due to too many naps today and a flood of nightmares the night previous! I promise I'll get to bed soon.
I have been thinking a lot lately about "stuff". In particular, stuff relating to nourishment and how we intake food. I received an invitation for an event on January 15th which is focusing on Low-glycemic eating and how to make it a part of your every day life. I am really excited about the event and the messages it brings.
Low-glycemic eating in my mind basically boils down to eating delicious fresh foods, as opposed to overly processed or convenience foods. This is over-simplification, but is basically correct. One of my favourite "lazy" product commercials is the pre-peeled, pre-diced frozen potatoes. Golly food processing companies are brilliant. Take something as easy as making mashed potatoes, make it sound hard, slap some packaging onto it and sell it for 5x what it's worth...but I digress. *sigh*
Being a dancer, studio owner and hell, just a woman, I am perpetually inundated with messages from the media, other women, students and myself about weight loss. I, like many other women, struggle with how I view myself, my body and how those two things fit in this world. But I am getting tired of the old dog and pony show and would like to shift the focus from weight loss to nourishment.
I believe that when we focus on weight loss, we focus on deprivation. The idea of "I need to lose weight." already puts you in the headspace that a)you need to deprive yourself of something to be something b)that you are not good enough to deserve nourishment because nourishment leads to extra weight. These are particularily dangerous places to be in mentally because this type of deprivation ideology leads to over eating, starvation/binging cycles and other series food related illnesses like anorexia and bulimia.
What is setting my brain all atizzy is that we are heading into the biggest binge and purge season of the year: Christmas and New Years. I'm sure many of you have already been to several Christmas parties where you ate and drank too much (binge), and then spent the next week feeling guilty (purge), starving yourself (or attempting to) and then binging again because you are hungry and require nourishment. Then, we enter the magical New Year, where everything is supposed to be better and how suddenly there is supposed to be this astronimical shift in the time space continuum where you will suddenly become skinny through deprivation or maniacal amounts of exercise. And when we fail a month later, which we inevitably do because we set unrealistic goals, we feel even worse and hope to god we can manage to not go up another pant size until Spring.
Whew! That was quite the run-on sentence! I'm tired from just typing it! Wow. That is a lot of pressure. I'm sweating and I am just writing about it.
About a month and a half ago, I had a paradigm shift. I was focusing on "lack" and "deprivation". When I realized, I was putting the wrong things into my body for the wrong reasons. I decided to focus on nourishment and filling my body with good food. And to eat lots of really healthy, delicious things. And lo and behold, when I started to focus on nourishment, my body responded with "hey, I like this!" and has started to let go of some of the weight I believe it was desperately holding onto for fear of being starved!
A lot of people say "I don't have time to prepare healthy meals." I am guilty of that. I have some frozen dinners in my fridge for just such an occassion. I am fortunate in that I don't have to go to that well very often, but it's nice having a back-up. I am also a crazed type-A OCD thinker that is constantly churning new ideas and working on new projects (ahem, 2:13am now, yes I know....). So I get it. You're busy. Me too.
But I came to the conclusion that if I didn't stop and focus on nourishing my body through good food and adequate rest (yes I know. I promise I'll get my sleep schedule back. Nightmares are a bitch!) I would put my body into a very bad place that would require a lot of recovery, maybe even doing potential further damage to my body.
I now believe that when we are properly nourished, our bodies will look the way they are supposed to look. I believe that weight issues are at epidemic proportions because we belong to a culture of deprivation and shame, as opposed to nourishment and acceptance. Obesity and weight gain are just symptoms of this culture. The vicious cycle that men and women become trapped in are also symptoms of this culture.
Just as deprivation and shame come in many forms, so do nourishment and acceptance. So what I would like to propose is this: Enjoy your holidays. Allow spending time eating meals with loved ones to fill your being with joy. Let it be ok for you to eat turkey and gravy and stuffing. Because it really is. Those things are delicious. And when you are setting your goals for the New Year, ignore weight and numbers, and resolve to nourish yourself. Whether it is through rest, good food, reading good books, time to yourself, time with friends, telling your spouse and children "NO" (it's ok, I promise) etc., make nourishment your priority and I believe, the things that you want in your life will come to you.
Friday, November 26, 2010
Thursday, November 25, 2010
Paid Performances - To do or not to do?
When I was a student I was eager to perform. I loved it. It was my drug of choice. It made my stomach turn and my heart race, but I loved the thrill of connecting with an audience. Dancing and performance are a very personal thing. It means different things to difference people. I had been a performer since I was a small child in various capacities as singer or musician. I have discovered that when you combine something that is very personal to someone with the ability to make money or not to make money, you can at times reach conflict. There are several categories of dancers: Professional, recreational/hobbyist and student. Each of these categories of dancer brings something beautiful to the art in their own way.
Students perform at Haflas and in studio run shows that feature student performances. Student performances remind me of why I love to dance. The joy, the fear, the small mistakes and the bravery to continue are what make their performances so enjoyable. The fact that you get to watch someone discover dance reminds you why you started in the first place. Their costumes can be home made or purchased, although if purchased tend to be less expensive than the semi and pro varieties. Students, even advanced students, should not be paid to perform. It is inappropriate for students to dance at restaurants for money or for private functions for money (or for free in place of a professional dancer). Showing some friends or family members at a party what you learned in class is one thing, billing yourself out as a paid performer is another.
Recreational dancers perform at haflas, stage shows, festivals, and may belong to troups. They do not dance for a living and view the craft as more of a hobby. They may own a couple of nice costumes and maybe even own one or two professional costumes. They can be very talented dancers, but do not tend to view Belly Dance as a business. They tend to shy away from charging appropriately for their time as they see it as "just something they love to do."
Professional dancers perform for paid gigs at corporate functions, restaurants, weddings, private parties and engagements. They own several professional level costumes which they cycle through on a regular basis. They are required to maintain an excellent selection of costumes to provide their clients with variety. In the restaurant circuit, many of the regular customers cycle through a series of specific restaurants and expect to see a variety in costume, dancer and music.
Professional dancers are aware of certain standards of quality: arriving on time, hair and make-up done, high quality costumes, jewellery, ability to play zills continually, veil, ballroom shoes and appropriate music choices for their venue.
Belly Dance is not a regulated art form. This is part of its beauty and part of the problem. The reason belly dance is so accessible is that you can express yourself and don't have to be a certain body type to do so. No one will ever tell you to eat cotton balls in Belly Dance. In fact, they might encourage you to eat more cheese! Where this comes into conflict is that the standards are subjective regarding quality of performance and rates to charge.
After I had been dancing for 2 years, I had the opportunity to perform a gig at a stranger's birthday party. I contacted my teacher at the time and she gave me very little advice. If I were teaching me at the time, I would have told my student how while it was a fun sounding idea, it was really appropriate for her to do. I was at a stage in my life where I still believed the world was a generally safe place. Unfortunately, when your work uniform is a bra and belt, the world can often turn ugly quite quickly.
The people who booked the gig wanted me to show up to a house party at 11pm at night. When I arrived, everyone was completely drunk and I was very very young. The room I was given to change in (I should have shown up in costume) had a big open window that was not covered. I hid behind the bed. Too young and timid to question. My costume was pretty for a student, but not professional quality. I was lead out into a garage to dance where the women glared at me and the men whooted like I was a stripper. The birthday boy was so drunk, he grabbed my veil and whipped my ass with it. The beads snapped and the next day I had a welt on my ass.
After I performed I went inside. The birthday boy followed me, as did his wife. He peed with the bathroom door opened and propositioned me in front of his wife. I laughed it off and ran as fast as I could. Thankfully I had been paid at the beginning of the night. I called the next day and demanded that they fix my broken veil. The wife denied what had happened.
I thought I knew so much at the time, but really, I didn't know anything. I was so upset at how I had been treated. But when I look back at it, what did I expect? I was showing up at a house party at 11pm at night. Everyone would be drunk by then. And I went by myself, as a young woman. I also took payment for a skill that I was not a professional at, and so I was marring my own field with my inexperience.
Performing is fun. As dancers, we all want opportunities to show what we've learned and to get something out of our investment of time and money. But when we are paid to perform there are certain levels of professionalism and expertise that are expect of us. My dear friend Jamilee Abir has a wonderful article on her website about professionalism and performing. http://www.abirscasbah.com/
To the students and recreational dancers: make sure to consider what you are charging and if you are really qualified to charge and perform. Speak to your teachers and mentors about gigs that come up. And remember: restaurants and other venues are always looking for the cheapest thing they can get. But good dancers aren't cheap and cheap dancers aren't good.
Students perform at Haflas and in studio run shows that feature student performances. Student performances remind me of why I love to dance. The joy, the fear, the small mistakes and the bravery to continue are what make their performances so enjoyable. The fact that you get to watch someone discover dance reminds you why you started in the first place. Their costumes can be home made or purchased, although if purchased tend to be less expensive than the semi and pro varieties. Students, even advanced students, should not be paid to perform. It is inappropriate for students to dance at restaurants for money or for private functions for money (or for free in place of a professional dancer). Showing some friends or family members at a party what you learned in class is one thing, billing yourself out as a paid performer is another.
Recreational dancers perform at haflas, stage shows, festivals, and may belong to troups. They do not dance for a living and view the craft as more of a hobby. They may own a couple of nice costumes and maybe even own one or two professional costumes. They can be very talented dancers, but do not tend to view Belly Dance as a business. They tend to shy away from charging appropriately for their time as they see it as "just something they love to do."
Professional dancers perform for paid gigs at corporate functions, restaurants, weddings, private parties and engagements. They own several professional level costumes which they cycle through on a regular basis. They are required to maintain an excellent selection of costumes to provide their clients with variety. In the restaurant circuit, many of the regular customers cycle through a series of specific restaurants and expect to see a variety in costume, dancer and music.
Professional dancers are aware of certain standards of quality: arriving on time, hair and make-up done, high quality costumes, jewellery, ability to play zills continually, veil, ballroom shoes and appropriate music choices for their venue.
Belly Dance is not a regulated art form. This is part of its beauty and part of the problem. The reason belly dance is so accessible is that you can express yourself and don't have to be a certain body type to do so. No one will ever tell you to eat cotton balls in Belly Dance. In fact, they might encourage you to eat more cheese! Where this comes into conflict is that the standards are subjective regarding quality of performance and rates to charge.
After I had been dancing for 2 years, I had the opportunity to perform a gig at a stranger's birthday party. I contacted my teacher at the time and she gave me very little advice. If I were teaching me at the time, I would have told my student how while it was a fun sounding idea, it was really appropriate for her to do. I was at a stage in my life where I still believed the world was a generally safe place. Unfortunately, when your work uniform is a bra and belt, the world can often turn ugly quite quickly.
The people who booked the gig wanted me to show up to a house party at 11pm at night. When I arrived, everyone was completely drunk and I was very very young. The room I was given to change in (I should have shown up in costume) had a big open window that was not covered. I hid behind the bed. Too young and timid to question. My costume was pretty for a student, but not professional quality. I was lead out into a garage to dance where the women glared at me and the men whooted like I was a stripper. The birthday boy was so drunk, he grabbed my veil and whipped my ass with it. The beads snapped and the next day I had a welt on my ass.
After I performed I went inside. The birthday boy followed me, as did his wife. He peed with the bathroom door opened and propositioned me in front of his wife. I laughed it off and ran as fast as I could. Thankfully I had been paid at the beginning of the night. I called the next day and demanded that they fix my broken veil. The wife denied what had happened.
I thought I knew so much at the time, but really, I didn't know anything. I was so upset at how I had been treated. But when I look back at it, what did I expect? I was showing up at a house party at 11pm at night. Everyone would be drunk by then. And I went by myself, as a young woman. I also took payment for a skill that I was not a professional at, and so I was marring my own field with my inexperience.
Performing is fun. As dancers, we all want opportunities to show what we've learned and to get something out of our investment of time and money. But when we are paid to perform there are certain levels of professionalism and expertise that are expect of us. My dear friend Jamilee Abir has a wonderful article on her website about professionalism and performing. http://www.abirscasbah.com/
To the students and recreational dancers: make sure to consider what you are charging and if you are really qualified to charge and perform. Speak to your teachers and mentors about gigs that come up. And remember: restaurants and other venues are always looking for the cheapest thing they can get. But good dancers aren't cheap and cheap dancers aren't good.
Costume Malfunction Chronicles - Episode 3 - The Hair Mishap
After the boob debacle of 2003, I enjoyed several years of relatively costume mishap free performing. Aside from binding a turban so tightly I couldn't see straight or forgetting to pin my belt to my skirt so the belt would twist in performance when my hips started to get a lil' wild, I was in mishap-free paradise.
Then I became a teacher and got busier. Instead of worrying about just myself, I had students to think about now! What were they doing, where were they at? How were they going to manage? I would forget the age old rules of always dancing in the items you purchased prior to the shows. I was a pro now! I didn't have time for such things! Haha.
I was preparing for a show. I was both nervous and excited. It was new territory for me! I was new to Edmonton! I had this lovely hair piece that I normally wore for performances. I love tossing my hair and using hairography in routines. So I was going to flip my head down in this performance. I practised at home with my hair piece on to make sure it would not come off when I flipped it around. It was solid!
It came to the night of the show. I was wearing my favourite costumes, a sexy red and black snake skin number. Yeow! I was dancing to a gorgeous piece of music. I felt great. When it came time to perform I got up on stage and started to dance. I felt very calm but everything I had wanted to do went out of my head. But I came to the part where I wanted to whip my hair around. I knew this part! This part I would own!
I flipped my hair wildly down and up when suddenly. SHIT! Something was wrong! I felt my hair piece pop off. I casually tried to look around the ground to see if it fell in front of me and I couldn't find it. SHIT! Where did it go. So I sensually (cough) reached up my hand to my head and discovered it dangling by a thread! I unclipped it. Holding it out in front of me. I looked at the audience. I looked at the hair piece. And back to the audience.
I clipped it back in, gave a little bop bop to my mop and continued dancing. After I was done performing, I was mortified. How humiliating! It was like in Drag Race when the one drag queen lost his wig in his sexy wild dance and then went all crazy and got freaky for the judges! Maybe it was my TV moment. I was replicating reality television people and the joke was on me!
Afterwards, I think some of the other performers were less than kind, but I was proud of my recovery! In fact, I had oringially been tempted to dance with it like a cane. In hindsight, this would have been the most hilarious option. My response to this little mishap made me examine my life and how I responded to life's little oopsies. I resolved that when life's proverbial hair piece flew the fuck off my head, that I would respond with a smile and nod and keep on dancing....
Then I became a teacher and got busier. Instead of worrying about just myself, I had students to think about now! What were they doing, where were they at? How were they going to manage? I would forget the age old rules of always dancing in the items you purchased prior to the shows. I was a pro now! I didn't have time for such things! Haha.
I was preparing for a show. I was both nervous and excited. It was new territory for me! I was new to Edmonton! I had this lovely hair piece that I normally wore for performances. I love tossing my hair and using hairography in routines. So I was going to flip my head down in this performance. I practised at home with my hair piece on to make sure it would not come off when I flipped it around. It was solid!
It came to the night of the show. I was wearing my favourite costumes, a sexy red and black snake skin number. Yeow! I was dancing to a gorgeous piece of music. I felt great. When it came time to perform I got up on stage and started to dance. I felt very calm but everything I had wanted to do went out of my head. But I came to the part where I wanted to whip my hair around. I knew this part! This part I would own!
I flipped my hair wildly down and up when suddenly. SHIT! Something was wrong! I felt my hair piece pop off. I casually tried to look around the ground to see if it fell in front of me and I couldn't find it. SHIT! Where did it go. So I sensually (cough) reached up my hand to my head and discovered it dangling by a thread! I unclipped it. Holding it out in front of me. I looked at the audience. I looked at the hair piece. And back to the audience.
I clipped it back in, gave a little bop bop to my mop and continued dancing. After I was done performing, I was mortified. How humiliating! It was like in Drag Race when the one drag queen lost his wig in his sexy wild dance and then went all crazy and got freaky for the judges! Maybe it was my TV moment. I was replicating reality television people and the joke was on me!
Afterwards, I think some of the other performers were less than kind, but I was proud of my recovery! In fact, I had oringially been tempted to dance with it like a cane. In hindsight, this would have been the most hilarious option. My response to this little mishap made me examine my life and how I responded to life's little oopsies. I resolved that when life's proverbial hair piece flew the fuck off my head, that I would respond with a smile and nod and keep on dancing....
Thursday, November 18, 2010
Costume Malfunction Chronicles - Episode 2 - The Braless Wonder
There are many examples I can think of (none of my own experience thankfully), where a bra has popped in performance. I will not relegate any stories as I don't want to embarass anyone. However, it is an issue of importance and most of us would have no idea what to do. In my experience, some ladies have responded with the utmost of elegance and grace, and some have not.
The bra is the most sacred part of the belly dance costume, and I would venture to say, the most important. One of my teachers related a story to me where a patron at a restaurant she was dancing in unhooked her bra mid performance, luckily she pinned herself in as well, so there was no "show".
Making certain that your bra fits (isn't too big or small), that the straps are at the right length and that the hooks are strong and secure is vital. Once you've made all of your adjustments, put your bra on and practise in it. If you can do somersaults, do them! Jump up and down, do the hokey pokey, whatever you need to test the strength of your bra.
If after all that (or maybe the ONE time you forgot to check), your bra still pops in performance, your show is over. Quickly cover as best you can (although for most of us, this is instinct) and exit gracefully. If you are lucky enough to be performing two sets or have a change in costume, you can take the time to do so. But please do not hold your bra onto your body and continue to dance. The only thing people will be thinking of is "Is it going to come off? OMG! Her bra almost came off!"
It sucks if you are in the middle of a song (you're lucky if you're at the end), but the best and most graceful recovery is to depart from stage at the moment of incident. Be thankful that you caught it right away and responded with grace.
The bra is the most sacred part of the belly dance costume, and I would venture to say, the most important. One of my teachers related a story to me where a patron at a restaurant she was dancing in unhooked her bra mid performance, luckily she pinned herself in as well, so there was no "show".
Making certain that your bra fits (isn't too big or small), that the straps are at the right length and that the hooks are strong and secure is vital. Once you've made all of your adjustments, put your bra on and practise in it. If you can do somersaults, do them! Jump up and down, do the hokey pokey, whatever you need to test the strength of your bra.
If after all that (or maybe the ONE time you forgot to check), your bra still pops in performance, your show is over. Quickly cover as best you can (although for most of us, this is instinct) and exit gracefully. If you are lucky enough to be performing two sets or have a change in costume, you can take the time to do so. But please do not hold your bra onto your body and continue to dance. The only thing people will be thinking of is "Is it going to come off? OMG! Her bra almost came off!"
It sucks if you are in the middle of a song (you're lucky if you're at the end), but the best and most graceful recovery is to depart from stage at the moment of incident. Be thankful that you caught it right away and responded with grace.
My Mentors - Jumanah and Sahfi
I have had many teachers over the years and attended many workshops. But there are two teachers who have inspired me beyond all others and whose lessons have stuck with me as I continue to dance and teach. Sahfi and Jumanah. There is something very powerful about the relationship between teacher and student. Recently I saw Jumanah dance in a show and it almost moved me to tears. I was overcome with emotion. I felt like a beginner student again and was awed by her grace and beauty. Jumanah is an incredible dancer, but the respect and admiration that I have for her really took my enjoyment of the performance to another level.
Sahfi introduced me to Tribal. Dancing with her and her troup Chiftibelly were a huge influence on my formative years as a dancer and young woman. At times I was too immature to appreciate certain lessons that she taught me. But there are a few lessons she taught me (aside from the huge impact on my style) that I embrace to this day. One, is the importance of valuing your craft and what you bring to others both financially as well as spiritually, emotionally and mentally. She used to say "Good dancers aren't cheap and cheap dancers aren't good." The second thing that has stayed with me is the idea that sometimes when you can't quite get something, faking it is a great fall back. She used to say "Fake it till you make it.", which I use with my students. Rather than "Oh, you can't do it, so don't bother trying." The attitude of "Hey, can't do it? No worries! Here's a trick to give the illusion that you can!" Which I think is a great life lesson.Sahfi has had the single largest impact on my style as a dancer and teacher. My love for the Shamadan started with her and was nurtured and increased with Jumanah. Jumanah took my wild and rough style and taught me how to be elegant and graceful.
I admire both of these women for very different reasons and treasure the talent they have shared with me and others over the years.
Monday, November 15, 2010
Costume Malfunction Chronicles - Episode 1
I have been dancing for 9 years now. In those 9 years I have experienced SEVERAL minor and embarassing costume malfunctions. In this series I will chroncile my multiple moments of embarassing costume mishaps.What's the point in embarassing yourself if you can't share it with friends?
My first costume malfunction came after I had been dancing for 2 years. I was 21 years old. It was at a student hafla that my teacher Linda was putting on. I had my first solo! I couldn't believe it! I was SOO nervous. I had this beautiful turkish costume. It was a black skirt with embroidery, a vest and a hip scarf. I chose to dance to an upbeat Algerian piece of music.
My dad, whom I hadn't spoken to in years, decided to come out to the show with his then girlfriend. My brother was there as well. And one of my mentors, Sahfi. I was so excited and proud to get up and dance. I started on stage (The picture to the left is from the performance). As I was dancing with all of the passion I could muster, I started to notice my top creeping open in the front. It opened a bit more. And then a bit MORE! And then I started think. OMG. My shirt is stretching while I am dancing.
I hadn't put any elastic on the neckline to keep it closed and stretch velvet stretches as you move in it! So holy shit, here I am dancing in front of my DAD and BROTHER and my tits are about to fall out of my shirt! To make matters worse (lord knows what possessed me to make such a stupid mistake), I wasn't WEARING A BRA!
I didn't know what to do. I had to keep dancing....the show must go on! But I didn't want to show my berries to the audience, least of all my dad. Luckily I had a moment of brilliance to help erase the several moments of previous stupidity and I spun around to the back, tucked my tits into my shirt, pulled the top closed and turned back around in the blink of an eye. What a pro! I finished the number without incident, took my bows and walked off stage.
However....embarassing moments came afterwards...."Hey, you dance pretty good, but I thought your tits were going to come out of your top." was really all I heard all night. Haha.
Lesson: Always wear a BRA in performance! Even if you belong to the itty bitty titty club. AND, always secure necklines with elastic.
My first costume malfunction came after I had been dancing for 2 years. I was 21 years old. It was at a student hafla that my teacher Linda was putting on. I had my first solo! I couldn't believe it! I was SOO nervous. I had this beautiful turkish costume. It was a black skirt with embroidery, a vest and a hip scarf. I chose to dance to an upbeat Algerian piece of music. I considered myself to be quite the little seamstress at the time. So I made the black crushed velt choli top that I was planning on wearing for the show. It wans't the tie back style as I didn't want the bulk with the ties. So it criss crossed in the front of the top.
I hadn't put any elastic on the neckline to keep it closed and stretch velvet stretches as you move in it! So holy shit, here I am dancing in front of my DAD and BROTHER and my tits are about to fall out of my shirt! To make matters worse (lord knows what possessed me to make such a stupid mistake), I wasn't WEARING A BRA!
I didn't know what to do. I had to keep dancing....the show must go on! But I didn't want to show my berries to the audience, least of all my dad. Luckily I had a moment of brilliance to help erase the several moments of previous stupidity and I spun around to the back, tucked my tits into my shirt, pulled the top closed and turned back around in the blink of an eye. What a pro! I finished the number without incident, took my bows and walked off stage.
However....embarassing moments came afterwards...."Hey, you dance pretty good, but I thought your tits were going to come out of your top." was really all I heard all night. Haha.
Lesson: Always wear a BRA in performance! Even if you belong to the itty bitty titty club. AND, always secure necklines with elastic.
Sunday, November 14, 2010
Respecting Time
Time is precious. Most of us feel like we don't have enough of it. Or that it flies by. We often rush from one thing to another, frantically trying to cram as much into one day as our poor under nourished bodies will allow (guilty as charged). But I would like you to stop and think about time for a moment. Think about what it means to you. Think about how you dislike having your time "wasted" by someone or something.
When I worked in Corporate HR (I know...how did I survive?), people would constantly show up late to meetings or not at all. They would all say "I'm so busy. I don't have the time." but would then complain about certain matters or people wasting their time. Or demand that others waste their time on fulfilling their own needs or wants.
When you consistently arrive late, you are telling the people who are already there, wherever there may be, that you do not respect them or their time. When you show up late for a gig, you are telling the client that you are better than they are and that their timeline isn't important to you. When you show up late to a meeting you are informing the attendees that their start time isn't worthwhile for you to acknowledge. And when you show up late to a class, you are telling your teacher that the moments prior to your arrival weren't important. You also distract the students who made the effort to ensure they arrived at the appropriate start time.
When I discuss being late, I am talking about chronic and consistent lateness. Our culture is rife with it. I am not talking about accidents slowing down traffic or your boss keeping you late or your kids pitching a fit and preventing you from leaving and despite all your efforts you just can't make it on time. I am talking about the mentality of "It's only five minutes, nobody will notice."
The problem is, people do notice. And then they stop calling, they stop being flexible, they stop depending on you or including you in events. When I set a meeting with someone at noon, I have the expectation that they will be there at noon. When someone shows up 20 minutes late for an appointment without a phone call, text or email, they are telling me that my time doesn't deserve respect.
I also believe that we need to stop and smell the roses, but the roses can be smelled when you are on your own time, not when you are making 10 other people wait for you to do so.
When I worked in Corporate HR (I know...how did I survive?), people would constantly show up late to meetings or not at all. They would all say "I'm so busy. I don't have the time." but would then complain about certain matters or people wasting their time. Or demand that others waste their time on fulfilling their own needs or wants.
When you consistently arrive late, you are telling the people who are already there, wherever there may be, that you do not respect them or their time. When you show up late for a gig, you are telling the client that you are better than they are and that their timeline isn't important to you. When you show up late to a meeting you are informing the attendees that their start time isn't worthwhile for you to acknowledge. And when you show up late to a class, you are telling your teacher that the moments prior to your arrival weren't important. You also distract the students who made the effort to ensure they arrived at the appropriate start time.
When I discuss being late, I am talking about chronic and consistent lateness. Our culture is rife with it. I am not talking about accidents slowing down traffic or your boss keeping you late or your kids pitching a fit and preventing you from leaving and despite all your efforts you just can't make it on time. I am talking about the mentality of "It's only five minutes, nobody will notice."
The problem is, people do notice. And then they stop calling, they stop being flexible, they stop depending on you or including you in events. When I set a meeting with someone at noon, I have the expectation that they will be there at noon. When someone shows up 20 minutes late for an appointment without a phone call, text or email, they are telling me that my time doesn't deserve respect.
I also believe that we need to stop and smell the roses, but the roses can be smelled when you are on your own time, not when you are making 10 other people wait for you to do so.
Friday, November 12, 2010
Even Belly Dancers get the Toots!
Some recent events inspired me to delve into this little missive. Or big missive, whichever comes out!
We tend to hold things "in" a lot in our culture: emotions, ideas, pain, etc. We don't allow ourselves the ability to release a lot of the things that we need to. As such, we walk around in tightly wound postures trying to suck everything in.
And then you take belly dance classes for the first time. And then I tell you "Let it all go." This is the most difficult thing for students to do. The most challenging aspect of Belly Dance isn't movement, but surrendering your body to movement and allowing it to just be. Letting go of that tight assed, sucked in stomach posture is difficult.
But when students finally DO let it go....ppppppppppppfffffffffffffffftttt!
That's right people. I am talking about flatulence. It never fails. I will be starting up a beginner session and someone will always get the toots their first go round. And it's embarassing because women don't fart! Hell, we don't even like sex! Thank God both of those misnomers are just that....plain ass wrong!
The gals that have the quite farts, the silent, non-stinky farts are the luckiest. As are the class mates. But there are some gals that have been holding a little more in than the rest and their "toots of release" burn the eyes and sting the nose to the rotten egg quotient.
But guess what? Just like shit, farts happen! And it's a good thing, because it means that whatever yuckiness you are holding in, you are letting go of! Yay you! It may not be pleasant for your classmates (or teacher), but it's a good thing!
When I first started taking classes, I too felt things moving that had never moved before and it caused my guts to rumble and I would release at the most inopportune moments. Sometimes I was lucky. It was silent and stinkless. Thank God. And other times....oh my....other times....I wanted to die. I hoped and prayed no one knew it was me! Maybe they'd think it was the teacher.
I had been dancing for 2 years at this point. I was in class. My butt cheeks were squeezed so tightly together that a fart came out, rolled in a little air bubble up my butt crack and escaped at the top with a loud "POP!". I pretended like I didn't hear anything. And then. Oh God! It happened AGAIN! and AGAIN! No smell. Just this loud popping noise! My teacher stopped the class concerned that someone was popping their joints or harming themselves. "What is that noise? Is that YOU Stephanie?" I was mortified. "Um, yeah, I guess it was. I think it was my knees. They've been acting up lately. Maybe I'll go stretch them out." "Good idea". It then turned into this big discussion about joints and joints cracking and popping! I was MORTIFIED. What if it happens again and this time....this time....it SMELLS?
Throughout the years, students have had hiccup toots, big toots, little toots, rumbly toots, rotten toots or burpy toots (this is a two in one event). The fact of the matter is, we sometimes have a little giggle, but then we roll on. I am not suggesting my students go out and eat a bean burrito before class but please realize, it's not a big deal. Everybody does it.....even Belly Dancers : )
We tend to hold things "in" a lot in our culture: emotions, ideas, pain, etc. We don't allow ourselves the ability to release a lot of the things that we need to. As such, we walk around in tightly wound postures trying to suck everything in.
And then you take belly dance classes for the first time. And then I tell you "Let it all go." This is the most difficult thing for students to do. The most challenging aspect of Belly Dance isn't movement, but surrendering your body to movement and allowing it to just be. Letting go of that tight assed, sucked in stomach posture is difficult.
But when students finally DO let it go....ppppppppppppfffffffffffffffftttt!
That's right people. I am talking about flatulence. It never fails. I will be starting up a beginner session and someone will always get the toots their first go round. And it's embarassing because women don't fart! Hell, we don't even like sex! Thank God both of those misnomers are just that....plain ass wrong!
The gals that have the quite farts, the silent, non-stinky farts are the luckiest. As are the class mates. But there are some gals that have been holding a little more in than the rest and their "toots of release" burn the eyes and sting the nose to the rotten egg quotient.
But guess what? Just like shit, farts happen! And it's a good thing, because it means that whatever yuckiness you are holding in, you are letting go of! Yay you! It may not be pleasant for your classmates (or teacher), but it's a good thing!
When I first started taking classes, I too felt things moving that had never moved before and it caused my guts to rumble and I would release at the most inopportune moments. Sometimes I was lucky. It was silent and stinkless. Thank God. And other times....oh my....other times....I wanted to die. I hoped and prayed no one knew it was me! Maybe they'd think it was the teacher.
I had been dancing for 2 years at this point. I was in class. My butt cheeks were squeezed so tightly together that a fart came out, rolled in a little air bubble up my butt crack and escaped at the top with a loud "POP!". I pretended like I didn't hear anything. And then. Oh God! It happened AGAIN! and AGAIN! No smell. Just this loud popping noise! My teacher stopped the class concerned that someone was popping their joints or harming themselves. "What is that noise? Is that YOU Stephanie?" I was mortified. "Um, yeah, I guess it was. I think it was my knees. They've been acting up lately. Maybe I'll go stretch them out." "Good idea". It then turned into this big discussion about joints and joints cracking and popping! I was MORTIFIED. What if it happens again and this time....this time....it SMELLS?
Throughout the years, students have had hiccup toots, big toots, little toots, rumbly toots, rotten toots or burpy toots (this is a two in one event). The fact of the matter is, we sometimes have a little giggle, but then we roll on. I am not suggesting my students go out and eat a bean burrito before class but please realize, it's not a big deal. Everybody does it.....even Belly Dancers : )
Wednesday, November 10, 2010
On the Subject of Teaching
I've been thinking a lot lately about teaching and what it means to be a teacher. Call it too much time on my hands or a journey of introspection, but I think about the relationship between teachers and students and the tenuous trust that exists between the two.
I admire my students for setting foot in my studio. I respect the trust that they have placed in me. Because to actively become a student, you have to actively believe there is something you want or need to learn and that you don't know everything. This isn't something that most of us easily admit. So to surrender your mind and body to a new form of dance or new subject is a huge undertaking that I respect immensely.
I then turn to the teaching part of the equation. Teachers also place themselves in a position of vulnerability to their students. As a teacher, you are sharing the knowledge you have. As a teacher, you remain a student, constantly searching for more knowledge. But what if you don't have the knowledge you need at any given moment to answer a student's question? What if your students don't like what you are teaching? Or don't take you seriously? Or think you are wasting their time? When you teach people, you are not only presenting the knowledge you have, you are giving part of yourself over to your students for their thought and consideration.
As artists, we are creating choreographies and then attempting to teach that choreography to someone else. Sometimes a part of the choreography doesn't work in a group setting or for the students level and you have to recreate portions of it. Sometimes you get a great idea for a combo, and the footing doesn't instantly work. Sometimes, you are focusing on 500 things as once (choreo, music, placements, checking posture, watching faces, remembering the steps, how will it look in performance) and you forget what you're doing! Haha! Or at least I do!
I had a huge epiphany after a workshop I attended recently. It was the same epiphany I had upon graduating University. I DON'T KNOW ANYTHING. Now of course, literally, this is a very silly statement. I know lots of things. But figuratively, the more I learn, the more I realize I don't know. And the more I want to learn more. And so then I am in the position of student.
And then I look at my students. I have learned so much from them about humanity, vulnerability, compassion, what it means to be a woman, and how to be a better teacher. So in essence, they have become MY teachers. And they have done so through their express trust that they have placed in me by just simply showing up to class, which is an act of bravery. I spend my life encourging people to step out of their comfort zones and embrace all of the wonder they hold within themselves just by existing. I feel very humbled by that and what I have chosen for a career path and calling.
I admire my students for setting foot in my studio. I respect the trust that they have placed in me. Because to actively become a student, you have to actively believe there is something you want or need to learn and that you don't know everything. This isn't something that most of us easily admit. So to surrender your mind and body to a new form of dance or new subject is a huge undertaking that I respect immensely.
I then turn to the teaching part of the equation. Teachers also place themselves in a position of vulnerability to their students. As a teacher, you are sharing the knowledge you have. As a teacher, you remain a student, constantly searching for more knowledge. But what if you don't have the knowledge you need at any given moment to answer a student's question? What if your students don't like what you are teaching? Or don't take you seriously? Or think you are wasting their time? When you teach people, you are not only presenting the knowledge you have, you are giving part of yourself over to your students for their thought and consideration.
As artists, we are creating choreographies and then attempting to teach that choreography to someone else. Sometimes a part of the choreography doesn't work in a group setting or for the students level and you have to recreate portions of it. Sometimes you get a great idea for a combo, and the footing doesn't instantly work. Sometimes, you are focusing on 500 things as once (choreo, music, placements, checking posture, watching faces, remembering the steps, how will it look in performance) and you forget what you're doing! Haha! Or at least I do!
I had a huge epiphany after a workshop I attended recently. It was the same epiphany I had upon graduating University. I DON'T KNOW ANYTHING. Now of course, literally, this is a very silly statement. I know lots of things. But figuratively, the more I learn, the more I realize I don't know. And the more I want to learn more. And so then I am in the position of student.
And then I look at my students. I have learned so much from them about humanity, vulnerability, compassion, what it means to be a woman, and how to be a better teacher. So in essence, they have become MY teachers. And they have done so through their express trust that they have placed in me by just simply showing up to class, which is an act of bravery. I spend my life encourging people to step out of their comfort zones and embrace all of the wonder they hold within themselves just by existing. I feel very humbled by that and what I have chosen for a career path and calling.
Sunday, November 7, 2010
Dancing with Seniors
Rebel Hips and Seniors on Global TV
http://www.globaltvedmonton.com/video/index.html?releasePID=FeG5omqOBRxE9W5s9C7eSQOr3nAvbwvJ
Belly Dance is a great way to get in shape, improve mobility and meet new friends. Much to my delight I have had the distinct pleasure of working with senior citizens in Edmonton. I teach Belly Dance to female seniors at SAGE - Seniors Association of Greater Edmonton.
One of the great blessings that I have in my life is sharing with other women my passion for dance, all the while working to help build a sense of community amongst women. There are so many things in our lives that cause isolation for women of all ages and backgrounds. Dancing helps to build commradery and common interest between people that may not necessarily have met or become friends otherwise.
My Belly Dancing Seniors are total babes. I love teaching them and I love the passion they have for life. Oftentimes I feel like I am getting more out of the classes than they are! They show me that it doesn't matter what other people think about what I do, say or look like. They teach me about being a woman and a human being. I am so proud of their dedicaton and committment to dance, and feel honoured about the trust they have placed in me.
One of my heroes is my 87 year old student. She is fiery and fun and has this sexy little wink that drives the men at SAGE wild. If I can think of anything I want to be when I grow up, it's that: smart, confident and sexy! No matter what my age is!
http://www.globaltvedmonton.com/video/index.html?releasePID=FeG5omqOBRxE9W5s9C7eSQOr3nAvbwvJ
Belly Dance is a great way to get in shape, improve mobility and meet new friends. Much to my delight I have had the distinct pleasure of working with senior citizens in Edmonton. I teach Belly Dance to female seniors at SAGE - Seniors Association of Greater Edmonton.
One of the great blessings that I have in my life is sharing with other women my passion for dance, all the while working to help build a sense of community amongst women. There are so many things in our lives that cause isolation for women of all ages and backgrounds. Dancing helps to build commradery and common interest between people that may not necessarily have met or become friends otherwise.
My Belly Dancing Seniors are total babes. I love teaching them and I love the passion they have for life. Oftentimes I feel like I am getting more out of the classes than they are! They show me that it doesn't matter what other people think about what I do, say or look like. They teach me about being a woman and a human being. I am so proud of their dedicaton and committment to dance, and feel honoured about the trust they have placed in me.
One of my heroes is my 87 year old student. She is fiery and fun and has this sexy little wink that drives the men at SAGE wild. If I can think of anything I want to be when I grow up, it's that: smart, confident and sexy! No matter what my age is!
The Care and Maintenance of Costumes
At the prompting of one of my most loyal and avid students who purchased her first costume today, I am putting together some guidelines and instructions on the care and maintenance of your Belly Dance costumes.
As dancers, whether student or professional, we spend a lot of money on the costumes we require for performances in student shows, restaurants, stage shows, private functions, etc. Depending on your level of dance, there are certain expectations regarding how you look on stage.
STORAGE OF COSTUMES
Storing your costume is very important. Most costumes have a lot of beading and fringe that can get tangled up together. If you are storing a costume in a drawer or cupboard, fold your costume in the most gentle way possible taking the beading into consideration. You can place the costume in a large ziploc bag or (my favourite) empty plastic sheet bags (the zippered kind that sheet sets are sold in). This will help keep the costume from rubbing against things. You can throw a dryer sheet or other sachel of your favourite scent in with your costume.
If you are hanging your costume in a closet, make sure that you are using strong wooden hangers: straight clippy hangers for the belt/belt skirt. And a regular hanger with grooves for the bra, which you can hang by the straps. Do not hang up circle skirts as they will lose their shape.
CLEANING OF COSTUMES
It is inadvisable to wash your costumes using conventional methods. Sequins are non-washable. There are a variety of methods for "cleaning" and disinfecting costumes. DO NOT DRY CLEAN belly dance costumes. It will destroy them, no matter how good of a job your drycleaner does on your dresses.
For non beaded skirts, head pieces, arm gauntlets, depending on the material you can make the call about whether or not you hand wash them (or need to). Some sequins lose their lustre after they have been washed. Using a gentle soap like soaps for bras and panties would be good for gently washing accessories.
For beaded and ornamented costumes, for overall cleaning, my favourite method of cleaning is through "smoking" the costume. How you do this is you hang your costumes in the bathroom, light 3-5 sticks of your favourite incense (Indian incense is best, ie Nag Champa) and close the door for an hour or so. The smoke kills the bacteria in the costume. To "spot clean" any obvious stains or marks, you can use a face cloth and mild soap.
Another option that I had read about is using a solution of vodka and water in a spray bottle. You spray the inside lining of the costume with this solution and the alcohol helps to kil bacteria and neutralize orders. I have not personally tried this method but have heard great things about it.
AND FINALLY....
The linings of bra and belt sets are made removable for a reason. If your costume is still in impeccable shape, but the lining is looking a little worse for wear, you can get the costume relined.
Also fix little snags/pulls/ missing beads as soon as possible to avoid further unravelling or loss of beadwork.
As dancers, whether student or professional, we spend a lot of money on the costumes we require for performances in student shows, restaurants, stage shows, private functions, etc. Depending on your level of dance, there are certain expectations regarding how you look on stage.
STORAGE OF COSTUMES
Storing your costume is very important. Most costumes have a lot of beading and fringe that can get tangled up together. If you are storing a costume in a drawer or cupboard, fold your costume in the most gentle way possible taking the beading into consideration. You can place the costume in a large ziploc bag or (my favourite) empty plastic sheet bags (the zippered kind that sheet sets are sold in). This will help keep the costume from rubbing against things. You can throw a dryer sheet or other sachel of your favourite scent in with your costume.
If you are hanging your costume in a closet, make sure that you are using strong wooden hangers: straight clippy hangers for the belt/belt skirt. And a regular hanger with grooves for the bra, which you can hang by the straps. Do not hang up circle skirts as they will lose their shape.
CLEANING OF COSTUMES
It is inadvisable to wash your costumes using conventional methods. Sequins are non-washable. There are a variety of methods for "cleaning" and disinfecting costumes. DO NOT DRY CLEAN belly dance costumes. It will destroy them, no matter how good of a job your drycleaner does on your dresses.
For non beaded skirts, head pieces, arm gauntlets, depending on the material you can make the call about whether or not you hand wash them (or need to). Some sequins lose their lustre after they have been washed. Using a gentle soap like soaps for bras and panties would be good for gently washing accessories.
For beaded and ornamented costumes, for overall cleaning, my favourite method of cleaning is through "smoking" the costume. How you do this is you hang your costumes in the bathroom, light 3-5 sticks of your favourite incense (Indian incense is best, ie Nag Champa) and close the door for an hour or so. The smoke kills the bacteria in the costume. To "spot clean" any obvious stains or marks, you can use a face cloth and mild soap.
Another option that I had read about is using a solution of vodka and water in a spray bottle. You spray the inside lining of the costume with this solution and the alcohol helps to kil bacteria and neutralize orders. I have not personally tried this method but have heard great things about it.
AND FINALLY....
The linings of bra and belt sets are made removable for a reason. If your costume is still in impeccable shape, but the lining is looking a little worse for wear, you can get the costume relined.
Also fix little snags/pulls/ missing beads as soon as possible to avoid further unravelling or loss of beadwork.
REVIEW: American Belly Dancer
Old Blog: December 17, 2009
Last night I watched the documentary American Belly Dancer for the first time. I was incredibly excited to watch it, having taught dance the last 3 years and been learning dance for the last 8 years, the idea of watching a documentary about the thing I am very passionate about made me giddy.
I soon became disappointed however.
The commentary by Suhaila Sulimpour and other dancers were an absolute delight. Seeing Rachel Brice pre-fame or hearing Morrocco's sassy opinions on bellydance was like stumbling upon a treasure chest of precious gems. Hearing these intelligent, strong and beautiful dancers speak in a manner that related to the way I feel about dance made me feel strong and inspired that others think the way I do.
What disappointed me about this documentary was that it illustrates how the capitalist machine has taken ahold of Belly Dance, recognized it's earning potential and mass marketed it. Miles Copeland, the producer for Belly Dance Superstars and Desert Roses repeatedly misunderstands what Middle Eastern dance is about and what it means to dancers. In my opinion, the resurgence of belly dance in North America in the last 10 years is owed to women wanting to reclaim their bodies and have power over their personal space in an incredibly repressive and mysogenist culture. It is very much a dance about exploring your body and expressing your innermost self.
In the creation of BDS and DS, Miles Copeland wanted to handpick dancers that looked like amateur porn stars or fit the atypical beauty requirements of a North American audience, which is completely counter to belly dance culture. Thank goodness he had the good sense and loud opinions of Suhaila Salimpour to disuade him.
I understand that dancers need to be more business minded. The business side of dance or the arts is traditionally an area of struggle for performers and artisans. But I object to an art form being taken over by "crusty old white dudes" and for lack of a better word "prostituted" for corporate dollars. I cannot fault the dancers like Jillina or Suhaila for wanting to participate in this troupe, as I believe they see it as an opportunity to present belly dance to the world in a manner that is elegant, classy and sophisticated in grand venues. It's the opportunity to show how beautiful an art form it is on a large scale. Dancers have struggled for a long time to be taken seriously in this art form and thank God for Suhaila bossing the crap out of Miles or Belly Dance Superstars could have been an even bigger train wreck.
I would recommend that people watch this video, as it demonstrates the struggle we have as dancers to be recognized for our talent and artistic ability in the face of a culture that is interested in mass production and the bottom line.
Last night I watched the documentary American Belly Dancer for the first time. I was incredibly excited to watch it, having taught dance the last 3 years and been learning dance for the last 8 years, the idea of watching a documentary about the thing I am very passionate about made me giddy.
I soon became disappointed however.
The commentary by Suhaila Sulimpour and other dancers were an absolute delight. Seeing Rachel Brice pre-fame or hearing Morrocco's sassy opinions on bellydance was like stumbling upon a treasure chest of precious gems. Hearing these intelligent, strong and beautiful dancers speak in a manner that related to the way I feel about dance made me feel strong and inspired that others think the way I do.
What disappointed me about this documentary was that it illustrates how the capitalist machine has taken ahold of Belly Dance, recognized it's earning potential and mass marketed it. Miles Copeland, the producer for Belly Dance Superstars and Desert Roses repeatedly misunderstands what Middle Eastern dance is about and what it means to dancers. In my opinion, the resurgence of belly dance in North America in the last 10 years is owed to women wanting to reclaim their bodies and have power over their personal space in an incredibly repressive and mysogenist culture. It is very much a dance about exploring your body and expressing your innermost self.
In the creation of BDS and DS, Miles Copeland wanted to handpick dancers that looked like amateur porn stars or fit the atypical beauty requirements of a North American audience, which is completely counter to belly dance culture. Thank goodness he had the good sense and loud opinions of Suhaila Salimpour to disuade him.
I understand that dancers need to be more business minded. The business side of dance or the arts is traditionally an area of struggle for performers and artisans. But I object to an art form being taken over by "crusty old white dudes" and for lack of a better word "prostituted" for corporate dollars. I cannot fault the dancers like Jillina or Suhaila for wanting to participate in this troupe, as I believe they see it as an opportunity to present belly dance to the world in a manner that is elegant, classy and sophisticated in grand venues. It's the opportunity to show how beautiful an art form it is on a large scale. Dancers have struggled for a long time to be taken seriously in this art form and thank God for Suhaila bossing the crap out of Miles or Belly Dance Superstars could have been an even bigger train wreck.
I would recommend that people watch this video, as it demonstrates the struggle we have as dancers to be recognized for our talent and artistic ability in the face of a culture that is interested in mass production and the bottom line.
Guide to Selling your Costume on Consignment
Let’s face it, we all have costumes in our closets that we bought on a whim, we no longer wear because we’ve worn many times, are too big or too small, etc and so forth. Putting costumes up for consignment offers a way to get back some of your investment into one of the costliest parts of dancing. It also offers costumes at discounted rates for dancers that are just starting out.
Price Setting
One of the most difficult things to do when selling a second hand costume is determining the price, especially when you paid $800-$1000 for it. Belly dance costumes are much like vehicles in that the moment you have purchased one of them, they depreciate in value. People do not want to pay close to full price for an item than has been previously owned (and potentially sweat in) by someone else.
When looking to set your price, check over the costume. Are there beads missing? Pulls or snags? “Rush” or “haphazard” repair jobs? Are there places where the color has been worn off the sequins or sweat stains on the lining?
Take a look at what you spent on the costume and immediately subtract 50%. This is your starting point for resale. Then take in to account the shape the costume is currently in, how long you’ve owned it, if it is currently in style and how often it has been worn.
Consignment Split
The hard truth is that consignment pieces take up space within a retail outlet and generally do not provide much of a return for store owners. Stores consign items anywhere between 30%-60% of the items resale value. Depending on how long the piece is in the store, that piece is taking up “retail space”. Store owners incur service fees at Point of Sale and become responsible for the items wear and tear within the store. These fees depend on the method of payment and may also include having to account for these items in inventory and accounting systems.
So why sell through consignment?
The benefit of putting costumes on consignment is that it opens the sale of the costume up to a larger market at a fair price. Many dancers have discovered that listing costumes on ebay rarely results in a profitable sale as most ebay shoppers are looking for the bargain basement discounts. The store offering consignment is providing a service to the costume seller, while still making a very small margin for their time and store resources.
Consignment can be a great way to clean out your closet and make room for other delicious bits of sparkly dancing goodness. It is a way to get some money back for the costumes you have invested in, but will by no means provide a return comparable to the price you paid initially.
Price Setting
One of the most difficult things to do when selling a second hand costume is determining the price, especially when you paid $800-$1000 for it. Belly dance costumes are much like vehicles in that the moment you have purchased one of them, they depreciate in value. People do not want to pay close to full price for an item than has been previously owned (and potentially sweat in) by someone else.
When looking to set your price, check over the costume. Are there beads missing? Pulls or snags? “Rush” or “haphazard” repair jobs? Are there places where the color has been worn off the sequins or sweat stains on the lining?
Take a look at what you spent on the costume and immediately subtract 50%. This is your starting point for resale. Then take in to account the shape the costume is currently in, how long you’ve owned it, if it is currently in style and how often it has been worn.
Consignment Split
The hard truth is that consignment pieces take up space within a retail outlet and generally do not provide much of a return for store owners. Stores consign items anywhere between 30%-60% of the items resale value. Depending on how long the piece is in the store, that piece is taking up “retail space”. Store owners incur service fees at Point of Sale and become responsible for the items wear and tear within the store. These fees depend on the method of payment and may also include having to account for these items in inventory and accounting systems.
So why sell through consignment?
The benefit of putting costumes on consignment is that it opens the sale of the costume up to a larger market at a fair price. Many dancers have discovered that listing costumes on ebay rarely results in a profitable sale as most ebay shoppers are looking for the bargain basement discounts. The store offering consignment is providing a service to the costume seller, while still making a very small margin for their time and store resources.
Consignment can be a great way to clean out your closet and make room for other delicious bits of sparkly dancing goodness. It is a way to get some money back for the costumes you have invested in, but will by no means provide a return comparable to the price you paid initially.
Review: Ultimate Belly Dance with Sadie DVD
Get it! Get it! Get it!
If you are at an intermediate/advanced level of dancing, this DVD will take your dancing to a whole new level. This is probably one of the best DVDs that I have personally tried. It offers challenging layering techniques and muscle strengthening exercises.
I have to admitt, while in awe of Sadie's unbelievable technical ability, I always thought her performances were very robotic and did not convey a lot of heart or spirit. This DVD really changed my perception of Sadie. Her performance at the end is quite lovely and she emotes beautifully.
This DVD is also great for teachers. Sadie teaches movement in a very interesting way and provides a different perspective on how to teach layering techniques and standard core belly dance moves. The only criticism I have is that there is a stretch in the warm up where Sadie hyper extends and locks her knees, which is incredibly dangerous for dancers. Even when stretching with a straight leg, we should never lock our knees.
I give this video an A+!
If you are at an intermediate/advanced level of dancing, this DVD will take your dancing to a whole new level. This is probably one of the best DVDs that I have personally tried. It offers challenging layering techniques and muscle strengthening exercises.
I have to admitt, while in awe of Sadie's unbelievable technical ability, I always thought her performances were very robotic and did not convey a lot of heart or spirit. This DVD really changed my perception of Sadie. Her performance at the end is quite lovely and she emotes beautifully.
This DVD is also great for teachers. Sadie teaches movement in a very interesting way and provides a different perspective on how to teach layering techniques and standard core belly dance moves. The only criticism I have is that there is a stretch in the warm up where Sadie hyper extends and locks her knees, which is incredibly dangerous for dancers. Even when stretching with a straight leg, we should never lock our knees.
I give this video an A+!
How to Make Harem Pants
Tips for Making Successful Harem Pants
1.Fabric Width
When choosing Fabric for harem pants, make sure to purchase fabric that is 45” (115cm) wide. Fabric that is 60” (154cm) wide will make a pant leg length fit for an Amazonian Warrior, not a belly dancer. If the fabric you want is unavailable in 45”, cut 15” off your 60” fabric to make a much more realistic length. Unless you have a 45” inseam, 60” of fabric will be WAY too long.
2. Fabric Choices
If you are a first time seamstress, you will want to choose fabrics that are easier to sew with. These would include cotton, poly/cotton blends, and other wovens. Knit fabrics are generally not a good idea to use for harem pants. Brocades are a good selection for the intermediate sewer to add to her repetoire. Satins and other slippery/shifty fabrics (silk charmeuse, glitter dot, chiffon) should be purchased only if you have a few intermediate pairs of pants under your belt.
3. How much fabric do I buy?
The amount of fabric that you need is completely dependant upon your size. A size 6 and a size 16 are going to need completely different amounts of fabrics. The best way to gauge how much fabric you need it to measure around the largest part of your thigh (usually best done sitting or kneeling). For Harem pants that are nice and full, add 5” to this measurement. For example: If your thigh is 29” around, add 5” to make it 34”. That is how wide your pant leg will need to be. Add 1” to this measurement for seam allowance. Multiply this measurement by 2 (afterall, there are two legs). This will be how much fabric you need for your harem pants. In this case, you would need 70” or 1.8meters.
Formula: (Thigh measurement + 5” + 1”) multiply by 2 = Amount of fabric needed. (Over size16 add 7” to measurement)
4. How do I cut out my pants?
The easiest fabric to cut for harem pants is woven Cottons or something else that is a woven. For these, all you have to do is fold your fabric in half widthwise (the two cut edges are together, salvage at top and bottom), make a small cut at the half way mark and tear your fabric in half. Then you will have two pieces of fabric that are the same size and a straight sewing line. Other fabrics you will have to lay flat and make sure that the cut line is straight.
Directions for the Best set of Harem Pants you will ever own:
1. Take your entire piece of fabric (amounts based upon directions above) and cut it in half creating 2 separate pieces, each the same size.
2. Match up the two pieces of fabric and fold them in half together, laying them flat and making sure that all of the points match up. Where the raw edges meet, you will want to cut a curve for the crotch. Take a legal sized envelope and place it in the top corner of the raw edge side. Cut out the crotch of your pants based upon this. If you are extremely long in the waist, add an inch or two. Do not add too much or the crotch of the pants will sit too low.
3. You now have the two leg pieces that you will need to make your pants. With “right sides” of the fabric together sew along the seam from bottom of pants to the base of crotch. Do not sew the crotch together at this stage. Repeat this for the second piece. You should be left with two cylinder looking pieces.
4. With “right sides” of fabric facing each other, match up the seams of the two leg cylinders. Pin together. This should form a ‘U’ shape. Sew along this “U”. You now have the base of your harem pants completed! Way to go!
5. Your selvage should appear at the waistline and at the ankles of the pants. You will want to turn these edges under once and sew along this line.
6. Now you will make the casing for the elastic. 1”-2" wide non rolling elastic is best to use at the waistline, and smaller elastic for the ankles. Fold the fabric over at the waistline 1.5”. Use the line that you have already sewn as a guide to sew a straight line. Make this casing all the way around the pants. Leave an opening about 1-2” wide so that you can insert elastic. Depending on the Elastic you are using for your ankles, repeat this process according to the elastic width on the ankles.
7. Now measure out the elastic you will need by pulling it at your hips and ankles to determine length. Add a safety pin to one end of the elastic and thread it through the casings you have made at the waist and ankles. Make sure to secure one end outside of the casing. Once the elastic has been thread through, remove the safety pin and sew the two ends of the elastic together.
8. You now have your very own set of harem pants made by you!
Helpful Sewing Terms:
“Right side” – this is the good side of the fabric that you want to show
“Wrong side” – this is the bad side of fabric that you want to hide
Selvage – the finished edge on fabric that appears on both sides of fabric
Rolling hem- this is accomplished on an edge you would like finished. You “roll” the raw edge underneath the fabric and sew flat.
1.Fabric Width
When choosing Fabric for harem pants, make sure to purchase fabric that is 45” (115cm) wide. Fabric that is 60” (154cm) wide will make a pant leg length fit for an Amazonian Warrior, not a belly dancer. If the fabric you want is unavailable in 45”, cut 15” off your 60” fabric to make a much more realistic length. Unless you have a 45” inseam, 60” of fabric will be WAY too long.
2. Fabric Choices
If you are a first time seamstress, you will want to choose fabrics that are easier to sew with. These would include cotton, poly/cotton blends, and other wovens. Knit fabrics are generally not a good idea to use for harem pants. Brocades are a good selection for the intermediate sewer to add to her repetoire. Satins and other slippery/shifty fabrics (silk charmeuse, glitter dot, chiffon) should be purchased only if you have a few intermediate pairs of pants under your belt.
3. How much fabric do I buy?
The amount of fabric that you need is completely dependant upon your size. A size 6 and a size 16 are going to need completely different amounts of fabrics. The best way to gauge how much fabric you need it to measure around the largest part of your thigh (usually best done sitting or kneeling). For Harem pants that are nice and full, add 5” to this measurement. For example: If your thigh is 29” around, add 5” to make it 34”. That is how wide your pant leg will need to be. Add 1” to this measurement for seam allowance. Multiply this measurement by 2 (afterall, there are two legs). This will be how much fabric you need for your harem pants. In this case, you would need 70” or 1.8meters.
Formula: (Thigh measurement + 5” + 1”) multiply by 2 = Amount of fabric needed. (Over size16 add 7” to measurement)
4. How do I cut out my pants?
The easiest fabric to cut for harem pants is woven Cottons or something else that is a woven. For these, all you have to do is fold your fabric in half widthwise (the two cut edges are together, salvage at top and bottom), make a small cut at the half way mark and tear your fabric in half. Then you will have two pieces of fabric that are the same size and a straight sewing line. Other fabrics you will have to lay flat and make sure that the cut line is straight.
Directions for the Best set of Harem Pants you will ever own:
1. Take your entire piece of fabric (amounts based upon directions above) and cut it in half creating 2 separate pieces, each the same size.
2. Match up the two pieces of fabric and fold them in half together, laying them flat and making sure that all of the points match up. Where the raw edges meet, you will want to cut a curve for the crotch. Take a legal sized envelope and place it in the top corner of the raw edge side. Cut out the crotch of your pants based upon this. If you are extremely long in the waist, add an inch or two. Do not add too much or the crotch of the pants will sit too low.
3. You now have the two leg pieces that you will need to make your pants. With “right sides” of the fabric together sew along the seam from bottom of pants to the base of crotch. Do not sew the crotch together at this stage. Repeat this for the second piece. You should be left with two cylinder looking pieces.
4. With “right sides” of fabric facing each other, match up the seams of the two leg cylinders. Pin together. This should form a ‘U’ shape. Sew along this “U”. You now have the base of your harem pants completed! Way to go!
5. Your selvage should appear at the waistline and at the ankles of the pants. You will want to turn these edges under once and sew along this line.
6. Now you will make the casing for the elastic. 1”-2" wide non rolling elastic is best to use at the waistline, and smaller elastic for the ankles. Fold the fabric over at the waistline 1.5”. Use the line that you have already sewn as a guide to sew a straight line. Make this casing all the way around the pants. Leave an opening about 1-2” wide so that you can insert elastic. Depending on the Elastic you are using for your ankles, repeat this process according to the elastic width on the ankles.
7. Now measure out the elastic you will need by pulling it at your hips and ankles to determine length. Add a safety pin to one end of the elastic and thread it through the casings you have made at the waist and ankles. Make sure to secure one end outside of the casing. Once the elastic has been thread through, remove the safety pin and sew the two ends of the elastic together.
8. You now have your very own set of harem pants made by you!
Helpful Sewing Terms:
“Right side” – this is the good side of the fabric that you want to show
“Wrong side” – this is the bad side of fabric that you want to hide
Selvage – the finished edge on fabric that appears on both sides of fabric
Rolling hem- this is accomplished on an edge you would like finished. You “roll” the raw edge underneath the fabric and sew flat.
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