Women's Work

 Young Housewife by Tyranov

The kingdom of heaven is like leaven, which a woman took and buried in three measures of flour, until all of it was leavened.  Matthew 13: 33


Recently it occurred to me that "women's work" is not a phrase one hears anymore. I remember when growing up that women's work was referred to in a sort of demeaning way--the kind of thing that men should never do, as if it were beneath them. Today's married men often share in traditional women's work, such as changing diapers, doing dishes, preparing meals, and folding laundry. My husband helps with all of these things, except that we no longer have a child in diapers. In many households both parents work, and men share more of the burden of housework than in past generations.

That's a wonderful cultural shift in many ways, but at the same time, I am sensing a tendency in society toward bringing back the dignity of women's work. We are burnt out by the "extreme busyness disorder" of modern life and are sick with the gluttony and idolatry of consumerism. Women have been quietly leaving the trappings of career superwoman behind and coming home to be, once again, the heart of the family. They are reclaiming the traditional domestic arts--tending a kitchen garden, mothering, canning, knitting, baking their own bread...

We see in the Gospel of Matthew a parable told by Jesus, of the kingdom of heaven being like leaven that a woman uses to make her bread expand and rise. Surely a man can also bake bread. But evidently Jesus placed a high value upon this work of the woman in his day.

When I became a member of the Habeeba's belly dance troupe in Columbus, I purchased a costume that had accessories which needed to be finished. I paid another dancer $50.00 to do the bead work. I coveted her skill. I had to have a circle skirt just for practice, the fabric of which cost me $45.00. If I had made the skirt myself, it would have been a disaster. So I sent it, along with the pattern, to my grandmother, and she made the skirt, which had to be cut on the bias, whatever that means. One of the teachers at Habeeba's offered me $100.00 for the skirt! I refused her.

My grandmother is a professional level seamstress who was never paid to sew. As a mother of five, sewing was an indispensable skill to have. I was once a sales associate at the Lazarus department store in Columbus, and every single one of the women who worked in garment alterations was from Russia. American women, by and large, cannot sew. With all of the money I have spent on belly dance costuming, I learned to be in awe of the woman who is a genius with a needle and thread.

I am getting to the point in my daily round where I embrace my humble tasks. As I fold my family's laundry, I am doing the kind of work that women have historically done throughout the ages. And my family drools over my homemade French baguettes! Guiding my child to form good habits is not a waste of time; it is absolutely essential to her future life's happiness. One time my husband told me that when there is not clean underwear in his drawer, he feels like I don't love him. I have never let the underwear drawer be empty since! And isn't it wonderful how easy it really is to keep a man happy?

What the stay-at-home mother does is real work. It isn't lesser work than anything done outside the home for pay. Managing a household takes dedication, intelligence, love, perseverance, organization, creativity, and massive amounts of energy. Not to mention the virtues of patience and humility. Our work encompasses many professions rolled into one. Women who don't possess the skills necessary to do this work well feel the pain.

I remember it being said that women's work is a sacrifice, and the implication was that women shouldn't have to sacrifice anything. The Catholic worldview, on the other hand, is that we carry our crosses with joy. How radical is that?

Do not disdain the woman's work. It is the leaven of the bread that feeds the hungry soul.

This and That

One thing I have been needing, especially with my lower back issues, is new living room furniture. While I was still single I bought a vintage red velvet couch from a close friend for a steal, and that has been the centerpiece of our living room since our marriage. Last evening we had a sectional delivered from My Furniture Place in Bryan. It's mostly a used furniture and home decor store, but this is a new piece. I am now changing the decorating scheme in the room to be in harmony with the couch. I will feature pictures soon!

I have been steadily working on paring down my wardrobe. I only have pajamas and workout wear to go through, and then I will move on to accessories. One thing I have noticed is that the clothes that have gotten to stay feel more respected and special. I don't mind ironing them, and I really don't like to iron! It is looking as though I won't have to pack away off season clothing, either. There are always those cool summer nights when it's cozy to throw on a sweater and sit on the porch, especially during a lightning storm. And in winter if we went somewhere warm for vacation, I wouldn't have to dig out my summer clothes. It's an experiment, and I'm excited to see how it works out.

My belly dance clothing is mostly getting packed away. I may still be able to dance, though! I have training in various forms of Gypsy dance, and there is a new style I'm going to be working on. It's a Spanish folkloric style with a lot of floreos, foot work, turns, and skirt work. The hip work is minimal, and I think the movements will be safe for my lower back. I'm going to demonstrate for my chiropractor and get the okay first!

We're going on an Easter egg hunt at a friend's house today, and later we'll color eggs for the Easter bunny to hide. I'm looking forward to this season of the liturgical year, celebrating release from the bondage of death, a time of rebirth, new life, salvation, and energetic joy. Behold, the tomb is empty!

Happy Easter, lovely doves!!

S & F Series--When One Door Closes

Happy April! Tomorrow, April 2, is the anniversary of something that continues to affect my life today. I call it The Day of the Knee. In 2002, only a month and a half after I was married, I was in a serious car accident. I had gone home for a long lunch break from work, excited to have some time to play around in my new house. On my return to work, as I entered an intersection, the traffic light turned yellow. A driver coming from the opposite direction did not yield the right of way and made a left hand turn. We collided. My truck was totaled, and my right knee cap was broken. I might have had time to stop instead of proceeding on the yellow, but I'll never know. I was worried about being late. The other driver was cited for the accident; I had done nothing wrong. I could have chosen differently, but there is no retrieving the past. We can "what if" ourselves to death, and it changes nothing. The consequences remain.

Just the day before, 13 years ago, I took my first belly dance lesson. It was with the sister of the best man at our wedding, Deniz in Dayton. I lived in Columbus at the time. In June I went on my crutches to the Arts Festival downtown and watched a performance of the Habeeba's Dance of the Arts troupe. I took one of their fliers home and registered for classes beginning July 22. Belly dance was a big part of my recovery from the accident. I got strong again. Eventually I danced with the Habeeba's troupe. When I moved to northwest Ohio, I became a belly dance instructor.

Unbeknownst to me, a result of the knee injury was that my right leg is shorter than my left. Evidently the pressure put on the L5 area of my lower back due to the imbalance caused disc damage. One day in February two years ago, while dusting my coffee table, I was suddenly experiencing searing pain. I couldn't even sit up straight. I've had difficulties ever since.

If I didn't have the posterior annular tearing of the L5/S1 disc, my chiropractor said he would encourage me to keep dancing. But as it is...game over.

Loss. A loss of the joy of dancing, the exercise it provides, the opportunities to teach and to perform, the loss of a community. Of course, the dancer friends I have made will still be friends. Many of them I saw only once a year, at the Island of Isis Dance Retreat held every May in Loveland, OH at the amazing Grailville center. Wholesome food, idyllic country surroundings, always a phenomenal teacher, and the camaraderie of women sharing a common passion. Belly dance is a cultural experience unlike any other; you might even say it's a way of life.

The lower back injury can certainly be improved. There could even be a reversal and complete healing, but the chances of that are not very high. Still, there is hope. I was afraid to have the MRI, because I'm claustrophobic. I prayed a Rosary in my mind and on my fingers and survived the experience. I faced a fear, and that is BIG. And now I know what I am dealing with and therefore can move forward. Ironically, the directors of Island of Isis decided to retire the retreat after 20 years. Last year was the grand finale. I am witnessing the end of an era.

My grandmother gave me wise advice. She told me to give myself time to get used to not belly dancing anymore. She said not to put pressure on myself to figure out what I'm going to do next right away. This is pure genius. Because that's exactly what I was doing--rushing the process. I wanted to figure out, in a couple of days, what I was going to do next. I was panicking, because I am an artist, a creative soul, and I might die if I don't have a passionate artistic expression to pursue.

The thing is, I always had a plan. When I knew it was time to move on from a job, for example, before I left I devised a scheme for escape. My dad told me never to quit one job before I had another lined up, so I always had a grand idea and took the necessary steps to make it happen. Yet occasionally, I got unexpectedly fired. One time when this happened, I came home to find my Mary Kay starter kit waiting on my doorstep. Being a Mary Kay Beauty Consultant was my Big Dream at the time, and I was filled with hope. When one door closes, so the saying goes, another one opens.

I suspected that dancing was aggravating my back condition, and I felt that God was preparing me for something else that he was calling me to do. I was willing to accept this if it turned out that I had to give up belling dancing. When I look back on it, I am so grateful. What an exhilarating ride! What stupendous people I have met, what challenges I have risen to, what extraordinarily talented teachers I've had the pleasure to learn from, and what an enormous privilege to be able to serve God with the gifts he has given me. I even made some money for my family along the way.

Knowing that it was all probably going to come to an end doesn't make it any less devastating. My husband has also been experiencing the closing of one door after another. There must be something dazzling beyond our dreams just around the bend!

Please pray for my healing and for my family. I may not know what my next big thing will be, but I do have my tidying up project to keep me busy, thanks to Marie Kondo, who may very well turn out to be a lifesaver. In The Life-Changing Magic of Tidying Up, as I wrote about yesterday, she says that this process of discarding and reorganizing one's home will set you on the course toward what you were genuinely created to do.

I'm not going to lie to you. This process is painful. Letting go of our possessions is hard, even when we know that we must set free those things that don't spark joy. Our fear of letting go, Marie said, comes down to either anxiety about the past or anxiety about the future. We accumulate more and more possessions to remedy these fears. As we all know deep down, the next purchase is only a quick, very temporary fix. The restlessness always returns. Marie Kondo's method is the equivalent of ripping the bandaid off very hairy skin. You just gotta squeeze your eyes shut, take a deep breath, and pull it quick.

Facing your stuff, once and for all, is liberating. Making these decisions of what to keep and what to let go brings with it a growing confidence. When you practice deciding what you really love and what you don't, you get to know yourself better. You learn to know your own mind and heart. You build trust in yourself, because ultimately, you are putting yourself more completely in the hands of God.

Will you die if you don't tidy your home? Is it absolutely necessary? The answer is No. You can choose to keep on picking away at your stuff, a little at a time, and never get anywhere. Or you can keep shoving your stuff into closets, basements, and attics. But out of sight does not equal out of mind. In fact, slowly but surely we go out of our minds, because all of our stuff is wrapped up in the very corners of our being, making us sick. There is no separation of mind, body, and spirit. The clutter is there because something is wrong. Too much has been swept under the carpet, and we're afraid to look.

But you know what? Today I'm going to celebrate my 13th anniversary as a belly dancer! And we will pray for one another. We will begin with our own things, and specifically with our clothing. When that is done, we move onto our books. Category after category, one item at a time, we will sweep through our homes like domestic genies and make all of our own wishes come true.

A Fond Farewell

Organic Mothering has meant so much to me these past few years. Now the time has come to focus my energy on some exciting, new creative projects. A heartfelt thank you to all of those who have read this blog and followed me on my journey. I may occasionally return with updates and new information on what I am up to, but for the time being, I wish you all Godspeed.

With much love and gratitude,
dancingmommio

I'll Be Your Gypsy

Stevie Nicks (of course!)

Yesterday my husband and I went garage sailing along Route 127, a big, annual event spanning a long stretch of highway. I found a beautiful, 1950s porcelain Virgin Mary planter. Hopefully I'll get a picture of it up here sometime soon. But that isn't actually the theme of this post. As we were returning to our car, I fell. There was a big hole along the drive which was covered with tall, flattened grass, so it was not visible. I held onto Mary, and luckily crumpled to the ground without too much injury. Had my hands been free, I probably would have tried to catch myself with them and done more damage. As it was, an instinct, or divine intervention from the Blessed Mother, took over, kind of like dropping and rolling if you are on fire. Nevertheless, hours later my foot swelled up near the ankle, and it became increasingly painful. Some ice and Ibuprofen allowed me to get to sleep.

Some of you know that since February, on the first day of Lent, I have been injuring myself. I threw my back out that day, and it was a long road to recovery. Then I tore a big toenail partially off and had to have it surgically removed. My back has been an issue on and off, especially after a 9 hour drive to and from the state of New York. And now it is both my foot and my back that are sore. I feel like I am getting the message to stop dancing. I did decide not to teach classes this fall. For some time my students have been dwindling, and I have felt like I am supposed to be focusing more on other things. Yet I haven't stopped loving the dance! This morning I was up early before Mass, and I decided to check out fall fashion for 2013 online. I saw ostrich feathers and fur coats. Oh my. But then I saw the word "Gypsy". Now we are getting somewhere. Go to www.trendhunter.com/trends/dossier-online (Ethereal Gypsy-Inspired Photography) to see tons of pictures. If you have Tribal belly dance costuming, you are all set! Put it on mixed with some of your regular clothing, and head out on the street. Even the turban is in style.

I am inspired now by this convergence of fashion and belly dance, in the ethnic, Gypsy way, not in the sparkly Cabaret sense. That isn't to say you can't shimmer and shine. I think that perhaps I need to go inward to hear my dancer voice and ask her in what direction she wants to head next. I took a trip down memory lane and watched some of my old classes and performances on DVD. There has been enough time and distance to objectively evaluate my art, and you know what? I'm good. My choreographies are really quite lovely. My students and troupe have been just awesome. Never any drama--just the love. My niche really seems to be a blend of Egyptian, Tribal, and Gypsy inspiration.

Once my world was rocked by Hadia, and I had a conversion experience rooted in Egyptian, Golden Era music, I knew I had to set Tribal aside and really understand and better master classical belly dance. I had to get deep into the Baladi, and I'll tell you, the Baladi rhythm is my preferred rhythm, bar none. But, dear doves, I am not a purist. Looking back at those dances I have created, the unique genius is in the mix. I want to branch out musically, yet not leave the realm, if you know what I mean. I want to be a modern version of the Art Deco era Gypsy, with some Taheya Carioka and Ruth St. Denis mixed in, and a dash of the Mothers of the Bible, who were, after all, Middle Eastern. And yes, they did dance! So I'll be your Gypsy. I think I'll be back, better, stronger, maybe thinner, and all in one piece--when it's time. Still me, but different. I must simply find a way to put it all together, and allow my body to heal.

For fun and inspiration, I'll do a series of wearable, Gypsy Mama looks for fall, and I'll do it without buying anything new. I'll shop my closet, and you shop yours, and I'll meet you at the hafla!

Vintage Catholic Homeschooling & Teaching vs. Facilitation

My family has been traveling in upstate New York this week, and today we went out for a drive in the countryside seeking antiques and flea marketing. I found a Catholic school book for the lower grades called America's Founders and Leaders, a biographical history of the United States. Published first in 1928, the year both of my grandmothers were born, this is a living book featuring the discoverers, explorers, soldiers, missionaries, martyrs, inventors, and statesmen "who have helped to make our country great." The editors write, "We want you to know the glorious part which Catholics have taken in the founding, freeing, establishing, and developing of our country."

Norse explorer, Leif Erikson

 

I have gotten the impression that many Catholics are choosing homeschooling over Catholic schools, not only because of cost issues, but because the Catholic schools in some parishes are no longer providing a truly Catholic education. I have also read lamenting words over watered down religious education classes for children and the complaint that they have become "too Protestant," so some families are also foregoing those classes offered weekly by churches. There is in addition the broader discontent with how Vatican II has been interpreted and the changes in the Mass and other outcomes deemed negative by those who wish a return to tradition.

A common theme seems to run between these concerns and those Catholics drawn to a Charlotte Mason type education. An alarming modernism turns these families toward using traditional Catholic curriculum companies (some of whom reprint out-of-print resources) or designing their own curriculum with a decidedly classical, vintage orientation. There is an intense longing to reclaim traditional Catholic practices, such as the Latin Mass, Marian devotion, and a deeply encompassing faith formation for children.

Incidentally, these particularly Catholic issues raise questions regarding the growing trend of Catholic unschooling. So allow me to take a closer look at a couple of the unschooling buzzwords, as I promised in the last post to do. Unschoolers separate themselves from public schooling and school-at-home methods by drawing a sharp line between "teaching" and "facilitation." Here is a quote from author Sarah McGrath in Unschooling: a Lifestyle of Learning:  "The act of teaching includes an offer of information, at best, and pressure or threat to learn, at worst." Obviously we would wish to avoid that worst case scenario which is, in some cases, admittedly associated with teaching. But is teaching, at best, the offering of information?

First of all, this anti-teaching rhetoric supposes that the offering of information is of little to no value, a point with which I disagree. And when I consider my vocation as a belly dance instructor, so much more comes to mind. When I teach belly dancing, I share my passion (another unschooling buzzword). I pass on the knowledge, experience and wisdom of those who taught me, as well as my own personal take on the dance. I give feedback and instruct my students in how to move their bodies without injury, and I also provide an emotionally safe place for self-expression. I offer encouragement. Students follow my movements (role modeling) and verbal instructions to learn correct posture and excellent technique. I tell them about the culture of the Near and Middle East, share history of the dance in its varying forms, explain musical differences, show costuming that I own, pass pictures around, etc... The modes of teaching are endless, and my classes are often described as fun and inspiring.

Contrast this with "faciliation," the preferred method of unschoolers. Facilitate merely means, "to make easier." So, unschooling parents make learning easier for their children. That's it? I understand, of course, that methods such as "strewing" interesting and educational materials in the child's path, answering questions, having conversations, providing resources to help a child explore interests, and creating an enriching home environment are all ways of facilitating a child's education, and there is nothing wrong with any of these. They are, indeed, all good things. There is, however, a definition of the root word, facile, which means, "readily manifested and often lacking sincerity or depth." I know of unschoolers who go deeply into their interests, and I know of those whose resources are limited, shallow, and potentially harmful. My concern here is an approach to education that replaces teaching with making things easier.

Easier doesn't necessarily mean more joyful (unschooling buzzword) or substantial. Why is facilitation glorified and teaching villainized in the radical unschooling community; or at best, reserved only if asked for directly by the child? To be fair, RU parents are "allowed" to offer information and guide their children, but children are still given unlimited choice according to the prevailing dogma, and any requirement of receiving formal instruction is deemed coercion (a buzzword for another day!)

I am here to argue that teaching and facilitation can go hand in hand, and as I understand the teaching of the Church on education, facilitation alone doesn't fit the bill. Teaching is not unnatural. Rather, it has been honored from the dawn of time, and certainly from the dawn of Christianity. Jesus is the Master Teacher, the Rabboni, and there is no higher honor. Don't we Catholic parents want this for our families?

Organic Mothering is now the home of not only "the art of natural family living" but also of "the vintage catholic homeschool." Welcome to the future of Catholic education, a truly natural learning experience!

Polish.

Today I gave myself a pedicure on my balcony sanctuary. Simply having a balcony sanctuary, especially on a lovely, mild, sunny June day, should be good enough to make anyone happy. But I was in a funk today. The week started out with a bit of a traumatic experience. We were at the Renaissance Faire on Father's Day, and "Great Aunt Flo" decided to visit. Luckily I was wearing dark-colored shorts. Such a thing has not happened to me since the 7th grade! As usual, my period wiped my energy out this week, and I didn't feel like doing much. One good piece of advice I learned in Al-Anon was, "Do the next right thing."

Yesterday I did the wrong things. I drank too much coffee, ate too much sugar, and was up not feeling so well in my stomach in the middle of the night. So I began today with an oatmeal breakfast and ginger tea with honey. I would care for myself better, I vowed! I threw in a load of laundry and hand washed a belly dance top I will need tomorrow. I polished my toenails, finally having enough regrowth on the big toe where I had the nail surgically removed. I knew that feeling prettier and not wanting to hide my feet would cheer me up. I also colored my hair to cover the grays. I still really, really didn't wish to practice dancing, but I made myself while my family went to the library. I do feel better. I also helped Beezy with her 4-H dog program book, which I really had no desire to do either.

I had a choice. I could continue to feel overwhelmed and unmotivated, or I could push through the blue fog and carry on. I could take some time to read something edifying, write in my journal, eat healthy, do a little housework, talk to my husband, water my flowers, and bring some joy, even if I had to drag it by the ear, into my day. The sun is still shining as it is going down, and I have the peace of knowing that the day was not wasted. My daughter will read to me tonight, and I'll read to her, and we will say our prayers and go to sleep. Simply abundant. Life.

Bouncing Back Gently

Thursday I had my big left toenail removed by an Irish Catholic podiatrist. Having had this surgery before, I knew that the four numbing needles jabbed into the toe would hurt, but the good doctor assured me that he had just done this same thing to two 12-year-olds, and they were fine! Good for them. When he started to stick me with the needles and realized that he was, indeed, hurting me, he began apologizing profusely for having lied to me! I assured him that he did not have to apologize, but he said he did, having grown up with nuns and learning to be sorry for lying. I'm not making this up.

Saturday I belly danced for the first time since the original injury. I had only gotten back into the swing of things for a few weeks after finally healing from throwing my back out, when I knocked the toenail partially out of its socket. I did this on my screened front porch while moving a wicker chair, and I yelled really loudly. So loud I was embarrassed and ran back into the house. I had to cancel two of my dance classes. Lack of exercise results in giving me the blues, so I felt my way out of the melancholy to begin to gently dance again. Just to cycle through a warm up, some gentle drilling of basics, dancing improvisationally to an upbeat song, and cooling down with yoga. Such regular practice is centering, energizing, and strengthening, increasing flexibility and a positive body image. Not to mention the actual health and beauty benefits.

It is difficult when we are aware of what our bodies and souls need, yet we aren't able to give those things to ourselves for whatever reasons. This is when I surrender and offer it up to God for the blessing of someone in greater need. There is a place for suffering in my life, and it can benefit someone else. My faith keeps me from wallowing in self-pity or giving in to deep depression. But therein lies another source of melancholy--the fact that I reached my major goal of joining the Catholic Church. Now that this has been accomplished, I can just be Catholic! There is that sense of let down, kind of like after the build up to Christmas. My daughter is so excited to go to church this evening and have her 2nd Holy Communion. We both waited so long, and now we have our heart's desire. What does one do after one has achieved her heart's desire? After the wedding comes the long years of marriage.

So begins the gentle bouncing back from the dark, cold days of winter. Finally, it feels like spring. We will have flower after flower come up in the yard for the entire growing season. Then the leaves will turn color, and eventually it will be winter once more. It can be easy to take the tulips for granted right now, to think ahead to days spent at the pool, lounging with a good book. Even thinking of summer frazzles me a bit, though, as I feel pressure to decide if we will suspend all school work, or keep doing reading lessons as we have been. Part of me wants to jump into unschooling and flow with the current, while another part thinks that more structure is what we need! Oh bother, as Winnie-the-Pooh would say.

I have to remind myself that life has been very busy, and it is natural to be tired as a result of planning for big days and being physically wounded. Keeping it simple is the order of the day. Rest is necessary for recovery, and on Sundays it is a religious requirement! So I am off to lounge on my upstairs balcony, maybe with a bowl of ice cream.

  picnicking.blogspot.com

Why Label My Homeschooling?

What is behind my apparent need to label what we are doing as homeschoolers? After all, I have never liked labels, I am a very difficult person to label, and in many areas of life I am quite eclectic. Why not just say we are eclectic in our educational approach? That would be true in a way, but I really do not want to use the word eclectic in relation to our homeschooling. I feel strongly about this, and so I can conclude that there is a very good reason I am being internally guided away from it. People describe my personal style as "bohemian". This is fine as far as clothing or home decor go. It's a little more specific than "eclectic", but like eclectic, it is vague. I don't go around in hippie clothes, and I don't own a suede purse with fringe. I do, however, have a red velvet, vintage 1920's couch in my living room.

Like I said before in the Romeo and Juliet analogy, how we name things does matter. Words have power, meaning, influence, and deep symbolism attached to them. This is very similar to the belly dance posts I have written, about the trouble with muddied labels like "fusion". Belly dance is the English term for the social, cultural dances of the Near and Middle East. To divorce the dance from its heritage, to replace the music with some other style, to add break dancing and hip hop and still call it belly dance is a bastardization. There are particular ideas, values, philosophies, and intentions behind words. There is a reason that the pen is mightier than the sword. What I call my dance influences the actual dance I do and the music and costuming I choose as surely as the word "rose" conjures passion, sweetness, love...and danger. Just ask Romeo and Juliet.

Ultimately, the label I choose is for the edification of me and my family--and not for anyone else, although it might be useful in a discussion about homeschooling. That our homeschooling is called Catholic is of paramount importance. It keeps foremost in my mind the ultimate purpose of raising a saint in our home, which is a domestic church. If I specify Charlotte Mason as our primary teaching method, I give myself effective educational practices with which to guide me. If I use the term unschooling, I remind myself to relax and to draw no lines between life, learning, and the Faith. Would I homeschool the same way if I had no labels at all? No. And I say this with confidence, that the process of definition creates healthy boundaries. It has already changed my approach to not only homeschooling, but to living more purposefully. Life should be a very deep pool in which to swim. It's like Mary Kay Ash said--"If you aim at nothing, you're likely to hit it."

With belly dance, knowing everything you can about the origins of the dance, and dancing that style with respect, integrity, and humility, is a necessary discipline to becoming a true artist in this field. Only after mastering specific forms of dance can one rightly fuse those elements into something new. Only then does the word "fusion" have any real meaning. Labels can be limiting, yes, but true freedom lies within the limits of one's practice. Naming what we do gives form to our practice. And we can always change our minds. Our boundaries can be flexible, but they shouldn't be made of jello. There really should be a reason for why we call our dance, or our homeschooling, by the name that we do, and we should be clear about these matters for ourselves in our purpose. What's in a name? Everything.

On Synchronicity and Unschooling

"There are no coincidences." This is what a homeschooling friend of mine said when I was trying to figure out how I suddenly became interested in unschooling and how I randomly came across Astra Taylor's youtube video. Today that friend's daughter showed up unexpectedly at my house. I might have expected her, since Tuesdays are our set day to have her come over in the afternoons, and my intention has been to teach her and Beezy belly dancing. We have indeed done a couple of lessons. But last week this friend was sick, and I have been in pain from throwing my back out and did not plan to teach the girls belly dance today.

I did plan to get back to Beezy's homeschooling studies, but once again some other plan seems to be at work, a certain heavenly Providence. I do think that she thrives on a certain degree of structure. A common refrain from her is, "Now what?" Sometimes I will suggest things for her to do, while other times I tell her to figure it out for herself. It seems that when our formal "school" time is done, she is just killing time until the public schooled kids get home and she can find someone to play with. This is one of the reasons unschooling appeals to me. While a certain amount of structure is beneficial, I want lesson times to be less compartmentalized from the rest of life. Some days there will not be anyone available to play with. At times I have to do things such as prepare meals, so I can't play with her. If her dad is at work or otherwise unavailable and there are no playmates on hand, Beezy needs to alleviate her own boredom. She needs to learn to be content in solitude, or to have some days that are just for our family to be together. We don't always have to be going somewhere or doing something. Even for a home educated child who does not have the distraction of television or homework to do and a limited number video games to play, our modern society still somehow delivers the message that we cannot, under any circumstances,  just be.

Yesterday school was closed for President's Day, and Beezy was invited to play at the home of a family friend. Today, as I mentioned, her homeschooling friend came over without my actively planning it, so once again we are not doing school, though we certainly could later on. My back injury has mysteriously coincided with the children having several days in a row off school and a bounty of time to spend with friends and cousins. I have been able to read and reflect about unschooling, to write and to dream. It seems to be a clear case of synchronicity, of God nudging me in a certain direction seemingly out of the blue and then giving me all of this time to sort it out. Divine Wisdom is allowing me to be physically unable to do much else but to pray, read, meditate, and journal. What a gift! I dare not ignore the message. Things are exactly as they are meant to be, in this moment, in this time. How different life would be to always live in God's time, seeking and following his will. I feel like I'm on the verge of the freedom and authenticity I have sought for years. But I know I can't make it all happen in one day, one week, one month, or one year. I have definitely turned a corner though, and I must trust that the Promised Land awaits!

Seek ye first the kingdom of God, and his righteousness; and all these things shall be added unto you. (Matt. 6:33)

Stylish Mom Ensemble #2

As Winnie the Pooh would say, Oh bother! My camera seems to be at the end of its productive life. The quality of photos from my latest stylish mom ensemble was not very good, but a few shots will work well enough. I will most likely not post a new look until I get an improved camera, which I really planned to do anyway, so it all comes out in the wash...

sweatshirt, Shopko Hometown; skirt, Ann Taylor Loft (many moons ago); indigo jeggings, Wal-Mart (a few years back); patent "leather" ballet flats, Simply Vera at kohls.com; necklace, flyingskirts.com

I wore this on the day I taught my belly dance class last week, so it was inspired by that vocation. I actually went to class dressed like this, and after warming up, I took off the sweatshirt and just wore a sleeveless top I had on underneath that matches the skirt, also from Ann Taylor Loft. I tucked the skirt up so my students could see my knees, which is very important, so it was a mini skirt over leggings look (very vintage 80s "now").  Too bad I didn't think to take my camera! The necklace is from Tribal belly dance outfitter, Flying Skirts. I highly recommend them! So the moral of this story is to take a particular element of your lifestyle and incorporate it into your everyday look. By the way, Paris fashion week showed designer sweatshirts worn with pencil skirts and heels! This is a more everyday version.  Here are a couple of closer shots of the necklace (my earrings are silver leaves):

For this hair do:  I used Pneuma styling creme and Real Purity styling gel (realpurity.com) on freshly washed hair. Since it is naturally curly and frizzes easily, I dried it only at the roots (with a diffuser), then twisted it up in back and pinned with a large clip.  I flat ironed the fringe. Easy breezy lemon squeezy.

And just for good measure, here I am wearing my eyeglasses by Cover Girl:

Beezy (my illustrious photographer) wanted to have her own photo shoot, so here she is wearing a vintage 20s, velvet tunic vest of mine, tied with a coat belt, and red ladies' gloves that I use for decoration (though I may incorporate them into a future ensemble!):

Special tip:  Line blue eyes with bronze eyeliner or shadow to make them pop!

American Vintage Oriental Belly Dance

In the 1960s and 1970s, Middle Eastern night clubs were opened by immigrants across the U.S. in places such as New York City, Detroit, and San Francisco. Middle Eastern dancers were brought in to perform in these clubs, bringing the “Oriental” styles of belly dance to American audiences.

Belly dance originates from three main branches—Egyptian, Turkish, and Lebanese/Syrian. Each of these styles comes from the folkloric, social dances of the people of various regions in the Middle and Near East, Mediterranean areas, and North Africa. In the night clubs of Cairo in the 1920s, ballet was incorporated into the traditional, cultural dances to polish them up for the stage. Along with glitzy, glamorous costuming invented by Hollywood, a professional, Oriental version of belly dance was born.

American women interested in learning belly dance picked up what they could from the dancers coming through the Middle Eastern night clubs. While the three main branches of the dance share the same, basic movement vocabulary, Americans could not distinguish between the nuances of music, style, and presentation. They blended what they learned together into a distinctly American version of belly dance. A 5-part format developed, with sections of the performance to include an entrance, a slow segment, a drum solo, floor work, and a finale. The prolific use of props such as zills, veils, and swords became distinctive features of the American style, and there was a strong flavor of Greek and Turkish influence. 

 Elena Lentini

Today this style is known sometimes as American Cabaret. This label is problematic, as it leaves out the fact that this dance, though an American “fusion” form, is composed of authentic Middle Eastern dance. Perhaps a more accurate term is American Vintage Oriental, which reflects the Middle Eastern roots while at the same time acknowledging the contribution of American dancers at a particular point in history.

In the U.S., American Vintage Oriental belly dance has evolved into two main “camps,” typically referred to as Tribal and Cabaret. The Cabaret version reflects the glamorous night club style, with its heavily beaded and sequined “bra and bedlah” costuming, usually worn with a skirt. It also retains the airier ballet influence with much dancing done on the balls of the feet, and is most often performed as a solo dance, although group choreographies are sometimes used.

The Tribal style descends from Jamila Salimpour’s troupe, Bal Anaat, in the San Francisco Bay area. Salimpour brought her version of the dance out of the night clubs, to be showcased instead at outdoor Renaissance fairs. She used folkloric style costuming and an earthier interpretation of the blended Middle Eastern dance forms. Individuals performed within the context of a large group of background dancers and musicians. 

 Aida with Bal Anaat

These categories are very general and are meant only to provide a broad framework for understanding the evolution of American belly dance, and in fact many dancers today use a combination of both Tribal and Cabaret stylistic elements and costuming. The dance has continued to develop in various ways in the United States, including the study of specific forms as performed in Egypt, Turkey, Lebanon and other countries of the overall region, returning the dance to its original, distinctive cultural roots, in more “pure” variations. A movement in the polar opposite direction champions personal interpretation and an “anything goes” fusion mentality over the preservation of traditional representations of the dance.

While Vintage Oriental is still performed, it has become something of a dying art. Perhaps it is this forgetting of the Middle Eastern roots of the dance, and the specific blended form that developed in the 1960s and 1970s, that has contributed to the disintegration in some sectors of authentic forms of belly dance in the U.S. Yes, belly dance is a living, evolving art form that welcomes personal innovation, but its cultural roots are inherent to any true understanding and representation of this beautiful, feminine expression.

Fall Belly Dance 2012 in Bryan, OH Session 2

Rita Helena, Directress of Parvana Moonfire Belly Dance

Neo-Classical Belly Dance with Rita Helena:

This class features a multi-level format in a synthesis of earthy Egyptian Beledi, Golden Era elegance, and American innovations, with an aura of Gypsy romance. Rita Helena’s expertise and creative techniques will provide a beginner friendly experience but will challenge even the advanced dancer. The class will include basic alignment, posture, isolations, shimmies, layering, personal styling, fluid transitions, graceful arms, fun dance combinations, and much more. Belly dance is a powerful way to strengthen the core and tone the body, as well as enhancing rhythm, flexibility and beauty. This ancient art form is the ultimate in feminine exercise. Come and embrace the dancer in you!

*All classes will be held at the Bryan Community Center on Buffalo Rd., upstairs. The session will run for 5 weeks on Thursdays from 6:30 to 7:45 p.m., beginning November 8, and the cost is $50. There will be no class on Thanksgiving Day. Please call the Parks and Recreation department at 419-633-6030 to register. A minimum of 8 students must be pre-registered, and pre-payment is highly encouraged to reserve your space. (This class replaces the previously scheduled classes for this session.)

*Students should dress in comfortable clothing that is not too loose, so the instructor can see your movements, and wear a belt or scarf around the hips. You can dance barefoot or in socks or ballet slippers. All classes will include a full body warm up and yoga cool down, for a holistic fitness experience.

Vitality Progress Report

How are we doing with our plan toward greater energy, health, and fitness? My new belly dance session started yesterday, so I am lucky to have the additional motivation of preparing to teach others. In fact, last week I had set my troupe a challenge to keep a practice log and do a belly dance workout 6 days a week. After only a few days, I did have more energy. But then Easter came, and the bunny brought me my own basket, and I got lazy. This can easily happen! So I want to encourage you right now to get immediately back on the bike if you fall off. You can always start over. After all, Scarlet O'Hara said, "Tomorrow is another day!"

So after I posted the vitality challenge here, I got my shimmy on again, even putting in a whole hour on Wednesday. I have still been eating Easter candy, but I took it out of the basket and put in in the cupboard so it wasn't in plain sight every time I walked through the dining room. I drank extra water after my morning coffee, and indeed it took care of the usual dehydration. Last night at class I could swear I already looked thinner! That is the power of the mind. Once you start on a program to improve your quality of life, you will instantly feel better and have an enhanced image of what you see in the mirror.

For the program to be effective, you have to do something you enjoy for exercise! If it is boring and you have to force yourself, it's the wrong thing. For instance, I do not like to run. I have no desire to run. So I would be crazy to make running my choice. This may seem obvious, but so many people have a gym membership they never use or a treadmill or elliptical machine sitting in their spare bedroom gathering dust. You know who you are...

Also, make sure you will not injure yourself. Personally, I don't think running is a good idea, especially on concrete, as so many people I know have suffered injuries. You can get the same benefits from walking, but you have to walk a greater distance. Get some help from a personal trainer so you are using equipment correctly. Wear the proper shoes. Warm up first, and don't forget your cooling down stretches. If you have been sedentary, don't overdo it. Increase the intensity of your workout gradually. Set yourself up for success! A yoga, pilates, belly dance or other class will also give you the opportunity to get out of the house and meet people. Zumba is popular, but again, if you are very out of shape, an hour long, high impact aerobic class will be too strenuous to start with.

And finally, I have decided not to weigh myself, and I encourage you not to either. Focusing on one's weight may have the result of adding more weight! My scale is not accurate, anyway. You will know by how your clothes fit if you are losing inches. But if you do want to weigh yourself, do so no more than once a week, and make sure it is on the same scale, first thing in the morning, each time, as weight can fluctuate throughout the day.

So is anyone with me? Take a moment to comment here on the blog or on Facebook and keep me posted!!

Belly Dance Evolution Confusion

I want to continue the discussion of belly dance fusion confusion begun in my previous post. Inevitably, the reasoning in many an article and comment I have read is that belly dance is a living, evolving art form, so questions of authentic representation are moot. I agree that certainly over the thousands of years that belly dance has existed there have been gradual changes, modifications, and creative expressions that have evolved over time. We don't have youtube videos from ancient Egypt, only paintings on the walls of temples and tombs. So we can only guess, right? So whatever one wants to do with the dance is okay, yes? No.

Now, I am not a "purist". That is, I don't think you need to travel to Egypt and live with the Saidi people to learn to belly dance, using only Saidi music and wearing the traditional dress. Some Saidi styling can be incorporated while wearing a bra and bedlah and dancing to modern Egyptian music. But think how odd it would be, if you know anything about Saidi, to do that folkloric dance to industrial, gothic music while wearing a corset and ruffled skirt. Costuming is not really my biggest area of concern, but you get the picture. In case you don't...

There is nothing necessarily wrong with this look, but it would be an insult to the Saidi to do a traditional cane dance to moody, gothic music wearing something like this. As I said before, the music and the dance are married, and the costuming should reflect the general dance style. As Bahaia said at Island of Isis a few years ago, if you do not like Egyptian music (or Turkish, Lebanese, etc...), you need to ask yourself why, and that maybe this isn't the dance for you. She mentioned that there is a lot of fusion music available using Middle Eastern rhythms and instruments that would perhaps work if one does not prefer the traditional, classic styles. There is also Middle Eastern pop music. Bahaia added that she feels there is too much division between the two camps of "cabaret" and "tribal" belly dance, especially since both have their roots in the Golden Era of Egypt from the 1930s to the 1970s.

That brings me to my next topic, in regard to these two camps. Jamila Salimpour's troupe, Bal Anat, performed at Renaissance fairs in the 1960s, making popular a folkloric inspired look in opposition to the sparkly beads and sequins that were popular in the night clubs at that time. She developed a chorus line format in which individual dancers or small groups would take turns coming out from the group to showcase their individuality. Dancing with snakes was common. Some dancers prefer the covered up, earthy look of Tribal, which originated with Bal Anat. And some think cabaret dance is too flirtatious, and it's just not their style. I would argue that you can dress modestly doing any form of belly dance, and that you can embody the music in a way that reflects your personality, whether you are shy, bubbly, outgoing, funny, loving, ethereal, intense, or fierce. Besides, don't we women have many, many moods? That's what makes us so glorious!

Bal Anat

Jamila was married to a Persian man, and they owned a Middle Eastern night club, where she was self-taught by observing the dancers from various countries who came through. As I explained before, Americans approximated the movements as well as they could. Jamila is a well-respected innovator in the belly dance community. Carolena Nericcio, founder of ATS (American Tribal Style) and Fat Chance Belly Dance, learned from a former student of Jamila. Carolena's format is based upon Bal Anat's chorus line idea, but her technique is her own creation, and the element of improvisational leading and following was added. Carolena is regarded highly in the Tribal world.

Because ATS has the look and feel of a folkloric dance, it is thought by some to be a more authentic representation of what belly dance might have been like in ancient times. Tribal belly dance is often explained as a modern Gypsy styling, taking what one encounters along the way and "fusing" it together. This is not actually the case. It is an amalgamation of dance inspired by the folkloric forms of various tribes of the Near and Middle East, North Africa, India, and Spanish flamenco. If you have ever seen true Gypsy dance, such as Turkish Rom, which is always done to a 9/8 rhythm, you will recognize nothing similar to ATS, except for dancing in a circle. That being said, the Gypsy spirit certainly lives on in the Tribal belly dance world.

The authenticity issue is not one of tribal vs. cabaret. I have never even heard an Egyptian style dancer refer to what she does as "cabaret." This is a generic term used in America and other countries to refer to belly dance that is not folkloric or tribal. The Egyptian term for what is referred to as cabaret is actually Raqs Sharqi. Raqs Sharqi evolved from the Baladi (meaning "of the country"), the social dance of rural Egypt, which was brought to the urban areas during the Industrial Revolution. In the 1920s the Baladi was polished up for professional night club performances, and Raqs Sharqi was born. The Baladi is the mother of modern Egyptian belly dance. 

ATS/Tribal may be understood as a sub-genre of American belly dance, considering its roots in Bal Anat (which was dubbed in its heyday as "California Tribal"); or it can be considered its own thing, a separate style of belly dance created by Carolena Nericcio. There is nothing wrong with Tribal as long as it is presented as an American representation inspired by the ethnic dances of a wide range of peoples, incorporating various movements and aesthetic elements, rather than as a pure form of Middle Eastern dance.

A more recent development is a partial return to cabaret styling by tribal dancers who want the "best of both worlds" and incorporate elements, in costuming and movement, of the two styles. The effect is similar to the blending of various Middle Eastern styles into American belly dance in the 1970s, with a Tribal flair. Therefore, Tribaret is considered by some to be the "new classic" in American belly dance. The best example of Tribaret I know is Carrie Konyha, who also incorporates Gypsy styling into some of her dances.

Zoe Jakes

The problem of the degeneration of belly dance occurs with the proliferation of "fusion" which is not true fusion, whether it is classified as tribal, cabaret, or other. There is in many cases no blending together of two or more different styles that a dancer has mastered through years of study and incorporated into a cohesive whole. Tribal Fusion has become a catch-all umbrella for anything that contains some element of belly dance, no matter how small, but is not easily classified. And this validation of anything goes is defended in the name of evolution. Let's take a look at the animal world for an analogy here. The elephant of today evolved from the prehistoric wooly mammoth. We can see that while the mammoth's tusks are larger and he has more hair, he is still clearly recognizable as the ancestor of our elephant. The same cannot be said for the difference in the dances of Naima Akef and Zoe Jakes, for example. Birds may be descended from dinosaurs, but a Tyrannosaurus Rex and a robin have very little in common!

wooly mammoth

In conclusion, as Bahaia said, know what you are doing so that you can do what you want. And I would add that if you are going to call your performance or your class belly dance, make sure you have a solid background in a traditional form and that in your creative expression you do not cross the line into a region that is no longer an authentic representation of the cultural dance. I always explain the origins of ATS when I teach in the improvisational Tribal style, which I consider a reasonably authentic form of American belly dance. If you love Tribal, learn it well! Within the realm of Egyptian dance alone, there are already several forms that can be learned and take years to master. There is ample room for your uniqueness to shine. In any case, know where your dance comes from, whether it is tribal, folkloric, gypsy, or cabaret! Make sure your dance has not evolved from a beautiful swan...to an ugly duckling.

Belly Dance Fusion Confusion

 Bozenka of Belly Dance Superstars

I am disturbed by the deterioration of the art of belly dance that I have been seeing for some time in this country. Yesterday I attended the Belly Flea Agora in Toledo, hosted by Aegela. My troupe performed our new number, and there were lots of great things at the bazaar to see and buy. It is always a fun event, and I love spending time with the larger belly dance community. Perhaps I was especially alert to the type of dancing going on this year due to having a new troupe member participating in her first performance with us. I was terribly afraid that what she saw would give her a really wrong impression of this dance form.

The problem wasn't bad belly dancing. I applaud any woman who has the guts to get up in front of an audience and do her best to represent the dance. My issue is with what I will call fusion confusion. It must first be understood that belly dance is the American name for the cultural dances of the peoples of the Middle East, Near East, and North Africa. Specifically, there are three main branches--Egyptian, Lebanese/Syrian, and Turkish. Other variations come from one of these three basic styles. And of course there are styles particular to the various tribes and regions within each, such as the Saidi and Ghawazee of Egypt.

Raqs Sharqi is the modern form of Egyptian belly dance that is often called "Cabaret". It developed in the 1920s in the nightclubs of Cairo, basically taking the folkloric, social dance of the people and polishing it up for the stage, incorporating some elements of ballet and jazz. Costuming was borrowed from American fantasy, a bra and bedlah (belt) of heavy beading and sequins, with a filmy chiffon skirt, and sometimes adding high heeled shoes. This was the first fusion of belly dance, but it did not stray in its use of classical Egyptian music and movement. It was merely glamorized for professional dancers and movies.

 Egyptian film dancer Taheya Carioka

When belly dance became popular in America, there weren't many teachers of authentic technique available. The "Oriental" dancers (belly dance is danse orientale in French), as they were called, showcased the various styles of their country and region of origin, and Americans could not differentiate between, say, Egyptian and Lebanese style. So American dancers approximated the movements as well as they could, learning from the variety of dancers coming through the clubs and mixing the styles together. This became the next genre, American Cabaret, also called Vintage Oriental or American Restaurant style belly dance. Eventually some American dancers figured out that they needed better training and traveled to Egypt and other countries where belly dance originates and learned specific styles of this art form. Today, especially with video technology and many classes and workshops being offered all over the country, there is little reason why anyone would not be able to find a good teacher and learn an authentic form of this cultural dance.

But therein lies the problem. It seems that many enthusiastic, well meaning teachers and dancers are not aware that what they have learned is not authentic. They don't seem to understand, or perhaps care about, the roots of this beautiful dance. In the name of creative license and self-expression, they have distorted the dance into a circus act of anything goes.

Some of the trouble seems to have started following the development of American Tribal Style (ATS) in the San Francisco Bay area. A highly creative dancer named Carolena Nericcio, whose teacher had been Masha Archer (a student of Jamila Salimpour, celebrated founder of the troupe Bal Anat), developed an improvisational, lead-and-follow format using a system of cues and transitions. ATS is based upon a combination of elements, with certain aesthetic modifications, of dances from the Middle East, North Africa, India, and Spain (primarily Flamenco), claiming to be heavy with Gypsy roots. I have previously discussed in "Belly Dance Conversion Story" why ATS is not considered by some seasoned dancers to be a true fusion.  The reason is basically that there must be a mastery of the individual components before combining them into a fusion, whereas with ATS the dance is learned with the various styles already combined.

Still, troupes such as Fat Chance Belly Dance and Gypsy Caravan (whose founder, Paulette Rees-Denis, designates as simply "Tribal" rather than ATS) use music with Middle Eastern rhythms, although in a simplified form so as to allow for the lead-and-follow (like a flock of geese) aspect. With ATS and related forms of Tribal, the roots and spirit of the cultural dances are recognizably preserved as a sub-genre of American belly dance. As with any form of dance, done well, it can be lovely, especially in its simple elegance. At any rate, the founder of ATS never claimed a purity of authenticity. Carolena created her own brand of belly dance.

 Carolena of Fat Chance Belly Dance

Of course, poor education is not limited to the Tribal camp of dancers, and I don't mean to imply that it is Carolena's fault that belly dance ended up spinning left of center. The unfortunate trail is that from ATS "Tribal Fusion" developed, and the variations have been endless, the result often being an almost complete breaking away from the roots, not only of belly dance, but even of the Tribal form! In these concoctions there is very little evidence of belly dance, Tribal or otherwise, except in the costuming, but even here the style of dress may contain nothing of a traditional nature. Tribal belly dance costuming typically attempts a folkloric/gypsy look, incorporating various pieces from different tribes of people. But the current trend in some circles of Tribal Fusion is that the totality of costuming, music, and articulation of movement used can no longer be considered belly dance at  all.

My admonition is simply this: Be as creative, theatrical, and interpretive in your expression as you would like. Just don't call it belly dance if it isn't belly dance!  For example, if you want to wear gothic costuming with metal spikes while dancing to Nine Inch Nails and moving like a vampire closing in for the kill, do not call this belly dance. It is misleading to anyone watching you, regardless of the fact that you do some hip circles and chest slides here and there. Same goes for hip hop and breakdancing influences, or Burlesque inspiration in which the dancer seems to be asking for a spanking! This is all insulting and disrespectful to the peoples to whom belly dancing traditionally belongs. Perhaps a safer label for much of what is presented in such ways is "interpretive dance."

 Gothic Dancer Tempest

Yesterday at the Flea Agora there was blue grass type music, Johnny Cash's "Walk the Line", and that "Hey kids, rock and roll..." song. The music and the dance are married, ladies! Think of it another way: you don't disco dance to Polka music, do you? Before one can fuse anything, one must have mastery of the forms being fused. True freedom comes not by bastardizing this dance, but by innovation within the traditional form (and I do feel that classic ATS or Tribal, as developed by the likes of Carolena and Paulette, can in its own way be included as an authentic variation). There is a circle within which to express oneself artistically. Learn an authentic form, and learn it well. Then you will have earned the right to change it up in your own, signature style. As a side note, American Vintage Oriental style seems to be making a come back, after it had been feared to be a dying art. A blend of traditional forms, it is an important part of belly dance history well worth preserving.

Thank heavens Aegela herself performed toward the end of the show. I could barely contain my happiness at seeing this master of Egyptian dance do her thing. "That's how it is done!" I said to my new student performer. "That is real belly dance."  My student loved the Tribal costuming, and the articulation of movement particular to Tribal, and that is fine. I just want, for her and for all aspiring belly dancers, to really get to the heart and soul of this treasure of the Near and Middle East and North Africa, and to keep in mind that the Gypsies, more appropriately called Romany, had thousands of years to create their fusion. They are true masters. In an era of instant gratification, one must practice humility and restraint. Belly dance takes years to learn. Take the time if you want to be a dancer rather than a poor imitation. Let's stop sending in the clowns.

 Gypsy from the 1900s