Tava’s performance clips from JeBon – Bellydance in NYC

I always get a hint of nostalgia recalling all the performances I have watched at “Le Fig” then Grisly Pear and now JeBon.  Dancing with Scott Wilson & Efendi has been a right of passage amongst my dance friends and I.  My first performance was opening for my mentor, Andrea and my nerves were through the roof.  I have been an audience member countless times and watched fellow student dancers become professionals with students of their own.  These experiences have turned into some of my happiest dance memories.

This past Sunday, I was so thrilled to return as the dancer for Scott’s bellydance night along with my students : Starlet, Zella and Debbie.  I did my best attempts at editing short clips from my cell phone so please excuse my attempts at stringing them together.

The clip below was the opening song from the set.  As is typical, there is a lot of zill playing and greeting the audience:

The next clip has a bit of comedy since a big flick of the veil resulted in it getting stuck on the ceiling.  Who says mistakes can’t be fun?  At the end, Scott gets up and does one of my favorite of his signature moves; playing the Oud behind his head.

The final clip contains clips from the chiftitelle and the drum solo, played by Mal Stein.

Please support live music and bellydance in NYC.  Scott offers these nights monthly featuring performances by many top dancers in the area.

Valerick Molinary teaches “Oriental Spice with a side of Shimmy” in CT

I’m so excited to host the beautiful and talented Valerick Molinary in CT. I just put the flyer up yesterday and only 6 slots are open. Feel free to leave a comment with any questions.

Monday night June 10th from 8-10PM

The Sad State of Sagat (Zills)

I have noticed so many posts by friends on facebook about a decline in zill playing, which, coupled with the retirement of Harry Soroyan and the death of Robert Zildjian, has left our community in a state of transition.  It is unclear how these factors will affect inventory and availability and I’ve heard conflicting rumors from all across the country.  What is clear is that with the rise of popularity for our dance form, the dedication to learning zills has not grown as steadily.  For those of us who play them regularly, it is hard to imagine any other alternative since they add so much to our performances and it becomes harder to dance with the feeling of “naked fingers.”

Finger cymbals, zills, sagat, we use them interchangeably but they are not, in fact, the same thing.  There are differences in weight and tone but one thing is for sure, they have been a part of music for a very long time (read the history on Saroyan’s page).  So, why are they on the decline?  Who can say for sure but I have some ideas:

Tava playing zills with live band (Raquy, Scott Wilson, Rami and George)

1. They aren’t easy to learn – We have to go through a period of sounding utterly terrible.  Everyone who learns has to get through that phase of wanting to throw them at the wall so we can just focus on our dancing but, little by little, we learn to think like musicians and use them to enhance our dancing.  Forgive the mistakes you make and just KEEP practicing. Note: please don’t bring them to another dancer’s show to practice.  It is maybe my own pet peeve but I have been very thrown by this in the past.

2. Egyptian style  – Right now, this is the most popular form of our dance and the music has rich orchestral sounds and complicated arrangements which can feel “covered up” by zill playing. There are very few dancers in Egypt who play today (I’m not aware of any but there may be some out there I don’t know about).  In the Golden Era, many of them played Sagat.  Here is a beautiful example of Tahia Carioca in the film “Hamido.”

https://www.youtube.com/watch?v=KX_fXXj8Cus&list=PL0CC5824C7CDF779Chttp://

3. Staged performances – I know that when I am performing in a theater, I won’t always reach for my zills because I don’t expect that the audience can hear them well.  Furthermore, the acoustics don’t always permit.  By the time the sound reaches the audience, there may be some delay.  This can also apply in large open spaces where sound echoes and the zills would be louder than my music even if I play them muted.

Now, why should we all be playing?

1. They engage the audience and help to hold their attention

2. It elevates our art to showcase complex musicality

3. It’s a great way to be “connected” to the musicians in a live show situation

4. They add texture and dynamics to pre-recorded music

5. They are fun to play!

As a teacher, I hope to carry on this tradition and help my students learn to love the possibilities they allow us.  Congratulations to Harry Saroyan on his retirement and thanks for all the years of service.  Condolences to the Zildjian family.

Tava teaches an open-level weekly zill class at Work It Dance & Fitness in Norwalk, CT

Bellydance for Weddings

The elegant artistry of bellydance and wedding receptions are paired together for very good reasons.  Every bride and groom want their guests to experience the best food, beautiful atmosphere and high-end entertainment to create a lasting memory of their day.  I look at posts from my dance colleagues and through my own albums and I see pure joy on the faces of the guests.  From the sweet little kids who get up to dance with us to the elderly grandfather who gets roaring enthusiasm for having a surprisingly awesome shimmy, the list goes on and on.

Couples will often ask what is the best time during the wedding reception to have the bellydancer perform.  Of course the answer varies, but more often than not, I start my show just as dinner is winding down and the dance portion is about to be revved up.  Bellydancers, like all performers, are skilled at transforming the energy in a room.  This means that if the atmosphere is elegant dining with the band playing Sinatra and standards, it is our job to bring it to the next level and have people on their feet clapping and excited.  People have already had a few drinks so their mood is more conducive to having the party experience.  I’ve tried to identify the various options below to make the decisions easier for couples and wedding planners:

1. Cocktail Hour:

We are sometimes asked to reinforce a wedding “theme” by supplying the ambiance to kick off the wedding reception.  This is, in most cases, less of a full on show and more of a bellydance greeting for guests as they arrive.

Bellydance by Tava performs at a beautiful wedding in CT

2. Enter the Bride and Groom:

Not necessarily a formal Zeffa (Arabic wedding procession often led by a bellydancer) but a way of ushering the newly married couple into the reception.  This style of performance is a way to showcase the bride and groom; building excitement for their first appearance as husband and wife.  Here is a beautiful example of a traditional Zeffa (also spelled Zaffa)”Talaak Soad Hanem “

3. After dinner dance:

This is what I referred to above where the bellydancer creates the transition from dining to “party time.”  It is usually a show style performance with respectful attention paid to the bride and groom, followed by engaging key members of the wedding party and any extroverted guests who are willing.

Tava engaging the groom in the balancing portion of her show

3. Let there be cake:

The party is already in full swing and out comes the bellydancer to really amplify the fun.  Immediately following or show, or (in some cases) as part of the show, the cake is presented. I have been asked to be involved in how the cake is presented which can be a lot of fun.

Cake time!

Important note: My dancer friends and I have learned (the hard way), that in spite of our intentions it is not everyone’s cup of tea.  There are religious and cultural preferences that are important to consider and an experienced dancer will know what questions to ask to try and avoid offending people.  No matter how conservative a costume, the very nature of bellydance can cause some groups to literally turn their backs to the dancer or leave the venue until she is finished.  Thankfully, this is rarely the case but please take a “group pulse” when deciding to hire a bellydancer for your wedding.

I think I speak for all of my professional bellydancer colleagues when I say that we are honored to be a part of a day that a couple will never forget.  This is not something to take lightly.  We want to create the best experience possible to add sophistication, elegance and joy to an already happy occasion.  If you would like to hire a bellydancer for your wedding, please be mindful that performances generally start at $300 in the NY, CT and NJ area.  We give several hours of our time to prepare, practice, account for cultural considerations, etc. and while there may be dancers who are willing to perform for less than the established rate, this may not be the best area to search for a discount.  Respectfully, I ask all couples and event planners to honor the established rates of performers and not to reward the under-cutters in any industry.

To hire Tava to perform at your wedding, please feel free to contact her via her website.  Performances generally in CT, NY and NJ but she will occasionally travel beyond that area.

Hiring a Bellydancer Online: Separating Skill from Good PR

We all know the internet has drastically changed the way people access information.  There is an overwhelming amount of news, gossip and merchandise at our fingertips.  Today, we have the new and modern task of filtering information online to know if it’s reliable.  Maybe we rely on fact-checking websites or look for some kind of quality assurance certification for e-commerce websites.  Rarely does someone believe everything they read/see online and they save their confidence for trust-worthy sites.  At least, I hope this is true.

Well, let’s look at how this relates to bellydance.  Back in the day, getting “gigs” came from two primary sources:

1. The dancer was connected – knowing the right people led to more opportunities.  Oftentimes, this was the dancer’s teacher, mentor or peer of professionals.

2. In-person bookings – The dancer who regularly performed would be seen by people who may decide to hire her based on the show they just saw.

In this pre-youtube phase, certain dancers were celebrated for their skill and everyone went to class to learn and build their network.  There was an implicit “quality assurance” in this way because the dance community would share the opportunities with those whom they deemed deserving.

Today, any dancer with enough money for a costume, professional photography, a website and savvy SEO skills can book far more work than someone with greater dance ability. That being said, she risks not being re-hired or getting negative “reviews” if there is no talent.  So I don’t think this applies to people without at least sufficient ability and training.

Furthermore, bellydancers today have to work harder to maintain an online presence with social media, blogs, a youtube channel and the like.  With so much out there, how can someone decide who to hire for Uncle Bob’s 50th birthday?  Is the general public skilled enough to watch a performance and say, “Yes, that woman has a beautiful arm carriage, an authentic style and her omis are out of this world.”  Well, no. It’s not a realistic expectation even though some dancers devote years of training and practice to master those areas.

There are sites like gigmaster and partypop that seek to take the guess work out of the process for people looking to hire dancers and list them all in one place.  Gigmasters has a rating system to help consumers make their choices but it is hardly a fool-proof system.  I have heard too many stories from dancers who were treated poorly with an unfair review, been the victim of undercutting (offering lower rates to land a gig from someone else), and even phony client bookings to bump up ratings.  Furthermore, it costs money to join plus a commission for every gig booked through them. The end result is either more money out of the client’s pocket – or – less money into the dancer’s pocket.

In the end, without talent, it’s hard if not impossible to earn a living (or partial living) as a bellydancer.  But what about Uncle Bob’s party?  How can the client choose?  Every website you look at may say things like “Top Bellydancer in NYC” or “CT’s most sought-after performer.”  How can there be so many top bellydancers?  Here are some guidelines to help with the process:

1. Watch videos of not only staged performances but something that demonstrates his/her ability to engage the audience.

2. Ask how long she danced before she became a professional

3. Cultural appropriateness is gained by experience so it is best to ask the dancer to be sure she understands your needs.

4. Go see a show.  Many dancers perform publicly so you can see a performance in person to help you decide.

5. Please understand that while getting a bargain is a great thing for things like clothing and furniture, in the dance world it doesn’t apply.  I would seriously question any performer who is willing to dance for less than $200 for a standard 25 minute set.  My rate is $250-$300 which is based on knowing what my colleagues charge.

Our dance has a lot of subtlety which takes many years to master.  The average theme party may be content to have a beautiful woman in a professional costume that is bellydance-ish enough to fit their theme but, thankfully, there are just as many people who are truly informed and appreciate the subtlety.  I am beyond grateful for the work I have and the clients who appreciate what I do.  Every day, I pinch myself wondering how I got so lucky.  My purpose in writing this is to try and shed some of the mystery about how to hire a bellydancer and what qualities to look for.  I hope it helps!

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Tava is a professional bellydancer in CT and NYC.  She offers bellydance classes in Westchester County, NY and Fairfield County, CT.

Evidence of my Duality

While I appreciate expressive and elegant bellydance -  it is what I always strive for – there are times when the inner goofball must be released.  This past Sunday, I had my 15th Bi-Annual Evening of Bellydance.  It was an amazing night of music and dance.  My students wowed, my professional dancer friends inspired, the band (Carmine & Friends) rocked, and the staff at Quattro Pazzi restaurant was attentive and accommodating.  What I really appreciated was the fact that I got to represent both sides of myself.

It should be a relatively known fact that the Carlton Dance (made famous by Alfonso Ribeiro on the TV show “The Fresh Prince of Bel Air”), brings joy to whomever does it.  Rarely does a week go by when I skip my dose of that particular brand of happy dance.  When my good friend Erica Joan agreed to perform in my show, we quickly decided to insert a bit of comedy into the night by sharing our bellydance version of the Carlton Dance.  It is followed by a tribute to a classic scene from that same show in which Will Smith and Alfonso Ribeiro perform a duet to the song “Apache.”  I hope you enjoy and that it gives you a smile.

Before donning headbands and shredded cutoff T-shirts, I gave my heart and soul to one of my favorite  classic songs made famous by Oum Kalthoum: Leylet Hob (one of many spellings).  Carmine & Friends (Brad Mack, Casey Bond and Eylem) supplied the beautiful sounds and I turned off any desire to showcase technique in favor of pure feeling.  Dancing for my students and their families always brings out my emotions and I’m afraid that the video can’t quite capture that.

Professional bellydancers Nahara, Tava, Uza and Erica Joan

My Husband’s Response to the Selectman’s Opinions on Children and Bellydance

My husband’s response to the following bit of news: http://www.telegram.com/article/20121119/NEWS/111199908/1116

Dear Mr. Selectman:

I am sure you have heard a wide range of comments regarding your position on bellydancing.

I am not a bellydancer, however I am happily married to one.  She started learning the dance when we were dating.  Twelve years later it has turned into a career for her.  She has well over two hundred students and she is an adjunct professor of middle eastern dance at our local community college.    She can articulate in fine detail the difference between the Turkish and Egyptian styles of bellydance.  She possesses a wealth of bellydance knowledge ranging from history, social implications, instruments, music, to
evolution of style.

My wife performs in wide array of settings: theatre, cabaret, music and instructional videos, restaurants, weddings, arts festivals, birthdays and more.  Children routinely come up to dance with her with the encouragement of their parents (not just parents of Middle Eastern
descent in case you were wondering).  You are the first politician that I am aware of to make an issue of bellydance.  I believe your judgment is hasty and not adequately informed.

If you think this is even vaguely pornographic, I suggest a bit of research and a recalibration of your opinions.

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I am a proud wife.  I respectfully disagree with the Selectman’s opinions on this matter since dancing with children has been one of my greatest sources of joy as a performer.

Many Hats to Wear – Juggling the Business With the Bellydance

As I sit here thinking about it, there are many skills I have learned over the years which I would never ever know if it weren’t for the reality that my dance career is a business; without a staff.  I have worked for companies with various departments (IT, HR, Payroll, etc..).  Now, however, I feel like a one woman show who has to be all aspects of a business rolled into one.  The reality is that anyone who wants to be successful enough to have support staff, might not be in the right business as a dancer.  We do this because our bodies, minds and souls need it; and we don’t expect to become rich doing it.  If we could afford graphic designers, video editors, web developers, photographers and accountants for every single thing we needed them for, we’d be in a very different position.  Is this a drawback or an unintended benefit?

Professionally designed flyer (thanks go to Jackie Granda)

Sometimes it pays to pay the pros.  Other times, we can get by on our limited skill set…to a point.  For instance, if my flyers look “home-made” it doesn’t reflect well on my business.  Should this matter when I’m a dancer??  Well, the reality is that bellydancers are savvy and motivated women and men who have set the bar high.  I now do my absolute best to create flyers that are worthy of a “re-pin” on Pinterest, shares on facebook and re-tweets.  It sounds like a foreign language to use words and phrases like re-pin and tweet but this is our new reality.  What’s a gal to do?  Well, I went and bought Photoshop and spent countless hours learning how to use it.  For the higher profile jobs, I still call a designer to help me.

Ahhh, video.  When I first started as a dancer, I would hire a videographer and then pay her to do professional edits.  The result was a very small number of performance clips and all of my earnings from a show would go towards the video. Now, I have an HD camera and am teaching myself i-movie.  Youtube uploads are not just a way to increase our web presence and lead to better rankings on search engines, but they are also sending messages to our colleagues and potential clients about who we are as dancers.  Sometimes the do-it-yourself approach won’t convey the level of professionalism I’m looking for so I pay the experts when it’s a show that counts.

In the clip below, I tried my best to create a montage from a 23 minute show.  It took me 4 hours.  It does not look like something that would take 4 hours.  Load time and processing time was a big chunk of that but breaking it up into clips that would accurately showcase the feel of the night; mixing joyful audience connections with some technique is -well- really darn hard for a non-videographer.  But it’s a skill I’m learning to put in my bag of tricks and I’ll get better with time.

Don’t even get me started on staying on top of my receipts, managing taxes, updating my website.  I think I smell a part II coming.

Bellydance Choreography for Duets

I recently had the chance to collaborate with my dear friend, and one of NYC’s top bellydancers, Sira.  We had been looking for a light-hearted project that would allow us to work together and Layla Mary’s Donna Summer Tribute Show at JeBon (NYC) proved to be just the right opportunity.  With limited time to choreograph together and some geographic obstacles, we had to make efficient use of our time which can be very hard with a friend because the urge to chat the entire time is very strong.  In the end, it was a fun process which allowed us to express a side of ourselves that we don’t often get to see in our typical performance lives.

Tava and Sira – Bellydancers in NYC and CT

The first thing we agreed upon is that we wanted to challenge ourselves by creating unique shapes and situations with our prop of choice: the fan veil.  I think we were successful with this by forming a sliding knot, what we called “the bow” and some veil-twisting barrel turns.  Using that as our framework created an interesting non-linear approach to choreography.

Second, Sira showed me her notes on what she considered to be the sections of the song and how each section could have a different theme; from a smooth and regal entrance, to a joyful and smiley chorus section.  I liked this approach since I tend to start with movements when I choreograph and it was a nice change to have, excuse the odd term but I don’t know what else to call it, a ‘feeling outline.”  I thought it added a more organic feel to the movements.  We had a lot of trial and error, got tangled, dropped fanveils, had giggle fits, etc.  I would share an idea, she would share an idea and the result was something very true to both of our styles.

I have always enjoyed the joint choreography experience for a duet performance because it is a gift to step outside of my own habits and get some fresh perspective.  When I would choreograph with Kazja, we would often choreograph sections apart from each other and then get together to share what we came up with.  The more we worked together, the more our choreography seemed to share a brain.  Dancing with my mentor Andrea for a duet performance was equally rewarding because it’s an honor to dance with one’s teacher and the process came with the benefit of her coaching along the way.  Looking back on each project with various dancers over the past 13 years, I have learned from all of them.

Here is our performance to Donna Summer’s “I Feel Love.”  She may be gone but her music lives on and I’d like to think she would feel happy about a night if bellydance devoted to her.  It is, obviously, a non-traditional piece but I hope you enjoy  Sira and Tava’s Bellydance Fan Veil Duet!

Tava’s website: www.BellydancebyTava.com

Sira’s website: www.BellydancerNYC.com

Tava and Sira are also available for duet bellydance performances at corporate, family or cultural events.

http://www.youtube.com/watch?v=dmmnyu-1FnA

Tava’s Bi-Annual Evening of Bellydance

Please join us for the 15th Bi-Annual Evening of Bellydance at Quattro Pazzi (269 Bedford St., Stamford CT) on Sunday December 2nd at 6:30PM.  $25 includes admission, food, mini-bellydance lesson (cash bar).  I am so delighted to share this dance, once again, with my community.  My students have worked hard to learn the choreography and my professional colleagues are an inspiration.  Members of my advanced student troupe will perform solos as well: Starlet and Zella.

This time around we are so happy to bring back the LIVE MUSIC – courtesy of Carmine & Friends (Carmine – Oud, Brad – Doumbek, Casey Bond – bass doumbek, Eylem – Violin).

Our guest dancers are:

Nahara (based in Nyack, NY) – www.NaharaDance.com

Erica Joan (based in Brooklyn, NY) – www.ericabellydance.com

Uza (based in Brooklyn, NY) – https://www.facebook.com/uza.dancerny

As usual, the beautiful Zella will be the Mistress of Ceremonies and my husband Peter is the Guru of all things technical.

In order to ensure that the restaurant has adequate food, an informal headcount is needed.  Please contact dancingtava (at) yahoo.com if you plan to attend.  We will do our best to accommodate up to 90 people.

I look forward to these nights and I’m grateful to be able to have the friends, students and colleagues to make them possible.

~Tava

www.BellydancebyTava.com