Monday, November 18, 2013

The Birthing of Muse: Part Two

The Birthing of Muse: Part Two
Apologies for the very delayed second part of this post. Life, travel, and dance have kept me very busy over the past few months. Pleased that I now have a bit more time to push away distractions, hear the thoughts in my head, and share them with you.
The positive side of so much time since my last post is that there have now been two sessions of Muse: A Theatrical Bellydance Project, and more concrete ground on which to assess the concept. For those who might be unaware of the protocol for dancers applying to Muse, I have a fairly comprehensive set of questions that applicants respond to when submitting their proposal to perform. These questions are meant to elicit a deeper foundation of understanding for each dancer and illustrate depth of narrative, construct, character, inspiration for the piece, and stagecraft. For each session of Muse, I have been really honored, appreciative and impressed by the amount of time and dedication demonstrated by the performers who apply to each session of Muse, showcasing variety, and bringing a unique vision for each work.
I think that the main difference between Muse and other dance events is the emphasis on experimentation, and honoring the creative process.This begins with the comprehensive template of questions for the application, continues in the workshops designed to stimulate creativity, and is strongly emphasized in the performance part of the session, as the audience is encouraged to dialogue with the dancer in real time, immediately after their performance. The feedback that I have received from the performers Indicates that they truly enjoy having a safe and responsive sounding board to discuss their work. The feedback that I have received from the audience is that they have been impressed by the quality of performances. As Muse is held in a large dance studio, with a fairly small audience sitting right up close to the dancers, the intimacy of the experience allows for a really wonderful conversation about creation.
I am excited by the possibilities offered by the Muse project including a choreography called Rara Avis that will be specifically created for the Gala Muse event to be scheduled for spring 2014. More on that in an upcoming post....


Wednesday, June 5, 2013

The Birthing of Muse: Part 1.




The Birthing of Muse: Part 1.

I have decided to break this entry topic up into two smaller posts. In reading through previous blogs, I have discovered that my background in academia has stayed with me, as I seem to have an amusing inability to either write concisely, or to not expound on tangents. Also my husband has begun calling my posts dissertations:-) so I figured it's time to reign myself in a bit!

So, moving on. Since my last post, I have had the opportunity to do some more travel for theatrical bellydance performances (including Lumen Obscura in CA), and am currently preparing for several more performances including the NY Theatrical Bellydance Conference.  In my travels I have had the good fortune to study with some of the premiere instructors of fusion and theatrical dance, and have enjoyed the camaraderie of being with other like minded dancers. Whenever I arrived back home in Boston however, I invariably felt a surge of disappointment and frustration. I wanted to continue to grow, evolve, and share my knowledge and passion with other local dancers, but there didn't seem to be an avenue for this type of immersive experience. We were fortunate to have Waking Persephone within easy reach in 2012 and 2013, but nothing longer term that would allow for a collective of participants to meet regularly, experiment, discuss, and challenge each other to grow as dancers and performers. I also noticed that in most local events that I attended, there would usually be several theatrically oriented performances.  So, it appeared on the surface at least, that there might be some interest in having an ongoing mini symposium that would offer workshops, performance opportunities, discussion, etc and focus on the many aspects of theatrical bellydance. After considering how much I would be able to commit myself to this type of immersive experience, I decided to create Muse: A Theatrical Bellydance Project and offer it on an every other month basis for the remainder of 2013. Depending on the level of interest, I am hoping to continue Muse into 2014.




I decided to utilize the word project to denote an ongoing, experimental, constantly evolving type of showcase. To me the word project brings to mind possibilities, questions, potential. In a discussion with a fellow dancer the other day, about the Muse project, I told her how the impetus behind Muse reminds me of a professor I had in my first graduate program at Syracuse University (in my former life when I was an art historian). She was one of my very favorite professors as she seemed more interested in the process of learning, than a specific outcome. Every class she would begin by asking us a question. That was it...no formulaic lectures, no giving us the accepted answers, just creating a space for learning by asking a question. For the rest of the class, that question would open up a dialogue, further opening up other questions, other dialogues and enriching the learning process. This type of commitment to the process of learning, and creating, was only possible because this wonderful and wise woman had the confidence to empower us to think for ourselves. That process of learning, and at the same time unlearning societally accepted methods of instruction, has stayed with me, and influenced my entire way of looking at creativity. In effect, she opened up the channel to the muses for all of her students. She allowed us to find access to our evolution as creators, students, art historians. Thus, my decision to name the project Muse; in deference to the potential that lies within all of us to create, to learn, to evolve. My hope is that Muse will allow us to open a dialogue, create a safe and sacred space, and invite dancers to challenge themselves as performers, artists, and community members.

*All images by RavenWolfe Photography*

Thursday, March 28, 2013

Controversy and Photoshop in the Art and Business of Dance


“Love of beauty is Taste. The creation of beauty is Art.” 
~Ralph Waldo Emerson



In the past few weeks, I have seen multiple posts on FB with fairly long threads regarding the subject of photoshop. As this blog is dedicated to older dancers, it seemed appropriate for me to highlight this topic, as there seems to be some disagreement as to how we should appear in images posted on our websites, FB, promotional material, etc. In the FB threads, dancers have noted their concern over the inappropriate use of photoshop (both by photographers and dancers)  to gloss over signs of aging, hide or modify body type, and overall give a sense that the dancer is not as she appears in person. Some arguments against this type of photoshop treatment is that it gives the audience a false sense of glamour, that it won't attract students, and that it is an archaic remnant of a patriarchal society, that has no place in the modern world of belly dance. I applaud all of these dancers for speaking their mind articulately, and standing up for their beliefs. I believe that this kind of dialogue is vitally important and allows for the possibility of greater acceptance of ourselves, and each other.

I also pretty much completely disagree with all of their opinions and statements. And yes, I'm expecting to have a long line of dancers who will disagree with my opinions and beliefs as well. I'm fairly certain that I am in the minority; at least of dancers who are willing to be vocal about their use of photoshop. It's tough to be the one dissenting voice in a crowd, but I felt it necessary to be honest about my opinions and practices.


Let me start off by saying.....for those of you who may not know, that I am married to one of the premiere fine art photographers in New England. My husband specializes in studio, and on location shots of dancers, and is also tremendously talented at performance portraiture. I am extremely lucky to have such easy access to a wonderful photographer to document my performances, and do professional photo shoots several times a year. Because of his dedication to my dance career, I am able to pepper FB with high quality images, and have a website filled to the brim with his fairy tale, bittersweet works of art that have given me a type of mystique that I could not have built any other way. You see, in my opinion, mystique attracts people, including perspective students, and audience members. Now once you HAVE the students and audience members, you need to be able to follow up with a quality product; whether that is a fantastic performance, or good, solid technique, and advice as a teacher. Mystique with no skill to back it up is worthless, and a dancer that solely relies on this will soon find that they have less of a following (at least I would hope this was the case, although I have seen dancers with strong mystiques, strong followings, and poor technique). However, for a dancer that DOES offer a quality product (and please let's be honest with ourselves that for many of us, this is a business as well as an art form), having a well composed, compelling gallery of photos will attract students and audience members.

You see, in my opinion, dance....especially belly dance  is about escape. Think of the type of escapism in other aspects of show business, and how much money is spent going to movies, plays, concerts, etc.  An audience wants to escape from their everyday life, even if it is temporary. As belly dancers we also have a sense of glamour and mystery. Potential students and audience members want a little piece of the glamour for themselves! They want to feel empowered and beautiful. Now once they get to class, they realize that to be a quality dancer, one must work diligently and not just be photogenic. Some students choose to dedicate themselves to their craft, and some do not, but even for those that do, there is usually still a desire for a glamour of empowerment and mystery. If a student looks at my FB page, or my website, they will see my unique type of sensibilities and mystique through images that are artfully created through use of photoshop filters and enhacements. The mystique is not disingenuous, it is completely authentic, as my personal vision of dance, life, and art is echoed in the dark fairy tale like images in my galleries. These images help give vision to a feeling, an energy, a vibe. These photos which are imbued with darkness, but also light and hope are about escapism, fairy tale and fantasy....and theyre effective. I have pretty much no doubt at all, that if my website and FB pictures were of me looking the way I do everyday, with no photoshop and no filters, that I would have a public much less interested in my career. I'm a good dancer, a good instructor, with a very well rounded background in dance, but there are hundreds if not thousands of other dancers with the same curriculum vitae as I. How do I find a way to stand out amidst a sea of talented people? As business people, we NEED to have a way to sell our product, and attract an audience. What makes us stand out? What is our style, our vision?

And in deference to the topic of vision, look at the website of any nationally/ internationally known belly dancer. They are replete with well composed, beautiful, haunting images designed to create a sense of intrigue, and give the audience a sense of wonder and awe, maybe even create a desire to have that type of glamour for their own. These dedicated artists have a mystique, a charisma, an air of mystery. This type of image is not even remotely possible without the use of photoshop.



I'm also wondering if the threads describing the injustice and disingenuousness of photoshop have considered other ways that we choose to improve our appearance. Are those against photoshop also against coloring their hair, wearing makeup, wearing attractive costumes, or wearing contact lenses instead of glasses? After all we should be accepted exactly as we are correct? According to this line of thought, we shouldn't even need to put on a fancy costume, or do makeup and hair to dance. So why do we?

Because dance, and especially belly dance is not just about hard work, and dedication to art and technique, it's also about glamour and escape. How many of us have seen dancers need HOURS to get ready for a performance? How many of us have spent our paychecks on beautiful costuming and accessories? The perfect Bedlah, or a gorgeous piece of assuit? Hair, makeup, and costuming is essential in performance. I've seen plenty of FB posts and threads complaining about dancers who don't spend enough time and money on professional costuming commenting that it looks amateurish and reflects badly on the art form. So why do we speak out if a dancer allows their images to be photoshopped to make them look their best?

Why have a picture of yourself on the website at all if image doesn't matter? It really isn't mandatory. We can have websites filled with resumes of past performances, upcoming classes and performances, quotes from satisfied students, etc.... We don't NEED to have our picture of the website. We choose to, as we know that dance is a business and we; our skills, talents, experience, training, and our bodies are the product. And to dancers who say that having a picture showcasing your appearance in a flattering way is not important, I ask why have a professional shoot done at all? Why not just go to CVS if a picture is needed for a promotional image? And finally, for those dancers who have had professional photo shoots.... with this type of shoot, you are usually provided with a number of images. When was the last time you just closed your eyes and randomly picked out an image to put on your site? Chances are that you chose a flattering portrait of yourself; one with a beautiful smile, or a flattering angle for your head, something that showcased your assets. How is the act of choosing a flattering picture that different than the act of creating a flattering picture through photoshop?

So as an older dancer, I choose to have my images photoshopped in a way where I still look like myself, but a better version of myself......and to be honest, that would have been the case even if I was much younger. I choose to have my images reflect the  dancer that the audience sees when I am onstage, rather than how I might appear at the grocery store. I choose to wear contacts, color my hair (no grays yet, but my boring brown hair just isn't as appealing as red), wear sunscreen, wear makeup, and find costumes that are appealing on my body. I choose to have many photo shoots with an infra red camera, which sees only heat and not light, glossing over many surface imperfections (no photoshop needed). I choose to present the very best version of myself for my audience, and for myself. I choose this, NOT because I wish to be inauthentic, or disingenuous, but because I know that I am my own product.  I approach dance as an artist, but also as a business person. I know that image sells and attracts an audience, and quality maintains and builds an audience. I encourage dancers of all body types, shapes, sizes, and ages to feel empowered and proud of their appearance. You do not need to radically alter your appearance with photoshop to have a sense of glamour and beauty. A little photoshop goes a long way, and you can still look like yourself in an image even after it's been tweaked a bit. I am not in any way advocating that your images be dramatically modified. I am however stating that it's ok to find ways to help ourselves look and feel our best in order to attract an audience, and stay competitive. And having said all of this....no amount of photoshop will conceal personality flaws, cruelty, or avarice. A good photo, just like a good performance, reveals our humanity.  A truly great photographer can capture the essence of their subject in a portrait. But the essence of that person; their spirit, light, and energy, can also be highlighted by the right filters, the right lighting, the right artist, the right photoshop.


All images in this post by Peter Paradise Michaels of RavenWolfe Photography. Please see link below for his website:
http://www.peterparadise.net/RavenWolfe_Photo/Home.html

Thursday, March 14, 2013

Boundaries and self care


"The purpose of having boundaries is to protect and take care of ourselves.  We need to be able to tell other people when they are acting in ways that are not acceptable to us.  A first step is starting to know that we have a right to protect and defend ourselves.  That we have not only the right, but the duty to take responsibility for how we allow others to treat us." ~ Robert Burney


Photography: Michael Harkavy, Photo editing: Peter Paradise Michaels
Besides their love of dance, most dancers also have a love for....a need to....perform. There's really nothing quite like a performance to help a dancer feel alive, energized, electric. But performing can also take a lot out of dancer too, especially if the dancer is older, injured, or carries a chronic illness. Overtraining or over- performing can eventually lead to increased fatigue, feeling burnt out, and might put dancers at an increased risk of injury.




Speaking for myself and my own challenges, Fibromyalgia requires that I take great care in how I utilize my workouts, as even when I'm not actively training, my muscles are in a constant state of achey/ soreness...as if I always have the flu, a flu that  never goes away. You see Fibromyalgia affects the way your muscles repair, (or rather don't repair), after a workout, and even the minute tears that occur if we are cleaning house, walking the dog, doing laundry, can cause pain and soreness. It also greatly affects the way most Fibro sufferers need to approach their use of time and energy.  One day while reading through a thread on dealing with Fibromyalgia, I noticed a post where the person described their experience by the amount of beans they are given in a day. I appreciated this analogy and have begun using this as a way of determining where I am energy wise on a daily basis. For example, on a standard winter morning, I usually wake up with about 20 beans to spend, and my pain level is around a 6 on a scale of 1-10. In the spring and summer, I have between 25-30 beans, with a pain level of 2 or 3. How do I spend my beans? Well, if I am working that day, I usually spend about 10-15 beans getting ready for work, traveling, working at the office, and traveling back home. This doesn't leave me with much to spare at the end of the day. If I am able to rest during the afternoon, I can sometimes gain back a couple of beans, but since napping at work is usually discouraged :-) I often arrive home feeling pretty exhausted.
The same goes for performance season, attending or teaching classes, workshops, etc... If I know that I have a particularly busy day or weekend coming up, I need to bank my beans the best that I can. Doing so allows me to make sure I have as much energy as possible for performing, or taking/ teaching a workshop. This also means that I need to be very mindful of where I place my energy; only choosing a handful of performance venues per season, and using this same discretion when offering or taking workshops, and classes. This also means that I need to be ever mindful of my boundaries, sometimes having to pass up on performance opportunities that I would have liked to take, or not attending as many classes as I might like, while also scheduling enough recovery time after each performance or class. When I travel for performances (sometimes crossing time zones), I need to take this into account as well. On a daily basis, at any given moment, I am usually focused on how much energy I have at that time, and how much I might need to get through the rest of the day.



Photo credit: Peter Paradise Michaels of RavenWolfe Photography

 I also need to mindful of my boundaries in dance class, and find a way, either publicly or privately to address the topic of injuries and illness with my dance teachers (something that.....admittedly I have not always done).   When I am on the other side of the coin and in the role of dance instructor, I start off every workshop and class session I teach with a sign that says "SAFETY FIRST!"....and yes it is in all caps!  I keep this sign out for the entire workshop and ask students to please watch out for their bodies needs/ unique sensibilities at all times, and not to perform movements if they feel any discomfort or pain. I also request that they tell me if they are experiencing any issues, so we can work together to either modify the movement, or leave it out entirely.

Unfortunately, there are some dance teachers unwilling to take the time to modify movements for dancers with injuries or health problems, so we as students must empower ourselves to state clearly what we are not able to do at a particular time. Having said this, I would hope that if you are a dance teacher and have a student who has stated their specific medical needs, noting difficulty with technique or a movement phrase because of an illness or injury, that as the instructor you would attend to the student's needs, either in class or perhaps a private session. I have witnessed, been the recipient of, and heard anecdotes of dance teachers who have treated their student's limitations with disrespect, and feel that this type of behavior is both unethical and unnecessary.  As teachers it is our responsibility to work with our students, and never bully or belittle them. I also encourage teachers to do some research on the specific medical issue or injury the student is dealing with, so that we have a better informed approach when offering feedback. It's really about respecting the boundaries of our students, and working within a strengths based approach. This means challenging students in a way that is empowering, encouraging them to push past their comfort zone, while still honoring for anatomical and physical differences.

In my therapy practice and in my personal life, I've noticed how difficult it is for many of my clients, family, and friends to say no. It's a tough word to say, as most of us are well intentioned and don't want to have others feel that we are somehow not being supportive of them. But saying no when it means protecting ourselves, our psychic, physical, and emotional boundaries, is an absolute when we are already in a compromised position due to age, injury, or health. "No" is a way of honoring our boundaries and ourselves. The moment that we say yes to something that we know deep inside is not in our best interest, we can usually sense that imposition in our psychic space as a feeling of discomfort in our body. By saying "yes" we allowed for something to cross our boundaries that was not what was best for us at that time. As older, injured, or health compromised dancers we need to be ever mindful of protecting our instrument; our instrument of course, being ourselves, a beautiful, spiritual, emotional being living inside a limited physical form. If we don't protect our physical, emotional, and psychic space, then who will? By empowering ourselves to say no, we are honoring our paths as individuals, as dancers. We must have compassion for ourself and our needs. Having an injury, illness, or age related concerns does not have to affect the quality of our dance, perhaps just the quantity. The more challenges and life experience we have, the more we have to offer our audience. Our strength, power, and humanity shows through whenever we perform. Let's not underestimate our power, or be afraid to assert our boundaries.

For more information on Fibromyalgia you can visit: