As tribal bellydance becomes more of a discipline and less of a folk art, with students spending small fortunes to study with international teachers and embark on gruelling regimes of body conditioning and drills, the expectations students place on themselves changes - especially when it comes to performance. Bellydance, once home to women who wanted to express femininity, fun and mysticism, is now a haven for perfectionists wanting to conquer their bodies. There exists an obsession to manipulate bodies into precise organisms of art. This is a product of the pioneers of tribal fusion, yoginis who have plundered every limit of their muscular range, and made precision and articulation the cornerstone of their dance. Dancers from the oriental world like Suhaila have also codified and explained ancient moves of the hips and torso into muscular terms. Interestingly, she is also American.
American Tribal Style ® sets foundations for good posture, lifted arm lines, and ways of moving, of travelling and spinning and dancing to any direction. It builds peripheral awareness, spontaneous musical interpretation, and spatial awareness amongst fellow dancers, attention to detail in following, courage and boldness in leading. It teaches reverence to tradition, to the lineage of teachers, to the 'tribe'. Some students love the cut and thrust of group improvisation. Others find it deeply uncomfortable. Some move away for that reason. Some embrace it.
As a dancer who spent a lot of time experimenting through solo improvisation, and experiencing other genres like contemporary dance and free spirited Gypsy dance, i come to ATS ® performance with some mixed feelings. So much of what is presented can appear formulaic, regimented, even cold. More often than not, it is because dancers are so worried about fitting the bill, having good technique, being in sync, that they forget to play, to have fun.
I noticed during my tribal performances for many years (and still sometimes today) that as soon as I switched to the playful and creative side of myself, my posture crumpled. But when I focused solely on strong posture and technique, I looked on edge. Of course, the audience picks up on that.
This journey from the discipline of the left brain to the creativity of the right brain takes time. For starters, the primary goal of the ATS dancer ® is to incorporate good posture, technique, arm lines, and constant zilling into their muscle memory. Once imbued in muscle memory that posture doesn’t collapse once you start having fun. But here is the catch. One of the most effective ways to get good posture and technique into your deeper muscle memory, is to let those muscles experience good posture as unconsciously as possible. Visual cues presented by mirrors are excellent early on, but then embodying those movements away from mirrors, repetitively, slowly, quickly, freely, on the precipice of the right brain sphere where true improvisation lives, is where they will sink deep down. It is where our brain’s proprioceptive mapping powers can forge patterns in our own language. It is also amongst the spaciousness of the right brain that our peripheral awareness is most acute (essential for following).
This means that the ‘linear progression’ of getting technique right, and then learning how to let go and have fun, is a falsehood. These processes actually need to run at the same time. The sooner one can experiment and 'own' tribal moves through free improvisation, the sooner one's technique and posture will gel.
This leads me to the psychology behind pèrforming. In oriental dance, our goal is to entertain, engage the audience, bring the music to life. In tribal, there is more of a sense of doing the dance for ourselves and our tribal sisters - it has a social dimension. The strongest emotion carried in fast tribal is collective joy - like the joy experienced at a wedding. So while we might not play up the audience or be as cheeky as an Oriental performer, or even as sensual, we are joyous because we dance together. That joy needs to reach the audience. So rather than thinking 'will i be good enough?', the dancer needs to think 'what fun this will be!' or 'how can i have fun with this?' The tribal dancer can show off. They can play with moves, give them little twists. They can play with angles, levels, direction. They can enjoy the game of roulette. The beauty of tribal is the connection between dancers, its spontaneity, and the ebb and flow of synchronicity through different formations. The goal is not to be perfectly in sync all the time, but to have moments of it, woven in with graceful moments of chaos. Maybe that thought alone will help us to enjoy the dance more, and bring that joy to the fore.
If one needs a bit more help to let go of the fear and feel the joy, then channel gratitude before you go on stage. Be grateful for having dance in your life, for having dance sisters to share the journey with, for having an excuse to dress up, for having that space where you can be you - joyful you.
For Rita's latest news