Revisiting: "Serious Bellydance with Tamalyn Dallal"

It seems like every day there is a new belly dancing DVD released, and like many of you, I collect as many of them as I can. But in the rush to collect all of the "new" stuff, we sometimes forget the oldies but goodies still sitting on our DVD shelf. I'm super excited to share with you reviews of some of my favorite "forgotten" DVDs.

So let's take another look at an older DVD that might already be in your library:
"Serious Bellydance with Tamalyn Dallal" from 2000.

TARGET AUDIENCE
This DVD is targeted to intermediate to advanced dancers, and I'd say that's about right. Although Tamalyn does give a short breakdown on some movements, it's assumed that you are familiar with the basic movement vocabulary and basic cymbal playing. The content of the DVD is drills, combinations drilling abdominal work, and later those combinations with cymbals added, so it's good for dancers who want to polish their movement technique and really work on generating movements from the abdominals. Also, if you're ready to move beyond walking with the "triple/gallop/longa" with your cymbals, you'll find the more exciting cymbal patterns added to the combinations to be a unique challenge.

HOW IT'S SET UP
With a camera at the front of the room, it's as if the cameraman was filming Tamalyn leading an actual class in her studio. No mirrors. Filming is always from the front of the room, so you have to mirror what Tamalyn does. For most of the DVD, she has a group of her students taking the class with you. For the cymbal section, it's just her.

TECHNICAL STUFF
The DVD is chaptered so you can skip directly to the combinations or the cymbals if you like. If there were individual sub-chapters, they didn't work on my computer.

It's produced on a DVD-R (with the purple back) and in my experience these are known for skipping and pixelating in my DVD player, so the first thing I did was make a back-up copy to practice from. Alternately I would recommend you rip it to your computer as a Quicktime video or something you can play on your computer or iPod. I've lost way too many DVDs over the years to faulty media, and this is one I did not want to lose!

QUALITY OF CAMERAWORK/SOUND
Let me begin by saying the camerawork and sound is less that stellar. It looks as if someone was just walking back and forth with a hand-held camera, and the sound is picked up through the camera's microphone. While this is really annoying when you're just sitting down and watching the DVD, if you're up practicing with it you don't notice. This was filmed back in the era before there were a lot of professionally produced DVD, and when "homemade" wasn't such a bad thing if you received good content.

The music used is a live musician playing oud (Doublecheck this) and what sounds like a generic rhythm CD. It's okay music, and she probably did this to avoid licensing fees, but I have to admit I actually prefer to take the drills and combinations and practice them to my favorite Hakim or Saad music. So if you can't stand the music, take notes and just practice what she teaches to other music.

CONTENT
After a gentle warmup, she moves into a short series of arm path drills which I think could be a separate practice session all on its own. As she demonstrates the movements, she gives imagery and technique tips.

A brief breakdown of the belly roll follows, which begins a series of basic movement drills layered with or combined with a belly roll. This was the hardest part of the dvd for me (since I'm not much of a belly roller.) Tamalyn's belly rolls are gentle and elegant and don't have the appearance of "alien preparing to burst out of stomach" as I've seen on some dancers. Even though I consider myself basically an Egyptian-style dancer, I wouldn't hesitate to work with these drills on a regular basis, to add that skill to my repertoire. It's so pretty!

The drills go from upper body movements to undulations into internal hip work, all with the extra addition of a belly roll. She focuses on very internal movements, exploring the difference between simply doing the movement and then doing the movement with a more internal focus.

(I would say the drills in this section are comparable to, but a little harder than, those in Ava Fleming's "Sizzlin' Hips" DVD.)

Next comes a series of 4 (and a shorter 5th) short combinations -- none too difficult, so you really have a chance to work on technique here. Again the focus is on keeping the movements internal, and going over and over the material to plant it solidly in your muscle memory. She teaches a combination, practices it for a while, and then moves on the next combination.

Then all the combinations are strung together in a longer series, and you practice that for a while. The music is the generic beledi drum beat, so students will probably want to take these combinations and practice them to music of their choice.

Finally, there is an extended section on playing cymbals. Although this begins with a short basic tutorial on playing 3s/longa/gallop/triples, (whatever you call them) it quickly moves beyond that and into variations of common patterns to malfouf and beledi. Lastly, cymbals are added to the combinations previously taught, and you drill those for a while before moving into a gentle stretch and cooldown.

Bonus material is short clips from performances and some adorable Greyhounds dressed in their Sunday best. (A portion of the proceeds of this DVD goes to Greyhound rescue efforts.) There is NOT a full-length performance by Tamalyn on this DVD, which is disappointing, but the focus is supposed to be on the class itself.

TL;DR
Get over the fact that it's a homemade production, and you have a great series of drills that really work on generating movements from the abdominals, as well as actually dancing and playing with cymbals, beyond the step-hip with triples. I'm especially fond of the drills which focus on abdominal rolls with other abdominal and torso movements. This is a great DVD for intermediates to work up to, and for advanced dancers to use as a practice companion, or as a substitute for a weekly class. It's all drills and drilling combos, so there isn't really any wasted time in about 2 hours of practicing.

Total running time: 116 minutes
Price: $30

Available from major belly dance retailers and directly from Tamalyn Dallal:
http://www.tamalyndallal.net/merchandise.html

Dance and my life balance

I think it is fair to say that all of us have self-doubt at one time or another. We think we aren't good enough or a similar negative thought.
One of my common negative thoughts is about my age. I am relatively young. I am only 30 and began bellydancing when I was 23. Now I came into this with little to no dance experience, and to be honest quite a klutz. Sometimes I see amazing dancers and I hear that one of the reasons they are so good is that they started young and have already danced a long time. Now I don't mean Ansuya or Suhaila young, just 23 young like me.
That makes me panic. At only 30, with 7 years dance experience I should be on my way to the big time.
The thing I have to step back and realize is that I don't want to be in the big time. Yes, I want to continue to grow and push myself to limit but my limit is not that of some others. Part of why dance makes me so happy is that it is a part of my balanced life. I have a full time day job. I keep a clean house. I like to cook and bake from scratch. I have a nice lawn and flower beds. I visit my elderly grandparents twice a week because I want to spend what little time they have left with them. At the end of the every day, I watch about 1-2 hours of tv with my husband. We chat during commercials and it is the time that we are together and not really distracted. This balance in my life is what makes me happy. Yes, I could dance 2 hours everyday and push myself to advance faster than I am but then what? Do I think it would still make me happy? I am not sure. I love dance and I spend a lot of time practicing, choreographing, attending workshops, and reading. I could spend more time doing those things and even though I love it more that many of my other activities, I am not willing to give any of them up to make more time for dance. In the short term, for a special performance I will but that is different.
My husband came up with this analogy for how I feel about progressing my dance:
There are people who play golf. There are people who play golf really well. Those people may never go into the PGA. They may not want to. They may just be the Country Club Golf Pro. They give lessons, know about all the latest equipment, and almost everything there is to know. They may give lessons to someone who ends up in the PGA. This is me. This is who I want to be in the dance world. I do not want to be a Bellydance Superstar, have an instructional DVD or be a master instructor like my mentor. I want to be always learning and getting better and sharing my knowledge but never pushing so hard that I have to give up any other aspects of my life for dance. The balance is part of what keeps me happy, grounded and moving forward.

Jen answers your questions with wine

I am doing a fun video blog post on my other blog where I answer people's questions and give advice while I am drinking. Pop on over to Say Something Funny if you want to participate.

'Azraa's Dance Space

A fellow member of GypsyNet asked to see everyone personal dance sanctuary. I decided to share mine here.

When my husband and I moved back to my hometown from the place we had lived for 8 years, one of my requirements for our new home was my own dance space. Ideally, I wanted a finished basement. We systematically looked at every house in our price range with a finished basement and none of them fit our bill (mostly lacking in other important features). We then started looking at house with an extra bedroom, den or any spare space that I could turn into my own. We finally decided on a house with an extra small bedroom. It only holds about two dancers but is perfect for my practice or private lessons.

Our whole house has laminate floors (installed by my crafty husband) so the floors are great. It had mirrored closet doors which helped and we removed the fan and replaced it with a plastic light since it will most likely get beat with a stick.

Pink and turquoise are my dance colors so the decor was a no brainer. I bought a large mirror to finish out the mirrored wall at a consignment store. You can also see my giant goals/to-do list posted on the wall.

The fan veils are part decoration, part I have to iron them less this way. The mirrored doors made less work in setting up the room.

I found this great screen at a flea market. I feel so lucky every time I see it.

 My corner shelf is filled with photos, nick-knacks, autographs and memories of my dance time. I use my little PA for sound and the small drawers hold my Cd's and things I need while practicing.

 In our old house, my dance stuff shared the closet in our office with our less worn formal clothes and all my craft supplies. They finally get there own space which make me feel better since I am an organizational freak.

The other side of the closet holds my TV and DVD which I can roll out if I want to work with a video. I tacked up shirts and bags that have meaning to me.

I wanted to paint the whole room pink but my husband asked me not to, so the closet is pink instead. "Sexy Pink" if you need the exact color.

I hope you enjoyed this little peek into my dance space. 

On being challenged

So a remarkable thing happened to me this past week-end. I became a 1st rate dancer. Now let's not argue the semantics of what that means because that is not important to this post. What is important is that we talk about how that happened and why it is important.

I arrived at the workshop and saw that MY NAME was listed as the last performer before the headliner. Now whether or not the organizer considered it such, I consider that an amazing and incredible honor. Not to mention I was proceeded in the show by some dancers who already intimidated me with their poise. A show has to flow and you need the preceding dance to really be incredible and set the stage. - again, my opinion. The organizer of the show may have drawn names out of a hat but that doesn't matter. What does matter is when I saw my name there, I freaked out. And then you know what I did? I brought the heat.

I can say without a doubt that I danced this week-end like I have never danced before. To make matters better and worse, my music cut out. It cut out several times in the first half of the song. I didn't let it phase me. I just kept dancing like that music was loud and clear. I think the audience heard it in my head. Only once did I get off track and the music cut back in and I was not with it. I just winged it and let the music catch up with me.

Typically, when I am done dancing I hate everything that just happened. I want to see the video and nitpick every little thing even though friends and family swear that it was awesome. When I left the stage out Saturday, I felt unstoppable. I danced my heart out. I took it and I handed it to that audience, even with the music skipping.

Why? Why was this time different. Why did I dance with everything I had and leave nothing left? Because I had to. I was the last act before the headliner. I was first rate.

I wrote this post earlier and published it but I have decided to come back and add another anecdote about being challenged.


When I was a beginner, I worked really hard at becoming a better dancer. My self-esteem issues that come from physical appearance made me push even harder because I thought I needed to be that much better than the "pretty" girls. The thing that was holding me back was my own self-doubt. Self-doubt that was perpetuated by my lack of an encouraging mentor or teacher. Maybe that isn't the right word. I was encouraged to get the moves within my level. I was also challenged with more difficult things. I was not however, encouraged to take on tough challenges, or pushed to try something on the next level. I needed the kind of encouragement that resonates with your whole being. When I decided that I was not getting what I needed and started looking elsewhere, I was still a beginner. I had been a beginner for almost 4 years because no one had ever told me I was anything more.
I found what I needed in teachers and mentors that when I was faced with a difficult challenge said to me, you can do this, you are a really good dancer. For them I became a really good dancer.

I take this lesson with me when I work with my own students now. You have to find that line between challenging them at the next level and making it so difficult that they get discouraged and give up. I think it is important for instructors to try to not only understand their students learning styles but to understand what sort of challenge they need to be presented with.

A case for improv

I am always reading discussion board threads on improv versus choreography. 


In my earlier dance days I preferred choreography and only choreography. Improv was a scary thing in which you were forced to think and dance at the same time and I was so sure that I was being judged as well. My fear came from thinking that I would do the same thing over and over or not be able to come up with a move that fit the music.


Now things are quite reversed. Choreography is still good. It is great for group performances and I have also learned some incredible choregraphies from master instructors that far surpass my own improvisational and choreographing abilities. It is very inspirational and challenging to dance these pieces and I do enjoy it. 


But when it comes to what I want to dance, the answer is improv. I don't mind improvising to live musicians, and I think that musicians and a dancer all improving is a particularly organic piece of composition. I prefer to improvise to music I am intimately familiar with because that is generally the music that moves me in an emotional way that I wish to translate into dance. I like to be moved and then do what moves me.


So, how did I develop this love of improv and how can you?


I had an instructor that really encouraged improv and would give us time at the end of class to just dance. She even turned the lights down so we wouldn't feel self conscious about seeing each other. I encourage my students to improv and do this same thing. I also use games to help build on their improvisational skills. Taaj's book 

Beyond Moves is a great resource for games and ideas to help introduce improv to your students (and yourself, even if you don't teach I recommend getting this book and working through it).

The other thing that helps you get comfortable with improv - Just do it! Below are a few ideas for when and where to improv, please feel free to add more in the comments.

1. If you perform at a community event, take the time to get the crowd to dance with you. You are still doing improv but there is less pressure when a 5 year old is shaking it with you.

2. Put on your music and dance around the house while you clean.

3. Set a time limit. Put music on and dance. For a surprise improv set, I like to set a kitchen timer then put my iPod on shuffle.

4. Dance for your friends and family.

5. Host a hafla with your dance friends. Just do a casual get together, no frills, no costumes, just fun and dancing.

6. Go to a venue with music and dancing and joining the crowd on the dance floor. I used to frequent a Hookah Bar where everyone danced between the performer's sets. Getting up with the crowd or a couple friends and dancing is really what made me comfortable with improv.

Wardrobe Malfunctions

It is something we are all afraid of. Getting out there and something pops, snaps or falls.
Well, I have been victim of every wardrobe malfunction out there. So let's take a look at my disasters and what we can do to prevent them from happening.

1. Hip scarf falls down
Thanks to my apple shape, my hip scarf gets tied at the biggest part of my waist. This means it can easily slide down. How to stop it? Pin it with safety pins. I recommend one on each side of the tie and one in the center back.
At a recent show, even though my hip scarf was pinned, it was sagging on the side. Since I was doing improv I took a moment to untie it as I turned and made a big deal of tightening it to the music. At a previous performance when a scarf was falling and it wasn't pinned and I was over trying to keep it on, I stopped and shimmied it off making a show of using my "jedi" powers to make it fall. I then kicked it clear of the dance floor.
Moral: Pins are your friends

2. Other layers falling/riding up
I once heard that Jillina didn't allow BDSS to use any kind of pins and they all had to sew snaps into their costumes. I don't know if this is true but it is brilliant!
I have started buying the large size snaps - quarter size, and sewing them into my various costumes. I do them all the same direction, i.e. the male side always points out. I sew the on the 4 compass points of the top. If you wear pants, skirt and belt it does make for an extra inch all around but it is worth for peace of mind and a much faster costume change.
I performed a few weeks ago and even though my harem pants already had snaps, I was worried the delicate fabric of my dress would show the snaps. MISTAKE! Even though I wear those pants all the time, I was wearing a bike shorts style undergarment. My pants started to slide down during the dance. They didn't ever fall enough to be seen in the slits of my dress but I felt them and it broke my vibe and ruined my dance.
The moral, snaps or pins, attach every layer together.

3. Bra malfunction
Twice I have had bra hooks pop. Once there was a back-up and I kept dancing. The second time, I had to retreat and change. Luckily, most bras fit so that if the hook pops you realize before anything gets exposed.
Moral: Always used heavy duty thread to reinforced hooks. Make sure you have at least two hooks. Check all your hooks for signs of wear before every performance.

4. A missing piece
You can check as many times as you want but something usually gets left behind. I always try to pack back up pieces - a matching tie top in case the something wrong with my bra, extra harem pants or even dance pants in case it is cold or I have trouble with my skirt, and an emergency back up costume. I do a lot of performances out of town and if something gets forgotten then there is no going back. I have one of Hanan Saidi dresses that are so popular. It is soft and stretchy and packs easily. I can also wear it with my everyday undergarments. When traveling out of town I always through it in my bag so if something is wrong with my costume, that one piece can be my back-up.
Moral: Always have plan B

If you have a story of a wardrobe malfunction or a solution leave it in the comments.

Things I like

I love the PA that I got for Christmas. I had a couple of outdoor events where I used a small cd player or had to burn a disc because the sound set-up wouldn't take an iPod. This prompted me to ask for a PA for Christmas. I asked my husband because he is well known for doing his research before making and purchases.

He picked out the Pyle-Pro PWMA930I 600-Watt VHF Wireless Portable PA System/Echo with iPod Dock from amazon.com 


This thing rocks. Upon opening it and testing it, I actually could not turn it up all the way because it was too loud for my ears.
It has an iPod dock on top, with controls to play, pause and advance the iPod. It is a little tricky to get the iPod into the dock because there is a spring loaded cover which I assume it to keep the area clean. With a smaller iPod (mine is a last generation nano, so current gen will be way to small), you will need to use the input cable into one of the ports. I also use this cable with a discman (yes, they still make them) to play cds. It also has a port for a guitar and 2 microphones. It comes with a wireless mic which I have used and think is awesome.
The best part, is that it has a chargeable battery so you can take it to outdoor events where there is not outlet and run it off the battery.
At my last show, my husband did the sound using our iPad connected to this. While it was a smaller show, we had plenty of volume for both the music and introduction. I give it 5 stars.

Things that are on my mind

I know I am not good about keeping up this blog and maybe if I wrote more about the things that are on my mind I would. This might be considered a rant or it might be mindless drivel but it is what I want to share.


I started teaching full time when I moved. I moved from a town with 5+ full time bellydance teachers to a town with none. Now I could have just went to workshops and practiced and performed, but I had a good feeling that if I taught I could find companions who loved this dance as much as I do. I wasn't sure that I felt super ready to teach even though my mentor encouraged me to. While I was moving, I spent countless hours on Bhuz reading threads of common teacher concerns, reading articles both about bellydance, teaching styles, adult education and brushing up on my bellydance history. I developed a syllabus for my first session and practiced teaching imaginary students in the mirror. I created my own beginner choreography. Why did I do all this? Because I love this dance. I love it so much that I am appalled to think that someone could be misinformed by an instructor. I recall overcoming my own bad habits as a beginner. They were bad habits I taught myself. How awful to think that a beginning students would pick up bad habits from me as their instructor.
This brings me to my complaint. It is a complaint as old as time, but I want my opinion on the record.
I believe a dancer needs to be at a certain level herself before she can ever be an instructor. Why do so many beginners go on to teaching? The same reason I wanted to teach. They are eager to share this dance with others. However, in that eagerness they lose sight of how important it is to be a master of the thing you are teaching. Many dancers think if they are one step past the beginner level then they can teach beginners. This is absolutely not the case. To teach beginners you need to be able to execute the move with near perfection and explain it at least 3 different ways. You need to be able to present combinations and choreographies that challenge beginners so that they will grow. How is this possible if you are barely past that level yourself?
All that being said, I think since I departed on this journey as a teacher I was forced to grow to that point. I wanted to do it right and every time I felt not good enough, I took a harder workshop, read another book, choreographed a more challenging dance. I pushed and pushed my own skills so as not to let my students down.
That is the level of dancing and instruction that I want my community to be exposed too. It hurts my heart and soul to see students and my community exposed to poor quality dancing and mis-information.
If a better dancer/instructor came along, I would take her classes and encourage my more advanced students to do so as well. Luckily for me, I have a day job so if that made my classes dry up I would be happy to share the dance with my new instructor and her other students.
Honestly, I am not sure I am ready to mentor someone to the point where they are ready to teach but if I ever had a friend or student who I felt was ready, I like to think I would be nothing but encouraging. If I thought the person wasn't ready but they had made up their mind I think I would play devil's advocate and try to make them see all the training and concepts they are missing or haven't thought of.

Anyway, that's my two cents on this topic.

Best Beauty Products of All Time (muwahahaha)

I am so glad that Princess Farhana posted her favorite beauty products. I admit that I get into a little niche and never come out when it comes to make-up. It did give me an idea. What if all my bloggy-blog friend did post on their favorite products and linked them in the comments. Then let's say in two weeks (January 22nd) I will post a poll that pits mascara against mascara and rouge against rouge and we can see who the Best Beauty Products of All Time (queue lightning) are!

Shellac Nail Lacquer 
I am lucky if I can get home from the salon with my nail color on. If I dance on Saturday, my nails get done on Friday and I DON'T TOUCH ANYTHING. Enter Shellac. Cured by a UV light, this polish will last for two weeks. I am not kidding, it only looks bad then because my nails have grown out leaving little have moons of naked nails at the base.

Any and all primers
I don't care which one. They all work. L'Oreal and Bare Minerals are my favorite ends of the spectrum.

Bare Minerals
My face breaks out if I concentrate hard enough so this is my everyday make-up of choice.

Coastal Scents
Eye shadow doesn't get better than this. The high pigment colors pop and last all day or through the show which is my goal. I use them for the stage and every day.

Smashbox Gel Eyeliner
I love cream/gel eyeliners and this one has to be favorite. I have been meaning to try the awesome colored gel eyeliners from Coastal Scents.

Make-up forever Lipstick - the Rouge series
I actually don't like that it is perfumed and reminds me of my moms old maybeline (the way it tastes) but the color is incredible and it lasts without drying my lips out and looks shiny without being so sticky my hair get stuck in it.

So go ahead, do a make-up post and link to it here. The make-up poll goes up in two weeks.