Showing posts with label belly dance. Show all posts
Showing posts with label belly dance. Show all posts

Sunday, July 12, 2009

Party Girl

By Lisabet Sarai

I thought long and hard about what to say about Helen’s topic this week, “Other Talents”. My first notion was to introduce Salisha, my belly dancing alter-ego who existed long before Lisabet hit the scene. Then I realized that I’d already discussed my dancing in an earlier post. I could talk about the fact that I’m a genius computer programmer. I find software development incredibly exciting, but for most readers that would be about as sexy as income taxes. I can sing, draw, and cook. However, I don’t think I can compete with Helen or Donna George Storey. Then it hit me, my special talent that is simultaneously amusing and unusual.

I throw a mean party.

For me, organizing a party is a sublimely creative endeavor. Decorations, invitations, music, food and drink, games and activities, each aspect gives me a chance to express myself in a concrete way. I take entertainment extremely seriously.

Even as a shy teenager, the class nerd with the coke bottle glasses, I loved parties. In high school, a girlfriend and I threw a “computer matchmaking” party in her basement rec room. You must understand that this was a long time before any of us had ever seen a computer! We carefully selected an equal number of guys and girls and had each one fill out a questionnaire. Then we produced simulated punched cards encoding each person’s responses and used the traditional knitting needle approach to identify the couples whose responses were most similar, and hence were the most compatible. We didn’t spend much time on the decorations for that party, once we made sure that the couches were comfortable, since we planned to keep the lighting dim.

In college I lived in a dorm and didn’t have the opportunity to exercise my talent much, but in grad school I came into my own. I lived in a group house with five men. (There are lots of stories there, but I’ll save them for another post!) I’ll never forget the Hotel California Party we put together. It began at 9PM with pink champagne on ice and ran until dawn, when we served tequila sunrises. We weren’t able to install mirrors on the ceilings, but we didn’t need them.

At my first job out of graduate school, I was elected president of the company “entertainment committee”. I had a $20,000 annual budget to support events to amuse the thousand odd employees. Talk about heaven! I organized a Las Vegas night, a family barbecue with balloons and clowns and one-legged races, a boat trip to a local island. I got a bit spoiled!

Of course, all that entertainment had to be G-rated. Once I met my husband, our parties became spicier. I love costumes, the wilder the better. For years, our Halloween bashes were legendary. At one point, we were active in a group dedicated to open relationships, and threw an erotic costume party for our closest friends. I dressed as a mermaid, in a green satin “tail” I had created, bare-breasted except for loose fishnet and shell necklaces. My husband was a satyr, wearing horns and hairy pants that I’d fashioned from a brown plush bath rug. The other guests’ attire was equally provocative.


Our wedding was perhaps the most elaborate party we’ve ever organized. We gathered our seventy guests in a woodland clearing, at the edge of a small lake. We made banners emblazoned with personal symbols - a cat, a dragon, a yin/yang sign, the Hebrew characters for “life” - and hung them from the tree branches. I sewed the scarlet dress that I wore under my white sari. With some help from family and close friends, we prepared the food: Indonesian satay, lasagna, gazpacho, salads, homemade bread. For two months before the event, we had a Gantt chart up in my husband’s workshop, to help us coordinate our activities.

The night before the wedding, we threw a coed stag party for selected friends. There was a cake embellished with a naked couple fashioned from white chocolate. We gave out adult party favors. The women belly danced while the men watched. We played half-naked Twister. The air crackled with erotic possibilities, and in fact, late in the evening, I stumbled upon a threesome in one of the bedrooms, a close woman friend and a couple, each of whom had flown in from distant cities to grace our nuptials. I was a bit embarrassed. On the other hand, this was a sure sign that the party was a success!

Not all of our parties were rated X. When we moved from our apartment into our first house, we held a “House Cooling Party” with a tropical theme. Before we left for our two-year stint working in Bangkok, our friends joined us at a “Jet Set” party. I built a replica of an airport security gate out of silver-backed foam insulation boards and set it outside the front door. We rented chrome-plated champagne coolers and serving dishes for a luxury effect. I wore a hot-pink gown with a plunging neckline, and pearls.

At some point, we must have had a science-fiction-themed party, because I vividly remember concocting a drink that I called “Blue Venusian Brew”. It was a vodka-based punch made with fresh blueberries, served in a transparent fish bowl. It must have been quite a party, because I don’t remember anything else!

As we’ve gotten older, our parties have become less frequent. Our friends became more conservative, especially as they began to have kids. People left town, or become too busy. I did organize an eightieth birthday bash for my father, which we managed to keep secret despite the fact that about fifty people attended. We held the party as his favorite sea-side restaurant, in a glass-walled room with gorgeous views of the ocean. It was a huge success. Guess I haven’t lost my touch.

Just a few weeks ago, we moved into a new apartment. I loved this place the first time I looked at it. It has an enormous living room and a big kitchen with tons of counter space. The first thing I thought of was, “This will be a great place to entertain.”

I’m planning a housewarming for next month!

Saturday, March 21, 2009

Belly Dance and Empowerment

by Jane Kohut-Bartels


Quite a thought but it’s part of an ongoing discussion I have been having with other belly dancers and with women outside this particular dance form.

One woman replied to an entry blog recently:

I think of my own practice, and I know that dancing transforms my thinking, my moods and in some very fundamental way, grounds me. It also transforms me, my body over a period of time, but my head. too. I think my head even more fundamentally.

This is the heart of it for you. You are lucky you can feel this way about something.

Sometimes I have led myself astray. I have tested the waters of different things, disciplines I was either not prepared for, was seriously lost, was a detour, or I should have stayed on the porch. There are a lot of ways I can sum up a number of recent experiences.

Recently this came home to me and I had to take considerable stock of what I was doing and where I was going.

When in “trouble” it is sometimes best to fall back on the very things that have brought us forth and have proved to be valuable in discovery of self. My friends and family know that I am both a writer of erotica and a belly dancer. I just published my first book, A Seasoning of Lust, available at

(http://www.lulu.com/content/5739484 )

Sometimes I am primarily one thing, and then….I am the other. The trick is not to discard one for the other, because both are now integral in my being. I pull from both for life and creativity.

Actually I am more than just those two, I am a wife, mother, a painter, a seeker, and sometimes a royal pain in the ass.

But I want to pose some questions to my friends who are joining me in this “dance of life” which I see as belly dance.

What are our aims in coming into this particular dance?

I know that I have struggled with many issues over the past 5 years, but it varies for every woman. Is it ego identity as to who and what we are, or is it to ‘heal’ deep wounds brought about by a lifetime of abuse and self-abuse, or do we just see it as a ‘creative’ outlet?

Do we come from a place of self-loathing? Do we feel non-sensual or lacking in our beauty? Do we give so much to others that we have nothing, or little for ourselves? Have we become disembodied where we live in our heads and our bodies are just….there?

All this above will be present and we will bring that into the dance. And that’s ok. We work those issues out within the movement.

We can work these things out piece by piece by being ‘present and mindful’ in the movement. And the movement will transform us, slowly at first, and then, one day, we look back and we shake our heads in wonder. How much we've grown!

And this issue of self-loathing? Over and over I hear from women who ‘hate their bellies’. I can totally relate! I went through a long stretch of hating my belly, too. Then I suddenly made ‘peace’ with it. I will never be flat bellied, but then again…

Belly dance isn’t ‘long hair’ dance, or ‘arm dance’ or ‘hidden feet’ dance….it’s BELLY dance…and for a reason.

The belly is the seat of our femininity. It’s not the hidden vagina, it’s the outward expression of our bellies, as they grow with children, shrink back with stretch marks, and we seem all to define ourselves by trying to make it disappear. We hold our stomachs in tightly until we can’t move….

Or breathe!

Well, along comes Tribal Fusion and here is presented the BELLY in all it’s glory! Those stomach movements that Rachel Brice, Zoe Jakes, all of them, are very liberating…Snakes in the belly!

Undulations that express the very essence of our femininity, our being women. As generators and cradles of life.

(I attended a 4 hour workshop in Montreal in late January. I was glad to see that the teacher, Audra Simmons from Toronto had a belly on her. She has 4 children and this is the natural way of things. Our bodies expand and contract with life.)

We are not flat assed/bellied/titted men…We are full blown women with dangerous curves and belly dance gives us a dangerous attitude, too.

Given enough time, it’s called Empowerment. A realization of our Femininity, a fulfillment of our innate Sexuality.

And we should have fun dancing….it’s not all sweat, sore muscles (but it is in the beginning…) and serious attitude.


This is a very funny video….I screamed with laughter, because that is good for life. Laughter.

http://www.youtube.com/watch?v=AwK2NTt-MBc&NR=1
More later….

Lady Nyo who is also Teela when she dances

A poem that speaks to belly dance. Will be in Volume II of “A Seasoning of Lust” out this June.



THE TROUPE


Waves on a dark but sparkling sea

They cluster together

And with the sounds of the first drums

Sail into position

Striking a pose.



Stretching out in formation

Gentle waves of skirts flaring

Breasts lifting in sweet provocative gestures

Hands arched in arabesques

Like leaping dolphins.



The coins on their bras

Catch the lights and sparkle

Like Sun lighting the whitecaps.

Spiraling outward

Like a nautilus shell

Eternal in movements

Eternity flows

From long fingertips.


Now the Sea roils

With stomping feet

They mark the tempo

Increase it with breakers

Crashing over their gleaming heads

To fall together in

Turkish drop

The Sea finally

Calm and restored.



Jane Kohut-Bartels

March, 2009



Sunday, March 15, 2009

Dancing

by Lisabet Sarai



I love to dance. I always have. At four years old I spun round and round, drunk on movement, till I slipped and split my chin open on the unyielding linoleum. Six stitches left a scar I still carry proudly. For my fifth birthday, my parents took me to see the ballet “Giselle”. I remember afterwards, the thrill of being awake at midnight. I watched the snow drift down as we waited for the bus, still entranced by the unearthly grace of the dancers. At eight I had a solo in a community performance, improvising to Gershwin’s “Summertime”, and in high school I danced the role of Bonnie to my best friend’s Clyde.

My parents danced. When my dad led my mother onto the floor for a jitterbug, they’d immediately attract a circle of admirers. He would swing and twirl her, their steps in perfect synchrony, while the crowd applauded. At weddings and bar mitzvahs, I’d be overwhelmed with pride and with the desire to emulate my talented, sexy mother and my ultra-cool dad. It’s a pity they didn’t move to the same rhythms off the dance floor.

In graduate school, I enjoyed an extracurricular career as a belly dancer in a local Middle Eastern restaurant. People actually paid me to dance. I was astonished. The experience was magic. No thought, no fear, no plans – just the music flowing through me, shaping my arms, swirling my hips, guiding my feet. I was beautiful, beloved, free.

Flamenco, tango, rock and roll. The fluid control of Balinese dance, the frenzy of Rajastani steps, the smooth synchronization of a Broadway musical, the hectic kineticism of hip hop. I love it all. Watching a dancer may bring tears to my eyes. Or it may make my own limbs twitch and ache to join in the dance.

Dance for me is both a reality and a metaphor for the union of body and spirit. I use dancing in many of my stories. Incognito opens with a scene in a disco, in which a seductive stranger sweeps Miranda across the floor and awakens her latent passion. In Exposure, Stella exists in a trance-like state of heightened awareness as she performs her strip routine, half-convinced that she sees reads the minds of the men in her audience. Here’s a passage from a novel fragment that is sitting on my hard drive, waiting for new inspiration, tentatively titled Unveiled.



On my ninth birthday, my parents took me to see the great Nehir perform, and my destiny was sealed.

I sat bolt upright in my velvet seat, there in Symphony Hall, hardly daring to breathe, as the lights dimmed and the musicians strolled onto the stage. They settled themselves in a row of chairs toward the back. The drummer and the clarinetist whispered together for a moment, then nodded to the man with the oud. Then, an intricate sequence of notes dripped from his strings, rising up in the hall and falling again like plaintive rain.

The house went black. The oud solo still shimmered in the darkness, shivered down my spine, a lament centuries old. A bolt of light shot from the back of the theater, defining a perfect circle of brightness on the stage. There, motionless in the spotlight as though frozen by a flashbulb, stood a diminutive figure swathed in layers of turquoise and gold gauze.

The oud faded to silence. My chest hurt from anticipation. The dumbeq player coaxed two musical beats from his goatskin drum. Nehir raised her arm simultaneously, as though her movement had precipitated the drumbeats rather than the other way around. Two more beats, another gesture. She shifted her hips, making her jeweled belt sparkle, as the drummer matched her rhythm. She pivoted and bent backward, her veils brushing the floor behind her, to the next beats.

The clarinet joined the drum. Nehir’s bare arms snaked through the air. Her hips made slow circles, rising as the melody rose, dipping down when it sank to a lower register. The musicians were in taksim mode, improvising to a free form rhythm, and Nehir perfectly matched their every musical gesture, remaining immobile between notes.

The oud player picked up the melody, and abruptly, the drummer swung into a fast, regular beat. All at once, the dancer was all motion. Her shoulders shimmied, her hips shook, her fingers feathered the air. I could see her rise on her toes as she twirled, translucent fabric trailing behind her.

My heart beat in time with the drum as I drank in Nehir’s fluid, voluptuous movements. Her bare feet were light and sure as she traced the intricate steps of the age-old, ageless dance. She removed her outer veil, swirling it in sinous patterns around her, so that for a moment it seemed that she had a partner. My chest ached with nameless longing.

Nehir did not listen to and interpret the music. The music filled her, bore her up, swept her away in frenzy of glorious energy. She surrendered to the music. She allowed the rhythm to have its way with her. Let the melody enter her, take her, bend her into impossibly graceful forms, travel up her spine until her whole body rippled like water.

Her name meant “the river”, my mother had told me. As I watched her the floodgates opened inside me. I wanted to dance as she danced, wanted that more than anything in the world. I wanted the music to take me and use me as it did her. I craved the knowledge of motion and stillness that, even as a child, I read in her perfect gestures. And I knew, even then, that this was not a mere childish whim.




These days, I don’t dance as much as I would like. As the result of over-enthusiastic Jazzercizing over two decades, I developed arthritis in one hip. My days of doing splits are long gone. Even a shimmy hurts.

Still, I dance when I can, in bars or clubs or at parties, and pay the price afterward. While the music holds me, I am weightless and beyond pain. Later, my gratitude soothes the pangs in my poor weak flesh.

Ten years ago, I was trying to understand (as we all do) who I was and where I was going. What is your vision? one book asked. How do you see your life in relation to the world?

My answer to that question was the poem below.

Vision

My life will be a dance.
I will try to tread lightly,
      bouyant
      joyful
      touching but not trampling.

I will trust my partners
      and be trustworthy in return,
Follow through, complete the steps.

I will dance abundance
      accepted and shared;
Faith, power,
      peace and wonder,
And always, love.

Remember that the dance
flows from the inside out,
      spirit to body
      and out to the world,
And that all, spirit, body and world,
      are sacred.
Even when solo, know
      that I dance a part
      in a larger pattern.
Leave behind
      some increase of joy,
      some greater beauty.