31 de outubro de 2014


Tribal Buffet

(John Compton)
Articles and Resources:

Bal Anat
(Jamila Salimpour)
Articles and Resources:

Fat Chance Bellydance
(Caroleena Nericcio)

Links and Resources:

BlackSheep Bellydance
(Kajira Djoumahna)
Articles and Resources:

Gypsy Caravan
(Paulette Rees-Denis)
Links and Resources:

Wildcard Bellydance
Links and Resources:

.:Tribal Fusion:.
Jill Parker
(Ultra Gypsy, Foxglove Sweethearts)

Rachel Brice(Datura; The Indigo) 
Zoe Jakes
(The Bhoomi Project, Beats Antique, The Indigo)
Links and Resources:

Kami Liddle(Gold Star)
Links and Resources:

Frank Farinaro
 Links and Resources:

Ashley Lopez
Links and Resources:

Sharon Kihara
Links and Resources:

Illan Riviere(Imajaghan)
Links and Resources:



U.S. Tribal

U.S. Tribal style is performed by people who prefer a less glitzy look and style. However, while "Historical/Ethnic" dancers attempt to preserve a folk form by performing dance steps, music, and clothing that would have all been used together in a traditional village dance by a particular ethnic group, U.S. Tribal takes a different approach. In U.S. Tribal, the performers combine dance movements, musical selections, and costuming from a variety of cultures and historical eras, add their own modern-day innovations, and present a made-in-the-U.S. original creation. The way I use the term in this article, U.S. Tribal includes not only the popular American Tribal Style (ATS) of belly dance, but also other interpretations of the Tribal idea.
U.S. Tribal offers dancers the freedom to employ their own creativity and create their own dance, costuming look, etc. within a loosely-defined framework that offers an alternative to the "glamorous" image conveyed by beads and sequins. Some try to convey a "woman-power" attitude, while others try to convey the mood/flavor of a village as imagined by American dancers. Some interpret the dance against the backdrop of popular cultural phenomena such as Goth, or bring in other disciplines such as yoga. U.S. Tribal combines influence from dances in Turkey, Egypt, North Africa, Persia, and other Middle Eastern countries, and leaves great freedom for personal creativity within a folkloric framework. The exact implementation of U.S. Tribal varies from one teacher or group to another, and that's okay--it's an EVOLVING art form that people are making up as we go along. The leading subsets of U.S. Tribal that I've noticed include: 1) American Tribal Style, 2) Evoking the flavor of the past, and 3) Current cultural trends.
Photograph of Bal-Anat, taken at 1990 reunion show. Bal-Anat is the troupe who originated the American tribal style, in the 1970's.
The U.S. Tribal style originated with Jamila Salimpour in San Francisco, California, in the 1960's, with her dance company, Bal-Anat. In performing at the Renaissance Faire in the area, the group created a performance that was a fusion of ethnic influence and modern-day creativity, presented with a quasi-historical flavor. As Jamila's students eventually moved away from San Francisco, they took their dance form with them, and taught it in their new communities. PHOTO CREDIT: The above photo of Bal-Anat was made available to me for my web page by Bàraka, herself a former member of the troupe. This picture was taken in 1990 in Texas for the Bal Anat reunion show. Standing, from left to right, are: Sharifa, Aida al Adawi, Asia, Don Iocca, Bàraka, Rashid, Suhaila Salimpour, Mari, Kismet (jug on her head), Rebaba, Paula Oxman, and Annie Lippe. Seated, from left to right, are: John Compton, Mish Mish, Jamila Salimpour, Habibi (hidden), and Dariush (R.I.P.)
One of Jamila Salimpour's students, Masha Archer, was the teacher who later inspired Carolena Nericcio to create FatChanceBellyDance, which is based in San Francisco, California. Most people today associate U.S. Tribal with Carolena's own particular variation of the Tribal form, known as American Tribal Style (ATS), due partly to Carolena's own skilled marketing of her vision, and also to Kajira Djoumahna's book The Tribal Bible which describes ATS in detail. However, it's important to remember that Bal-Anat originated the "tribal" concept in the 1960's, and FatChance didn't become well-known until the late 1980's. In the interim years, people inspired by the original Bal-Anat created their own U.S. Tribal variations that were independent of the "American Tribal Style" that FatChance later promoted. There's no denying that American Tribal Style is today probably the best known of the branches on the U.S. Tribal family tree, but it's not the only one.
True to Bal Anat's San Francisco origins in the 1960's, the original "California Tribal" style particularly flourished among the counter-culture of its time. The uninhibited moves of belly dance with the earthy costuming approach of coins, tassels, and natural fibers attracted environmentalists, Pagans, hippies, herbalists, proponents of natural childbirth, gay community, feminists, free-spirited artists, and others whose lifestyles and artistic visions differed from those of the establishment. In these diverse forms, the counter-culture of the past has grown to become an alternative mainstream path today rather than a minority movement. Tribal offers an interesting option for people who want to explore belly dance, but don't care to go for the Hollywood-glamor look of sequins or don't wish to acquire the cultural knowledge needed to do ethnically-correct folk dances.
Continuing the counter-culture theme, as the 1980's progressed the Tribal style attracted the early adopters of tattoos, piercing, and henna decorations, before these trends attained the mainstream popularity they hold today. In the 1990's, a movement arose within the Society for Creative Anachronism (SCA) to develop Middle Eastern personae, offering another breeding ground for Tribal to flourish. Over time, some SCA-dians have moved from Tribal to ethnic/historical garb and folk dances, but some SCA communities still stay with Tribal. As of 2005, some Tribal dancers still embrace the original Bal Anat approach of offering a folk-inspired fusion of dance. Others, whom I call "Artistic Experimentation Tribal" frequently incorporate whatever "cool culture" trends such as Goth, yoga, tattooing, piercing, dreadlocked hair, etc. may currently be in vogue. Some practitioners of the U.S. Tribal belly dance community welcome the broad range of these many approaches, while others prefer to stay true to the Bal Anat or FatChance implementations.
For this article, I use the term U.S. Tribal to encompass all the variations which descended from Bal-Anat's original vision and flourished in the alternative-culture environments as they evolved through the decades that followed. While American Restaurant dancers build their art on a mixture of the glitter found in Middle Eastern nightclubs and Vaudeville entertainer traditions of comedy and showmanship, Tribal dancers are more likely to follow more earthy fusion or artistically experimental directions.
Due to its San Francisco roots, the U.S. Tribal style of belly dance has the strongest penetration on the West Coast of the United States today, but it now flourishes throughout the United States, Canada, and anywhere else that its practitioners have gone to conduct workshops and share their art. Tribes have sprung up in Europe, Australia, New Zealand, and other places.



Learn the Old World Technique that gave birth to Tribal Style. Bring cymbals for layered cymbal combinations and learn the captivating Renaissance Pleasure Faire Style John and his award-winning troupe, Hahbi ‘Ru, created from his early training as a principal dancer in Jamila Salimpour’s Bal Anat! 

The eyes - brilliant and blue. The gaze - captivating and mysterious. Poise, grace, hypnotic movement and many years of discipline create the mystique, the magic that is John. John Compton is America's first dancer in the "Khawal" genre since the Chicago World's Fair of 1893. John's years of dance experience, a dynamic style and genuinely warm personality make him a superb instructor as well as a truly exciting performer. His amazing track record of major shows, night clubs, media appearances and workshops extends through the U.S. and Canada. He initially studied under the legendary Jamila Salimpour and received additional training in the folkloric style from Patti Farber. He first performed as a featured soloist in Jamila Salimpour's Bal Anat in the early 1970's, then in Patti Farber's folk dance ensemble, Baba Ganooj. In 1976 he formed his own show, Kos-Kadas, the opening extravaganza for the King Tut exhibit at the De Young Museum in San Francisco. He is the Co-Founder and Co-Director of The Hahbi'Ru Middle Eastern Dance Ensemble. 

"John brings a solid, aggressive presence to the dance as he overwhelms crowds with his crisp spins and dramatic tray routines" 

Middle Eastern Dance Association, Vancouver British Columbia 
"Dressed in the manner of the ancient caliph, he swirls his way into dreams, it's as if Valentino has come back to life." 
San Francisco Examiner 
For more info on John and Hahbi’Ru www.hahbiru.com 


167 por Carine Würch - SEMANA 22

Minha aventura começa! por Asmahan - PARTE 2

Pedi a Masha que me ajudasse a encontrar moedas árabes para um traje, tecido assuit, e muitas jóias turcas. Era difícil conseguir moedas do Oriente Médio na época, então comprei algumas moedas inglesas dela, apenas para ter alguma coisa. As pintei para que parecessem que vieram de algum país exótico do Oriente Médio! 

Minha grande ídola na dança era Galya. Costumava ir vê-la no Greek Taverna em Oakland. Ela sempre foi tão gentil, prestativa e solidária. Ela me deu o seu cartão de visita, que tinha uma foto maravilhosa - ainda a tenho, e fiz uma grande cópia colorida a partir dele. 

Aida sempre foi muito útil também. Eu tinha um monte de dificuldade de entender a música e a complexidade dos ritmos dos snujs, padrões de quadril e footwork, todos trabalhando juntos em uma espécie de oposição. Aida, ex-cantora de ópera, tocava o mizmar, por isso ela entendia muito sobre música. Ela me deu algumas aulas particulares. Eu fiz-lhe uma saia e véu que ela amava. 

Em 1973, fui ao Casbah ver o show muitas vezes. Quando fiz o teste, Fadil disse que poderia começar em alguns meses, assim que houvesse uma abertura.

No BagdadYousef me contratou na hora e disse que poderia começar imediatamente, mas não quis. Foi-me oferecido um emprego no Greek Taverna por quatro noites por semana, incluindo uma noite a cada fim de semana. Era um belo restaurante de estilo familiar e uma ótima maneira de começar a experiência de palco. As gorjetas eram fantásticos, e eu podia comprar todas as semanas novos tecidos e jóias. 

Jamila tinha um estilo, que ela chamou de pré-napoleônica, isso significava: materiais árabes antes da influência da cultura ocidental. 

Fiz um cinto de moeda e sutiã de moedas de bronze marroquinas que comprei de Masha. Trabalhei para o Lion and the Sun, que era uma loja de importação persa. Eles tinham tecidos persas maravilhosos e jóias. Consegui moedas persas lá para fazer um cinto de prata e sutiã. Projetei cintos para que eles produzisse e fez figurinos para eles venderem. 

Depois de alguns meses Fadil me deu algumas noites no Casbah. Era tão competitivo! Havia cerca de cinco bailarinas por semana, chegando para trabalhar. O ambiente era fantástico, a música maravilhosa. Fadil tem a voz mais bonita. Ele fez essas boas versões de Abdul Halim HafezOm Kalsoum, e Farid el Atrache. Ele estava sempre cantando as músicas mais recentes do Golfo com os ritmos Ayoub, que eu amava. Tive aulas de derbak com o músico de tabla do BagdadGeorge Dabai. Isso me ajudou a me tornar uma dançarina melhor, enquanto aprendia os padrões rítmicos. Ele me ensinou a tocar def, então, tocava no palco com os músicos no primeiro set. Este era um sonho se tornado realidade. Jalal e Salah eram músicos maravilhosos; eles tocavam músicas persas, turcas e árabes. Os clubes entretinham muitos árabes, incluindo os príncipes da Arábia Saudita (que pareciam estar todos estudando em na Universidade de Stanford). Um dos clientes favoritos era o príncipe Musab al Saud. Na minha primeira noite, ele me elogiou e disse que parecia uma egípcia. Ele queria me comprar uma bebida. Eu nunca tinha tido qualquer tipo de álcool na minha vida. Perguntei a Musab o que ele estava bebendo, ele disse uma cerveja, então escolhi o mesmo. 

Minha primeira bebida foi uma cerveja com o filho do rei da Arábia Saudita

No Casbah, nesse momento, as bailarinas eram: 
AidaRainaSafiaSelwaRhea, e Princess Samia Nasser. Meus figurinos eram "pré-napoleônicos", e com três shows por noite, (eu tinha que ter três trajes diferentes) eram muito pesados para carregar. Aida disse-me onde conseguir uma mala com rodinhas. Elas eram raras de encontrar naquele tempo. 

Todos as outras dançarinas usavam trajes bordados. Fiquei chocada que a única dançarina árabe, Samia Nasser, usava as cores mais ultrajantes, muito pálidas, usava sapatos de salto alto, tinha cabelo curto vermelho-alaranjado, e um olhar que só pode ser descrito como "Plastic Fantastic". 

Samia era muito doce e costumava me dar conselhos. Muitas vezes pedi a ela para me contar sobre os bailarinos no Oriente Médio. Ela me disse que todos os bailarinos profissionais usavam trajes bordados ​​e muito glamourosos. Além disso, ela me disse que não estava tirando o melhor proveito do meu look. Ainda frequentava aulas, que continuei a fazer pelo tempo dancei profissionalmente. 

Senti que havia sempre algo para trabalhar e mais, para aprender. Assisti todas as dançarinas e aprendi muito! RainaSafia, e Selwa eram realmente lindas e usavam trajes muito sensuais. Entendia que as minhas moedas, pulseiras de metal, tecidos antigos, cocares turcomanos, não eram tão atraentes para os clientes. Precisávamos ir até as mesas para as gorjetas, era esperado fazermos um bom dinheiro, e era a tradição dar metade do dinheiro para a banda. George, o porteiro, era um personagem a parte, ele usava um fez (barrete árabe) e entertia os clientes com latidos e dançando, para que eles entrassem. Haroun, o barman, parecia um personagem de um filme. Na verdade, a atmosfera no Casbah era como estar em um filme (como "Casablanca"). Eu estava apaixonada por minha nova vida: vestir me com figurinos árabes toda a noite, maquiagem dramática - olhos pretos delineados, usando montes de jóias pesadas, arrumando figurinos, vendo todos esses personagens incríveis, e estar rodeado por esta música fabulosa!

SEGUE ... 

** Tradução livre - Carine Würch **

30 de outubro de 2014


168 por Carine Würch - SEMANA 22

Minha aventura começa! por Asmahan - PARTE 1

Vivenciar a Renaissance Faire foi uma experiência que mudaria minha vida! Depois de terminar os meus estudos universitários, trabalhei como designer, e morei em Marin County, Califórnia, onde tive uma bela loja, "Aquarian Princess". Projetava e fazia roupas de alta costura, jóias e vestidos de noiva. Mesmo lojas na Rodeo Drive, em Beverly Hills estavam mostrando minha roupa em suas vitrines. Minha vida era fantástica. Estava quase noiva de um homem fabuloso, que apoiou a minha carreira artística, e tinha uma casa maravilhosa. Tinha um grande círculo de amigos e uma vida social fantástica. 

Bal Anat Troupe
Em setembro, eu ajudei uma grande amiga com sua estande na Renaissance FaireÀs 9:30 em um sábado de manhã, vi uma performance do Bal Anat

A primeira bailarina que eu vi foi Jamila Salimpour.

Depois Meta equilibrando uma bandeja, Aida dançando com véu, Rebaba dançando com um jarro, e Rhea dançando com uma espada. Galya dançou a última música, tocando snujs, fazendo floorwork e um solo de derbak. 

Todas as dançarinas do coro tocavam instrumentos autênticos. O som dos tambores, santour, mizmar, snujs, e acompanhado por zagareet (ululação), era o som mais exótico que tinha ouvido. Os figurinos de assuit, cintos de moedas e sutiãs, jóias, véus e belos tecidos esvoaçantes me encantou. Esta foi a primeira vez na minha vida tinha visto dança árabe e ouviu música árabe. Foi como uma experiência religiosa. 

Fui até Jamila após o show e disse que era a coisa mais linda que já tinha visto. Ela pegou minha mão e disse: "Você parece com uma egípcia, venha dançar comigo." Vi meu futuro. Usaria todas as minhas habilidades de design para fazer figurinos e me tornar uma dançarina. Foi como fugir para se juntar ao circo! 

Vendi minha loja e me mudei para a cidade para estudar com Jamila. Estava na sala de aula com Masha Archer, quem conhecia da Alameda Flea Market, onde costumava ir todos os domingos para comprar os tecidos para o meu design de roupas. As aulas eram muito difíceis e competitivas. Precisávamos tocar snujs (sagaat) (ou zills como Jamila chamado-os na língua turca). Nosso estilo era o estilo clássico árabe turco, com véus, tocando snujs, fazendo floorwork acrobático e solos de derbak. Assistia três aulas por semana e praticava em casa todos os dias. Um dia, disse a Jamila que queria ser uma dançarina profissional, ela disse: "Então você deve ter um nome!" 

Em um instante, ela disse: "Você vai ser Asmahan." 

** Tradução livre - Carine Würch **

29 de outubro de 2014



169 por Carine Würch - SEMANA 22

"Historicamente, a dança do ventre satisfez as necessidades das pessoas de celebrar e adorar, agora eles celebram a dança em si."

(Anne Lippe, The Ancient Art of Belly Dancing/ film) 

Cinco mil anos de dança do ventre culminaram em um nightclub, dramatizada por fotos que transformam bailarinos vivos em uma variedade de estilos, de diversos períodos históricos. O vídeo inclui um filme raro da famosa "Little Egypt", que dançou seu caminho através da consciência americana na Chicago World Faire, de 1893. Entrevistas com dançarinas do ventre, nas aulas e no trabalho, completam este quadro de uma arte antiga e fascinante. Produced and directed by Stewart Lippe.

Title:The ancient art of bellydancing [videorecording] / Phoenix Films presents ; produced by the Belly Dance Co-op ; director, Stewart Lippe ; written by Anne Lippe.
Variant title:Ancient art of belly dancing
Edition:[Full screen ed.].
Publication info:St. Louis, MO : Phoenix Learning Group, [200?], c1977.
Physical description:1 videodisc (30 min.) : sd., col. ; 4 3/4 in.
Access restriction:This DVD may not play in all DVD players.
Performer:Anne Lippe, narrator.
Credits:Edited and photographed by Stewart Lippe ; music, Ken Boyajian ... [et al.].
General note:Originally produced as motion picture in 1977.
Technical details:DVD.
Abstract:"Five thousand years of belly dancing culminate in a nightclub performance, dramatized by pictures that metamorphosize into live dancers performing in the style of each historical period. The film includes rare footage of the famous "Little Egypt", who danced her way into the American consciousness at the 1893 Chicago World's Fair. Interviews with belly dancers, in classes and at work, round out this picture of an ancient and fascinating art." -- container.
Personal author:Lippe, Stewart.
Personal author:Lippe, Anne.
Personal author:Boyajian, Ken.
Corporate author:Belly Dance Co-op.
Corporate author:Phoenix/BFA Films & Video.
Corporate author:Phoenix Learning Group.
Subject:Belly dance.
Subject:Belly dancers.
Subject:Documentary films.

Para comprar - AQUI

28 de outubro de 2014


History and origins: facts and fiction. 
Fiction 1) The origin of balancing a sword on the dancer's head comes from the women who accompanied men into wars, and entertained them in their tents at night.
  1. * The dancer and researcher/writer Asmahan has found references to a “tribal” dance performed by the gypsies: “The Ottoman armies had tribes of gypsy armourers who followed the soldiers and repaired their swords, shields, spears, helmets and armour after battles. It probably occurred that at night when the music and dance was performed around the campfire, the gypsy girls danced with the swords and did acrobatic dancing and balancing that must have been a delight and pleasure to behold.” 

Fiction 2) Dancing with a sword was done by women who had been enslaved to signify to their “master” that he may have possession of her body but not of her soul.

*  Facts:  “There is no widespread dance in the Middle East today involving sword-balancing on the dancer's head. The primary historical “evidence” that has led modern-day dancers to take up the sword a prop comes from a famous painting by the Orientalist artist Jean-Léon Gérôme (19th century).  It is reasonable to believe that at least the dancer who inspired Gérôme's painting indeed did such a dance, and probably others in her community did too. However, it's not a commonplace part of a typical dancer's act today in Egypt, Turkey, Lebanon, or other parts of the Middle East, and dance researchers have not been able to find corroborating documents to suggest that it was ever common practice.   There is an Egyptian men's dance that involves holding the sword and executing martial moves.... But at no time do the men balance the sword on their heads (or anywhere else) when performing this dance”. www.shira.net
“The Iraqi and Saudi men still have sword dancing in their folklore tradition. In the Middle East there is a tradition of dancing while balancing something on the head. This can include a cane, tray, pot, glass, or candelabra. It is very possible that balancing a sword would be a likely dancing skill. It would have been from a mix of cultures included in the Ottoman Empire. This would be Turkey, Arabia, Egypt, Syria, and North Africa.”  - Asmahan

**In my own research:  There are BRIEF mentions of “dancing with swords” or “sabers” in Medieval Spain, doing “acrobatics” with them which possibly included balancing.
Jamila Salimpour’s Bal Anat was one of the first sword Bellydance performances in North America.  She created a show based on the Orientalists’ descriptions and depictions, looking to recreate what she called a  “pre-Napoleonic” look.

Dancing with a sword:
  1. Remember that a sword is a weapon.  It conveys a feeling of power and control. As a dancer with a sword, you have a “weapon” in your hands and your dance demonstrates that you are at ease handling it. 
  2.  Martial arts inspired poses
•Showcase confidence, fluidity, strength and control.
•Engage the viewer with suspense, drama and innuendo, create the ‘ambience’.
•Build anticipation, don’t make it look too easy, pose and pause throughout.
•Direction changes, lots of attitude.
Body awareness:  beware of rising or otherwise tense shoulders, sinking chest, nervous eyes and smile, floppy hands.  
•Pay attention to HOW you take the sword, and keep remembering that you’re supposed to be holding a deadly object not a butter knife.
•Avoid bad backbends!!   

a) Balancing:  Buying the right sword for the right dance
                        Chrome swords tend to slip more easily
                        No more than 15 min practice balancing on head, and start with 5min.
                        Level changes vs travelling sideways
                        Balancing on: fingers, shoulder, chest, knee/thigh, hip, chin, head

c) Floorwork:  pantaloons, flowy chiffon skirts.

•Be aware that dancing in front of an audience is NOT the same as dancing ‘solo’ in front of a mirror…  Nervousness will play tricks on you.  Try to perform only those moves and balance points that you have practiced a LOT and that you can perform with EASE alone.  If something is moderately difficult to you and tends to ‘fail’ 50% of the time or more, try to leave that for later when it becomes more natural and you can do it with confidence. 
•Use what works for YOU!
•When creating a choreography play between poses, moves and balancing; between working SLOWLY and adding excitement with accents, turns, poses, simple moves, direction changes.
•Create clear shapes.  Adorn/dance with your hands.
•It is always a good idea to create a ‘persona’, ‘character’ or story for your sword dance.

Resources:  www.shira.net
              Isidora Bushkovski: “Temptation of Bellydance 2” – performance
                                               “Fantasy Bellydance: magic” - instruction
              Princess Farhana:  “Bellydance and Balance: the art of sword and shamadan” –
              Rania, Shazadi, Hannan, Ansuya, Suhaila Salimpour Troupe and MANY more.