Jemela Omar was also invited to be on the panel. All had extensive international teaching and performance credentials and I valued their opinions. What if I had come so far, only to find that I’m not worthy of international standing? What if Ibrahim’s methodology was not evident in my style? I understood that my exposure to so many other teachers over the last thirty years had probably influenced my styling and convictions and I wanted to do justice to ALL of my teachers, but especially Ibrahim. I hungered to continue my own teaching from an even stronger base, offering all students quality development and guidance. Dancers from all over the world had sent their best wishes and in return, wanted to know every detail of the process and result. Many could not get their heads around my mission, but through curiosity, began asking for a daily bulletin. October 4th in Manhattan’s Pearly Studios, the panel came together, seated behind the students, while I introduced myself and my class plan. We began. With only two hours allocated, I found myself rushing through the warm-up and moving onto one of two short combinations. As the class started to flow, I relaxed, trusting my experience and my enthusiasm, teasing out layers of detail for the students to consider. It all seemed so free-flowing and pleasant, I did not consider that some of the ladies were long-term students of panel members, accomplished in detail and presentation, but playing as intermediate dancers. I had also requested feedback in writing from the ‘students’. Their sharp eyes were evaluating my style and methodology and they asked pointed questions. I fairly quickly realised that it was easier to teach regular students versus those investigating the value of every move and instruction for a formal assessment. Then, the unexpected appearance of my very first teacher, Margrecia, in the role of ‘student’ somewhat confused my planned material. My inner self questioned whether I should try to
impress, validate, compete with or disregard her presence. After all, this was about MY work and not anyone else’s. Simultaneously, I felt honoured by my bellydance ‘birthmother’ standing behind me in class. Upon completion of the session, everyone got busy filling out assessment forms. I was fortunate to be able to record the panel’s immediate thoughts with further individual meetings scheduled in following weeks. May I say here that it was not just the class assessment that made this trip worth the experience, but the entire process; the dream, the setup and needing to be clear about my aims, the regular phone conversations and emails, my concentration and anxiety, organization around my absence from my own studio, the huge financial outlay for travel and accommodation for an extended period and time management (given all the distractions in such a dynamic city as New York). I returned with lists of details to consider and regard this whole experience as a great privilege. You probably want to know details post assessment, but allow me the indulgence of keeping this confidential for my own development, especially given the overall cost and complexity of the process. However, let me reveal that I was rapped across the knuckles about many aspects of my teaching. For example, I was asked to improve on directional work, foot placement and arm definition, but I was thrilled by compliments for enthusiasm, attention to emotional
content, facial expression and good breakdown of steps and weight shifts. Where to from here? I imagine, having finally rounded off my fifteen year research of the Bedouins in the Middle East (before the current political strife), I will again offer myself on the workshop agenda worldwide, beyond my own studio in Perth, hoping to pass on to a new generation the gifts I have indulged in and all I have been fortunate to be exposed to over thirty five years in Oriental dance. Armed with the advice of my panel (whom I hope will remain my mentors), my New York students’ observations and the encouragement of my colleagues here in Australia, I feel ready with a new energy and vigor. What I would also like to do is to offer dedicated dancers the same opportunity for confidential evaluation, combined with awesome live music experiences at Arabic events and cultural centres, with private classes and the opportunity to be in one of the world’s most culturally dynamic cities. Come to New York with me! If you would like to be part of this experience in September/ October 2013, do let me know. May I use this opportunity to thank all of you who sent messages of encouragement and curiosity. I will be corresponding with many of you personally and I hope to share in more depth when running workshops. The next workshop is ‘Sharing the dream’ with the beautiful Rose Ottoviano, scheduled for March 2013.
With the Assessment panel New York: Margrecia, Phaedra, Belyssa, Samara and Jajouka
Bellydance Oasis Issue 46 11