HISTÓRIAS DE MARIA - ATS® COM O SABOR BRASILEIRO

Baia de San Francisco

Chiiita, crochê e nossas cores!

Quem me conhece sabe do meu amor por tudo que é nosso, sabe como amo uma chita, um crochê e como amoooooooooooooooooo música nacional. Após umas conversas com Carolena e sua permissão para o uso desses itens no Dress Code, pedi a minha mãe um choli de crochê, meses se passaram, faz...desfaz....faz....desfaz e finalmente ela me deu essa obra de arte (afff, a coisa mais linda do universo). Não houve uma pessoa que não tivesse amada o figurino, com um belo destaque pro choli, até a Mamma que ama um pretinho elogiou.

O ponto alto foi Masha, afinal ela é minha inspiração....quando nos encontramos e sua filha Larissa disse que amou e compraria, putz...Morrriiiiiiiiiiiiiiiiiiiiiiiiiiii.

 Seba do Wildcard me perguntando sobre meu choli?

 Fala sério!!! Surtei.

"Sim, Maria tá linda!"..."Sério, vc gostou?"

Se tenho saias importadas e todos aqueles kuchi? Tenho!!!

Se gosto? Adoooro

Mas o que me representa é minha chita, meu crochê e nosso tempero...e sempre que dançar lá fora estarei assim, aqui tb...raras as vezes em que não uso as coisas que faço e mainha com seus crochês.

A nossa apresentação na Revista do evento.

Então, se tu gosta.....entenda que é obrigatório o CHOLI, A SAIA (no padrão de ATS) e a pantalona....mas dentro disto brinque a vontade com tudoooooooooooooooooooo que nosso Brasil pode lhe proporcionar.

Ah, em breve o DRESS CODE ganhará novidades, aliás já tá aí o Choli Dress (é maravilhoooooooooooooooso, comprei um pra minha mãe e vcs poderão ver ao vivo no Festival do Pilares) e as Bessie Skirts

Revista do Evento

"Eu te conheço, não é vc a pessoa que curte tudo que eu posto"

(que parecem muiiito com saias flamencas).

Xeros e vamos que vamos, Festival do Pilares 

vem aí

Estudando 24h ao dia, pq durmo e sonho com o que?

Já sabe, né.

Maria Badulaques

Wildcard Bellydance, eu amo ocês!!!!

HISTÓRIAS DE MARIA - Minha Experiência com AS Pilares do Tribal

Conhecer as 3 Pilares da nossa dança, uma experiência que guardarei com muito carinho.

Carolena já tinha conhecido e estudado ao longo de 2015, quando fiz o General Skills com ela e Megha. Aqui, tivemos somente um pequeno (minúsculo) vislumbre de quem é realmente nossa Mamma C, em San Francisco (CA) o seu nível de descontração é aconchegante, você quase sente que pode falar, conversar, tocar, beijar sem ficar tenso (quase, porque eu sempre fico). Ao termino do meu primeiro dia de aulas intensivas no estúdio do FCBD® tive a ousadia de pedir por um vídeo do sorteio da primeira vaga para formação da Trupe que dançará com Kae... ela iluminou o rosto sorrindo e disse; claro, Maria. Fiquei em choque! Claro? Assim, tão fácil, pois é... desse jeito.

Após minha performance no ATS Homecoming, Carolena e eu

O comportamento dela durante essa semana que vivenciei diariamente de sua companhia e ensinamentos foi sempre acessível. A última aula, com a técnica do FLOW, foi emocionante, ela dançava no palco de costas pra nós e ao termino virou em lágrimas dizendo como uma menininha: esse é o melhor mês do ano, prometem que voltam ano que vem? Que aparecem para me visitar?

A sala de umas 200 pessoas ficou em lágrimas e rolou essa linda foto com todos ao lado da Mama.

Foto da última aula - encerramento do ATS Homecoming 2016

É uma sensação que não se consegue explicar com precisão, necessita vivenciar. Estar no ambiente e sentir.

Então, chegou do dia de conhecer a filha de Jamila Salimpour, Suhaila! Tentei muito encontrar Jamila, mas com quase 90 anos e com a saúde debilitada, não pode ir ao meu encontro. No entanto, Suhaila é a dinastia Salimpour, preserva seu legado e foi muito generosa comigo.  Conheci seu estúdio, cheio de referências a história de sua mãe e filha, dá pra ver um filme nas paredes, fui convidada a fazer uma aula (não deu pq a rotina do FCBD® era muito apertada e o estúdio ficava em outra cidade), ganhei presentes e conversamos muiiito. Encontro especial, jamais esquecerei. 

*Vi uma aula, Jesuuuuuuuuuus o que era aquilo!!! (coisa de gente grande). Lógico que mencionei a Carine e sua loucura por Jamila, alunos... e tudo mais, ela sorriu. Ficou muito feliz em saber do blog e de nosso trabalho recuperando o passado dessa dança.

Suhaila Salimpour - Estúdio Suhaila em San Pablo

Para coroar tantas emoções, afinal o blog existe por causa dessas fortes e incríveis mulheres. Chegou o dia, eu esperava, mas não tinha certeza que ocorreria, de conhecer MASHA!!!

Jesus quanta emoção, meus olhos marejaram na hora que a vi... ela me olhou e disse eu lhe conheço. Fiquei atônita, conhece? Sim, conheço... você não é a moça que curte tudo que eu posto? Eu sorri e disse SOU EUUUUUUUU.  Foi então que o mundo parou: - Eu vejo suas coisas, sei quem você é.

Oiiiiiiiiiiiiiiiiiiiiii????? Ahhhhhhhhhhhhhhhhhhhh, morri 1000x e arrumei coragem para voltar ao mundo dos vivos e ficar relembrando. Não é sempre que conhecemos uma pessoa que admiramos tanto e não nos decepcionamos.

Masha, eu te amo...você é a DIVA QUEEN DOS BADULAQUES!!!

Masha Archer, eu te amo!!!

Pronto missão cumprida... nossas Pilares todas aqui, representadas.

Xeros no pulsante.

CONTAGEM REGRESSIVA 2014-2015

Idealizadora: Maria Carvalho.  

Postagens diárias feitas por Carine Würch, Natália Espinosa e Maria Carvalho.

Pesquisa, Tradução e Compilação de Material feito exclusivamente 

pelo blog PILARES DO TRIBAL (todos os direitos reservados) 

Copyright © 

Jamila Salimpour

01ª Semana | 02ª Semana | 03ª Semana | 04ª Semana | 05ª Semana |

06ª Semana | 07ª Semana | 08ª Semana | 09ª Semana | 10ª Semana |

11ª Semana | 12ª Semana | 13ª Semana | 14ª Semana | 15ª Semana |

16ª Semana | 17ª Semana | 18ª Semana | 19ª Semana | 20ª Semana |

21ª Semana | 22ª Semana | 23ª Semana | 24ª Semana | 25ª Semana |

26ª Semana | 27ª Semana | 28ª Semana | 29ª Semana | 30ª Semana |

31ª Semana | 32ª Semana | 33ª Semana | 34ª Semana | 35ª Semana|

Masha Archer

36ª Semana | 37ª Semana | 38ª Semana | 39ª Semana | 40ª Semana|  

Carolena Nericcio-Bohlmann

41ª Semana | 42ª Semana | 43ª Semana | 44ª Semana | 45ª Semana |

"Não subo no palco sozinha. 

Aqui eu represento muitas. 

Minhas antecessoras, 

minhas matriarcas, 

minhas companheiras de caminhada. 

Sou UMA. Sou TODAS."  (Carine Würch)

Textos:

- JAMILA: A Mãe do Tribal

- De Muitas Tribos (parte 1)

- De Muitas Tribos (parte 2)

- Uma História do Tribal Americano

- Nascimento do Bal Anat
- Timeline

Pesquisa, Tradução e Compilação de Material feito exclusivamente pelo blog PILARES DO TRIBAL (todos os direitos reservados) Copyright © 

MASHA ARCHER, BIOGRAFIA

Masha Archer era aluna de Jamila Salimpour, que desenvolveu sua própria interpretação. Ela eliminou a distinção entre as diferentes origens geográficas para a dança, figurino e música.

Masha, aka Maria Muchin-Archer, nasceu em Kiev, Ucrânia filha de Sophia e Mykola Muchin, ambos os artistas e mestres da pintura e da escultura nos institutos de Arte de Kiev e Kharkov. Depois de passar anos do pós-guerra na Europa, eles emigraram para os Estados Unidos em 1949. Masha residiu em San Francisco desde 1967 com o marido, o fotógrafo Charles Archer (que morreu em 1993), junto com as duas filhas, Maya e Larissa.

Ela estudou no Pratt Institute, em Nova York, com especialização em pintura e design gráfico. Mais tarde, ela trabalhou como restaurador e expositor no Museo Nacional de México, Cidade do México, e projetado jóias e roupas em Tucson e San Francisco.

Honras e reconhecimento especial

1997: Patrocinado pela Aeroflot e Consulado russo para uma série de one-artista mostra em Moscou, St. Petersberg, e Kiev.

1997: feira de jóias da Masha foi escolhida para abrir os "Dias da Rússia Festival", em San Francisco (organizado conjuntamente pelo Consulado da Rússia eo Serge Sorokko Gallery na Costa Oeste).

1995: Masha Archer foi batizada de "Art-to-Wear Jóias Designer, EUA" pelo Fashion Group Nova York, em um evento patrocinado pelo Museu San Francisco de Arte Moderna.

1996: Desde 50 colares originais para a Great Lakes Festival Theater (Cleveland, Ohio) para uma produção moderna vestido de Shakespeare "Antônio e Cleópatra".

1997: Desde 10 colares originais para a empresa Opera Manhattan (NY, NY) para a produção do concerto de Massenet 'Cleópatra' no Sarah Lawrence College e Alice Tully Hall.

Fonte: http://vk.com/olga_andru  

** Tradução livre - Carine Würch **

Masha Archer was a student of Jamila Salimpour who developed her own interpretation. She removed the distinction between different geographical origins for the dance, costuming and music.

Masha, aka Maria Muchin-Archer, was born in Kiev, Ukraine to Sophia and Mykola Muchin, both artists and teachers of painting and sculpture at the Kiev and Kharkov Art institutes. After spending post-war years in Europe, they emigrated to the United States in 1949. Masha has resided in San Francisco since 1967 with her husband, photographer Charles Archer (who died in 1993), along with her two daughters, Maya and Larissa.

She studied at Pratt Institute in New York City, majoring in painting and graphic design. Later she worked as a restorer and exhibitor at the Museo Nacional de Mexico, Mexico City, and designed jewelry and clothing in Tucson and San Francisco.

Honors and Special Recognition

1997: Sponsored by Aeroflot and Russian Consulate for a series of one-artist shows in Moscow, St Petersberg, and Kiev.

1997: Masha's jewelry show was chosen to open the "Days of Russia Festival" in San Francisco (organized jointly by the Russian Consulate and the Serge Sorokko Gallery on the West Coast).

1995: Masha Archer was named "Art-to-Wear Jewelry Designer, USA" by the New York Fashion Group in an event sponsored by the San Francisco Museum of Modern Art.

1996: Provided 50 original necklaces to the Great Lakes Theater Festival (Cleveland, Ohio) for a modern-dress production of Shakespeare's 'Antony and Cleopatra.'

1997: Provided 10 original necklaces to the Opera Manhattan company (NY, NY) for a concert production of Massenet's 'Cleopatra' at Sarah Lawrence College and Alice Tully Hall .

Masha, aka Maria Muchin-Archer, was born in Kiev, Ukraine to Sophia and Mykola Muchin, both artists and teachers of painting and sculpture at the Kiev and Kharkov Art institutes. After spending post-war years in Europe, they emigrated to the United States in 1949. Masha has resided in San Francisco since 1967 with her husband, photographer Charles Archer (who died in 1993), along with her two daughters, Maya and Larissa.

She studied at Pratt Institute in New York City, majoring in painting and graphic design. Later she worked as a restorer and exhibitor at the Museo Nacional de Mexico, Mexico City, and designed jewelry and clothing in Tucson and San Francisco.

Honors and Special Recognition

1997: Sponsored by Aeroflot and Russian Consulate for a series of one-artist shows in Moscow, St Petersberg, and Kiev.

1997: Masha's jewelry show was chosen to open the "Days of Russia Festival" in San Francisco (organized jointly by the Russian Consulate and the Serge Sorokko Gallery on the West Coast).

1995: Masha Archer was named "Art-to-Wear Jewelry Designer, USA" by the New York Fashion Group in an event sponsored by the San Francisco Museum of Modern Art.

1996: Provided 50 original necklaces to the Great Lakes Theater Festival (Cleveland, Ohio) for a modern-dress production of Shakespeare's 'Antony and Cleopatra.'

1997: Provided 10 original necklaces to the Opera Manhattan company (NY, NY) for a concert production of Massenet's 'Cleopatra' at Sarah Lawrence College and Alice Tully Hall .

Tribal Bible Reviewed by Shelley Muzzy/Yasmela

American Tribal Style Dance’s popularity is undeniable and the ATS movement and its various offspring have grown rapidly in the last 10 years. Kajira Djoumahna, author of the definitive Tribal Bible, has just released the second edition of this book. The new expanded Tribal Bible has taken 3 years to reach the public, and it is full of all things “tribal”. This thick over-sized format book with a full color collage on the cover of dancers in the genre known as American Tribal is a must for anyone interested in tribal style dance and/or the history of the dance form we know as bellydance.

With the dearth of historical studies about Middle Eastern dance and the phenomenon of its popularity in the west, The Tribal Bible is a welcome addition to a slowly growing body of literature.

The Tribal Bible, second edition, begins with a definition of American Tribal Style Dance as dictated by the guru of tribal, Carolena Nericcio of Fat Chance Belly Dance, considered the founder of the genre. Definitions of some of the offshoots that are similar but that don’t quite conform to the strict ATS appellation follow. After a lengthy and confusing attempt to label the myriad variations of tribal style, Kajira moves on to the history section. She traces the evolution of ATS from Jamila Salimpour’s seminal early 60’s and 70’s troupe Bal Anat and from the interpretation of Middle Eastern dance that sprang up on the West Coast at that same time. As one would expect, there is a long section on Fat Chance Belly Dance, the troupe who coined the name, American Tribal Style. There are several excellent interviews, beginning with a fascinating piece with Masha Archer, Carolena’s teacher, followed by interviews with Carolena Nericcio and Suhaila Salimpour. It would have been nice to include Jamila’s comments on her own very important and influential contributions to the modern Middle Eastern dance movement, but I know how difficult getting an interview with Jamila can be. Instead we must be content with her daughter Suhaila’s childhood memories.

Following the history is a section called “Arborescence, the Old School.”The analogy to a tree with many branches is apt. This chapter includes a long interview with John Compton about the evolution of his premier folkloric troupe, Hahbi’ru. I loved this part. The interview captured John’s distinctive personality and traced the fascinating paths of some of the dancers who left Bal Anat to start their own groups. Kajira includes written portraits of some of these early pioneers and their varied approaches to combining folkloric dance with more traditional “bellydance”as well as other dance forms.

The next chapter, titled “Arborescence, The New School”, transitions us to the present with sections on Gypsy Caravan, Lunatique, Portland’s Circle Dance Company, Read My Hips and other early tribal troupes who splintered off from FCBD. There is an interesting section on tribal groups in other parts of the world, and an essay on tribal style as solo work that I found particularly intriguing since the very essence of ATS and tribal is the concept of group improvisation. Kajira relies heavily on contributions from outside sources, so the writing style throughout is somewhat uneven, dependent on the literary abilities of the writer. Chapters on the roots and history of costuming and jewelry, make-up and henna follow. These latter sections include tips and ideas and of course, lots of pictures. In fact, one of the nicer elements of the book is the copious amount of photos. There are extensive photos of costumes and jewelry, many of them photos from the author’s collection and the collections of other dancers. It was nice to see photos that were different from the tired old ones we always see. They would be even more exciting if the quality of reproduction was better.

The chapter on music includes a glossary of terms with some simple explanations of rhythms. There is a section on finger cymbals and an interesting section on Turkish spoons. Kajira does a good job of explaining why tribal dance relies so heavily on strong, simple rhythmic structure and simple steps and offers suggestions for expanding group repertoires to include more complex musical compositions from other areas of the Near East. There are suggestions for appropriate music and a short sub-chapter about working with live music.

The next chapter, Movement, is a large section of the book devoted to a breakdown of movements with detailed explanations. Of course we all know you can’t learn to dance from a book. There is no substitute for a live warm body. Kajira reiterates this point, so this section may be more helpful to dancers already steeped in the ATS technique. I’m sure there are some good ideas and suggestions for innovation within the form in this part, although it was definitely geared to dancers who already had the background. Throughout the book Kajira takes opportunities to encourage dancers to further their study, do research and to search for ways to expand their understanding of the dance and music.

Among the several excellent pieces written by other tribal dancers included in various chapters, I was particularly impressed by a piece by Natasya Katsikaris called “The Importance of Knowing and Honoring our Cultural Sources”. I found it well written and articulate. There are numerous passages about what tribal style means both to the author and to those involved in the form. For a lay person like me, it almost feels like proselytizing. But this is the perception of an outsider. I wonder if this book could have been written with less evangelical fervor and more objectivity? If you are involved in the tribal culture you will find ample support for your feelings and theories throughout this volume.

“Gypsy This and Gypsy That”is a lengthy chapter on the Rom (Gypsies). Obviously this is an area of great importance to Kajira, as her devotion of so much space to it confirms. Unlike the rest of the book, which attempts balance, this chapter is very passionate. Because of this, the writing loses some of its professionalism. While I applaud Kajira’s efforts to draw attention to the political correctness of the term Rom, as opposed to the pejorative Gypsy, and I understand her desire to educate us, I found any comparison between the misconceptions confronted by bellydancers and the genocidal persecution of the Rom throughout history naive.

The perceived slights of middle class American women dressed up in fantasy clothing dancing to co-opted music and the plight of an entire group of people that has been systematically targeted for extermination is insulting.

One path is chosen; the other is the karma of birth. To imply that because the public reacts to an image of “bellydancer”in a negative or salacious manner means we can somehow relate to the accumulated pain of an entire group of people encourages an insidious kind of cultural imperialism. I’m sure that this was not Kajira’s intention; however, if I drew this conclusion, I’m certain there is at least one other person who will do so as well.

The Tribal Bible is an “apologia”for the form, if you will…it seeks to enlighten us on many levels. I do feel at times as if the author is talking about a life style rather than a dance form. And I suppose to some dancers, it is a way of life. There is repeated emphasis placed on the concepts of bonding, healing, empowering, and connecting throughout the book. From the sound of it, American women are desperate to connect, to be part of a tribe, to belong. ATS seems to be the answer for some of us. With all the talk of inclusiveness and tribal style being the refuge for rebels, the Tribal Bible sets out a lot of rules. As in any group that seeks to define itself, I can’t help but think of Animal Farm:  “All animals are equal but some animals are more equal than others.”  While this may not apply here, I urge the reader to be careful about drawing hasty conclusions. This is a book of the history of a certain style, not of the entire form of Middle Eastern dance.

In the chapter 8, “Imitation, Innovation and Ethics”, Kajira writes,

“Remember that this is a dance of OURS. Our very own American Style Bellydance!…We don’t have to adopt or support another culture’s moral or religious standards if they are not comfortable for us personally. We don’t have to buy into any political agenda. We don’t have to feel bad because we’re not of Mediterranean descent, olive skinned or don’t speak another language.”

I think I understand what Kajira is saying, and I applaud the fact that she urges us later in this chapter to study our roots and to honor them, but there is something that bothers me about this statement. ATS is not bellydance as the rest of the world, including its root cultures, understands it. It IS an American creation, but it still introduces itself as “bellydance”and borrows heavily from the form, even though many practitioners qualify their declaration by adding the word “tribal style.”It is easy for outsiders to become confused, and indeed, as a community we are still in the process of defining ourselves. No one should feel bad about the things over which they have no control, but it is important to consider the consequences of taking the bits and pieces of a culture that you find useful or comfortable and discarding the rest because they don’t fit. Sometimes it’s healthy to challenge our comfort zone. It forces us to expand our levels of tolerance.

Throughout the book there are some rather broad assumptions drawn, a few things left out, and some leaps of faith required, but it is impossible to cover everything in one book and to please everyone. I felt the author missed an opportunity to place herself and her dance style in a more global context. In the end, every book is a subjective work of the author’s logic, research and imagination. Practitioners of ATS or any of the ATS offspring will especially appreciate the Tribal Bible. The interviews with Masha and Carolena and John are wonderful. The photos alone make the book worth owning.

Despite some bumps and rough spots, this is an important book.

If you are interested in the history and evolution of Middle Eastern dance in all its various manifestations, this is a good chronicle of the American Tribal movement. If I were a Tribal Style dancer, I would rush to get a copy of the Tribal Bible before it runs out of print again! Kajira did an admirable job of pulling lots of disparate facts together.

She covers it all, including cultural co-opting, and she works very hard to be fair and unbiased.

The Tribal Bible concludes with a chapter on ritual dance, the author’s conclusions, an update from the first edition, and a series of testimonials from dancers who are involved in the style, as well as a nice list of resources. Kudos to Kajira Djoumanha. This book is a huge undertaking! It is readable and entertaining, a laudable overview of the tribal dance phenomenon. Sometimes ponderous and rambling, it is still a worthy contribution. It’s a pricey book at $40, especially when I have paid less for better quality, but it is self-published and I have no doubt cost a fortune to produce. It is an important work in a field where little is available. If you are at all fascinated by the genre, you need to get this book. It is packed with information and great pictures and good ideas, just be sure to pick your way carefully through it and realize it is a book written for a very specific target group. If you are in that group you will love it. If you aren’t, you may still find it interesting and worth your time.

The Tribal Bible, Exploring the Phenomenon That is American Tribal Style Bellydance, by Kajira Djoumahna. Retail:$40 Wholesale and quantities available. Publisher, Distributor & Author: Kajira Djoumahna, PO box 14926, Sant Rosa, CA 95402-6926. www.blacksheepbellydance.com, 707-546-6366

http://www.gildedserpent.com/articles21/shelleyreviewstribalbible.htm

A Brief on Masha Archer's Contributions to ATS

http://www.tribalbellydance.org/articles/MashaArchersContributions.html

A Brief on Masha Archer's Contributions to ATS as told by Larissa Archer, her daughter

To the 1970's Bellydance Facebook Group

Ok, here's what I know about my mother's work, based on talking to her now and what I heard all through my growing years and old interviews, etc. Masha studied with Jamila more than 6 months (I don't know how many years; I'll ask her…), and then started to do her own thing, and established the San Francisco Classic Dance Troupe.

She was not at all interested in keeping the dance "authentic" for authenticity's sake. She wanted a dance that she felt was appropriate for the modern western woman. So she discarded certain elements that she didn't like (such as the Turkish drop--since bellydance was still something people really only associated with nightclubs and male entertainment, and she wanted to drag it up into a level at which people would rightly acknowledge it as art, she felt that women should not be dancing on the floor. also, she didn't want her dancers risking injury, and felt she couldn't teach it or even do it herself in a way that was perfectly safe). She kept elements she did like and altered them as she saw fit to suit her taste. For instance, she wanted peoples' feet close together in moves like the Egyptian basic, and she emphasized what we now think of as ATS posture (although she looks at photos of herself dancing and gasps at her own "horrible, dreadful posture and terrible feet"!) and emphasized the lifted elbows that are so important to this dance. According to her these were tweaks to the moves she learned from Jamila.

NOW, because she was not interested in keeping the dance (or dances) authentic, she didn't want any guff from people about her lack of authenticity. So she used the word "American" to describe the dance she was teaching and performing. Also, Jamila loved bellydance, but was (at the time) very pessimistic about it ever being part of a different world from the nightclubs. The Ren fair seems the most un-nightclubby event her troupe danced at. Mom wanted to present this dance in more mainstream venues. You'll see from many of the pictures I posted in "Old school belly dance" that mom had her group dancing at book fairs, gallery openings, parades, artsy parties, city hall, etc. And she disallowed her dancers from performing in nightclugs or bars (she even got an offer from the SF 49ers to dance at a party for the team, but she wasn't sure it would be safe for them so turned it down). Part of what she felt would bring bellydance out of the nightclub was the chorus, or the tribe. Rather than a lone woman out dancing by herself like in a nightclub, the chorus surrounded and protected her (figuratively, of course), and would "teach" the audience how to regard the featured dancers. Seeing the chorus support and respect the featured dancers would influence the audience to do the same. SO the "tribe" was very important to her, and when asked about her style, she said, "American Tribal." THIS DOES NOT MEAN HER DANCE WAS THE SAME AS WHAT WE KNOW OF AS ATS, OR THAT SHE IS THE CREATOR OF ATS. She may not even have strung the three words together, "american tribal style"--and in those days, since there was much less bellydance going on and it was much less known, so there was also much less need to semantically distinguish one style from the next. All that was really relevant at the time was that this was American (not Moroccan or Egyptian or anything else) and that you were going to get a whole group--a tribe-- of dancers at your gig, not just one woman.

NOW, mom did not organize the dance or codify it the way Carolena has. There were no "cues"-- you just had to sort of telepathically sense when the movement was going to change. There was no set dance formation. Carolena has joked that mom would "lead from behind"--Carolena was shorter and so had to stand in front and somehow perceive what mom was doing behind her. the lack of set cues, formations, and base combinations meant the repertoire was simpler. While there were spins, there'd have been nothing like the Egyptian combo with spins, or the ASWAT. While there was a (very different) Camel Walk, there'd have been nothing like the camel walk we can do in a trio, ending up in different positions. While there was an Arabic basic, there'd have been nothing like the do-si-do. These more complicated moves are possible because of the codification of the dance, the setting down of group formations, and the establishment of cues. Carolena's codification of everything has meant that many more moves could be added to the dance form, and that the basic moves can be done in a multitude of new ways. And Carolena has also altered some of the moves that she has kept over, just as mom altered the moves she got from Jamila. But the addition of moves from kathak and flamenco, those are also all Carolena's.

SO….this is a lot of what I know about my mom's place in the evolution. I haven't talked about her influence on costuming, but you can draw conclusions from the photos in the Old School Belly Dance album. I don't know about these other styles and teachers and influences people have mentioned, but am now very curious!

See the gallery HERE

Documentários em Vídeo

Documentary Videos (Online)

• “Aida al Adawi” from American Belly Dance Legends (2010)
• Bal Anat documentary by John Carney (1972)
• Interview: “Conversation with Suhaila” (2011)
  - Part 1
  - Part 2
  - Part 3
  - Part 4
• Interview with Carolena Nericcio at the Ethnic Dance Festival (2012)
• “Interview with Suhaila Salimpour: The Conversation Continues” (2012)
• “Jamila Salimpour” from American Belly Dance Legends (2010)
• Latcho Drom (1998) Viewable on YouTube in parts.
  Or order a Korean production on DVD.
• Masha Archer and the San Francisco Classic Dance Troupe (1985)
• Sabriye Tekbilek’s documentary about working in the Middle East as a belly dancer (2011)
  - Part 1
  - Part 2
• Suhaila Salimpour interviews the producers of Tribal Fest (2012)
  - How it all Started.
  - Not but Truth
  - Focus and Theme
  - Instruction
  - Long Range Vision

 http://bdpaladin.com/bookshelf/

MASHA ARCHER (em inglês)

Masha Archer created an extraordinary style in necklaces now displayed in different galleries and collections. What she does is three dimensional sculpture in jewelry materials. When not worn, her pieces rest in cases on walls like icons and other precious objects of art. 

What does it mean to be a Ukrainian in California, to be the daughter of sculptor Mykola Muchin who fled the Bolsheviks, what does it mean to be Masha Archer? The film explores the world of this unique artist. M. Archer shares memories of her childhood, talks about art, and about the late Charles Archer, her photographer-husband. She comments on the San Francisco art scene, being a part of it for twenty-five years now. Her art is breathtaking: coral, lapis, amber, jade, bone, silver, turquoise, and iron touch the skin. 

The interaction of her jewelry and the body became the subject of Charles Archer's most inspired photographic work. The motif's of her necklaces recall ancient themes. Slavic style combinations of color are recognizable in the Scithian and Aztec shapes incorporated into the necklaces. It is a decorative extension of the body. Her art is an embodiment of the spirit of color reborn into the shape of beads, whose function is that of body sculpture. Folkloric roots are traceable here through the comparison with Ukrainian pisanki and Cossack Mamai paintings.

The dynamics of the pieces are revealed through movement and balanced juxtaposition with the wearer's body. This film is an interview with the artist and an inside into her art. This film is about the power of art and beauty to resist time and pain. Masha Archer's art is a glorification of life and the film pays tribute to her talent.

Fonte: http://vk.com/olga_andru  

HISTÓRIA DO ESTILO TRIBAL AMERICANO - PARTE V

UMA HISTÓRIA DO ESTILO TRIBAL AMERICANO

Texto extraído do Blog Tribal Mind: 

http://tribalmind.blogspot.com.br/2011/03/uma-historia-do-estilo-tribal-americano.html

*por Rina Orellana Rall, principal dançarina FCBD 1988-1998

Tradutora: Suzana Guerra | Revisão: Aline Oliveira

Masha Archer

Descontinuou seus estudos com Jamila Salimpour, uma vez que ela estava pronta para se apresentar nos clubes. 

Estudou com Jamila  durante dois anos e meio, uns semestres antes de fundar a Trupe de Dança Clássica de São Francisco que existiu durante quatorze anos (dos anos 70 até meados dos anos 80).

De acordo com Masha, Jamila sentiu que a dança merecia um local melhor do que restaurantes e bares, mas não havia nada que poderia ser feito sobre isto: "Ela contava que tão desagradável quanto a cena podia ser, você tinha que aguentar aquilo porque era apenas uma competição na cidade".

A disciplina original de Jamila foi extraída e Masha usou a dança para expressar as linhas que ela imaginava. 

Considera que sua herança artística é inspirada por algo especial e responsavelmente usa qualquer parte que deseja: Não usa qualquer rótulo no momento de definir seu estilo. 

Era simplesmente "Dança do Ventre". 

Carolena Nericcio, membro da sua trupe durante sete anos, comicamente chama estilo de Masha, a "Tribal Art Noveau (Nova Arte Tribal), porque ela queria que seu traje refletisse mais que uma mistura de arte Européia".

A abordagem de Masha ao figurino, foi influenciada por Jamila, mas ela a empregou também "em um ecletismo aquisitivo explorador e maluco. 

"Nós enxergamos como uma espécie de Européia, Parisiense-Tunisianas com um visual tribal Bizantino muito forte, o que foi completamente inventado." 

Masha persistiu que o visual era aparentemente autêntico por causa das jóias tribais e peças antigas do Oriente Médio e Europa. 

Referiu-se a ele, como "Americano Moderno Autêntico" por causa do conceito norte americano de tomar liberdades com autenticidade e origens.

(texto com mais partes)

Texto Original - Aqui

Texto extraído do Blog Tribal Mind: 

http://tribalmind.blogspot.com.br/2011/03/uma-historia-do-estilo-tribal-americano.html

*por Rina Orellana Rall, principal dançarina FCBD 1988-1998

Tradutora: Suzana Guerra | Revisão: Aline Oliveira

HISTÓRIA DO ESTILO TRIBAL AMERICANO - PARTE I

UMA HISTÓRIA DO ESTILO TRIBAL AMERICANO

Texto extraído do Blog Tribal Mind: 

http://tribalmind.blogspot.com.br/2011/03/uma-historia-do-estilo-tribal-americano.html

*por Rina Orellana Rall, principal dançarina FCBD 1988-1998

Tradutora: Suzana Guerra | Revisão: Aline Oliveira

A Dança do Ventre de Estilo Tribal Americano é claramente uma nova forma de dança com suas origens na dança do Oriente Médio tradicional. 

Os componentes desta história incluem as dançarinas ciganas que inspiraram os Orientalistas do século dezenove e a introdução da dança nos Estados Unidos na Feira Mundial de Chicago em 1893. 

A dança cigana então se transformou num estilo de dança de cabaré urbano para agradar um público antigo no Egito. 

Também incluídas nesta história estão as professoras dos últimos cinqüenta anos que são a linhagem direta do que atualmente é conhecido como Estilo Tribal Americano: 
-Jamila Salimpour, diretora de Bal-Anat
-Masha Archer, diretora da Trupe de Dança Clássica de São Francisco
-Carolena Nericcio, diretora da FatChance BellyDance. 

"A Dança do Ventre na era moderna sempre se modificou para satisfazer as expectativas de seus expectadores, é o que liga as dançarinas ciganas do século 19 do Oriente Médio com as dançarinas americanas modernas do século 20." (Rina Orellana Rall)

Breve Avaliação da Dança do Ventre e Definição de Estilo Tribal Americano

Quando uma dança particular é tirada de seu contexto cultural e colocada em um palco, ela muda. Ela muda de modo que satisfaça seu novo público e suas expectativas. 

A Dança do Ventre como entretenimento secular do Oriente Médio, no entanto, sempre se adaptou e mudou para ajustar-se às expectativas de seus expectadores. O ímpeto para a adaptabilidade é um assunto econômico. É encorajar os expectadores a darem mais dinheiro às dançarinas. Isto é verdade para as dançarinas ciganas que a originaram, verdade para as dançarinas de cabaré árabes que a transformaram, e verdade para as dançarinas norte americanas que a adotaram. 

Meu foco aqui é estudar a Dança do Ventre de Estilo Tribal Americano que tem suas raízes nas danças ciganas do Oriente Médio, mas carrega o toque moderno de sensibilidades artísticas norte americanas.

(texto com mais partes)

Texto Original - Aqui

Texto extraído do Blog Tribal Mind: 

http://tribalmind.blogspot.com.br/2011/03/uma-historia-do-estilo-tribal-americano.html

*por Rina Orellana Rall, principal dançarina FCBD 1988-1998

Tradutora: Suzana Guerra | Revisão: Aline Oliveira