ISSN 1177-2808 (Print)
ISSN 2230-357X (Online)
MEDANZ News Middle Eastern Dance Association of New Zealand June / July 2011
Well Festival is over for another year. It was a fantastic weekend, despite some hiccups with the weather. Everyone certainly seemed to enjoy themselves, although sadly it ended on a sour note for some with a burglary from their motel room. As the outgoing President, there are a few people I would like to thank for their input into the Festival this year. Julie Duffy – AGM Facilitator – Julie keeps us on time, and on subject and is the reason our AGM flows as well as it does. Thank you Julie for your time and patience. Shelley Dawson – AGM Minute taker – Shelley kindly agreed to take the minutes at the AGM for us this year. Having an independent minute taker means the committee can concentrate on the matters at hand without having their attention diverted to keeping a record of the proceedings. Shelley’s input is greatly appreciated. John Ten-Velde – our sound and lighting technician for the Festival Show. John spent a majority of Saturday in the hall checking the sounds and lights, and making sure that everything ran smoothly for the rehearsal and performance. Thank you John. Angela Mott – Angela was our stage manager for the performance, and kept everyone under control and in the right place at the right time. Thank you. Martin Fastier – Martin spent the entire weekend running around setting things up, packing things away, making sure our overseas tutors were transported to and from the venue. In fact Martin was everywhere and at times sorting things out before we even knew there was a problem - in particular enabling the stereo in the gym to have more sound so that it could be heard over the torrential rain. Thank you Martin. The Tutors – thank you for your submissions to teach. Some workshops were hugely popular and it would have been nice to offer a repeat of those workshops, although when setting the programme and the schedule it is difficult to predict which should be repeated. The Angels – thank you for volunteering to assist our tutors.
Getting to know your committee - Pip E-Lysaah
- Petra Cowell
- Dori Bestmann
Lifetime Nominations - Judith Varga
- Liz Irvine
The Taxim Explained
The 2010/11 committee – thank you to each and everyone of you, without your input and commitment the Festival would not have happened.
This year is going to be my last year on the committee and I am really looking forward to being involved with the preparations to take the Festival to Dunedin in April 2012.
Why bother with Zills
Who influenced you?
Letter to Editor
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June / July 2011
Hmmmm - not sure how much wisdom you are going to get out of little olâ€™ me but here goes: Festival 2011 and the AGM is over for another year and we are looking forward to the new year. We farewell Linley, Maarie and Sharnie from the committee and welcome Petra from Dunedin, Pip from Christchurch or Wellington (depending on which day of the week it is) and Dori from Auckland who join Amanda, Bronwyn, Dianne, Lyn and myself. forward to working with the ladies of the committee in the coming year.
Bronwyn Mohring (aka Fern) is continuing on in her wonderful role as our Librarian as well as Vice President. She encourages you all to make use of the library - it is a wonderful resource that is shockingly under utilized by the members. A big thank you to Lyn Murphy who is continuing with her roles as Membership Secretary, Newsletter Editor and Treasurer. Speaking of which the Newsletter is by us, for us. It is for the dancers to share their knowledge and experience with fellow dancers. It is a place where you can share your delight in a new dance video or a book, or tell us about a show you saw or workshop you attended - anything you think other dancers might be interested in - put those fingers to the keyboard and get writing. Membership Renewals - you should all have your subscription renewals by now - either in this newsletter or by separate mail. They are due at the end of June. Payment as usual may be made either by direct credit, sending us your credit card details or posting in a cheque. Do not forget to put your membership number on your payment If any of your details have changed - email address, physical address, phone numbers , dance name, actual name - make sure you let us know. We are still getting newsletters returned because people just haven't kept us informed. Well - next festival. Do you have any suggestions for next year? Workshops you would like to see, ideas for the show, anything. We have already had a couple of suggestions - one of which includes giving our stage performers a challenge that will certainly test their mettle. We would love to hear from you. And finally we are still having the odd difficulty with the email system and sorting it out is a high priority for the committee this year. However in the interim, if you wish to make absolutely certain that your email will get thru we suggest that you send it to both the official address and to the personal address of whoever you wish to contact. The personal emails are listed on the left. We would all rather get two emails the same than not hear from you at all. Yours in dance Karen / Adilah
June / July 2011
P age 3
Hola; I'm Pip E-Lysaah, belly dance performer and teacher, I live in Christchurch and work in Wellington, so each week I fly to Wellington for work on a Monday and then home on Thursday evening.
Pip Bennington - aka Elysaah
I began belly dancing in 2002 under Shannon Wanty, Storm Geldenhuis and Gendi Tanner, gravitating to tribal I began teacher training under Gendi and took over the School of Contemporary Belly Dance Inc Tribal classes in 2005. Since this time I've travelled to study extensively with teachers such as Carolena Nericcio & Devi Mamak in ATS, Rachel Brice, Mardi Love, Zoe Jakes, Mira Betz, Amy Sigil and Heather Stants in Tribal Fusion. Currently my dance partner A'mal and I coerce The Red Queens, a revolving performance group for belly dance, as well as teaching whenever there is a group who wants to learn. We hold ourselves to high standards and believe good technique is the best base to begin performance with. 2011 is the year I have decided its time to step up and offer my skills to MEDANZ; I hope to inspire others in dance and work very hard for to support the standing MEDANZ Committee as best I can.
Hi my name is Petra Colwell and, while being a “newby” on the committee, I have been belly dancing, teaching and performing for 14 years since experiencing an early mid-life crises while in India. I first learnt belly dancing in Sydney but the class was just not right for me and when I moved to Dunedin I joined some classes as a way to meet new people and fell in love – with belly dance. Since then I have devoured as many MEDANZ Festivals as I can attend (and if I am not at the festival it is because I am tramping in Nepal – my other great passion), teaching DVDs as I can afford to buy, workshops with visiting teachers in Dunedin (and we have had lots), costumes, veils and Isis Wings (I now own four pairs). I teach classes at the Kazbah, am part of a troupe that is made up of former students (Hips Infinity) and am currently gestating a new troupe of new dancers.
I love living in Dunedin, have a house with water views, a wonderful partner (who I met in Nepal), three cats and a work as a legal secretary/PA to two great bosses, and feel fortunate to be dancing in Dunedin. We have a great sisterhood of dancers here who all support each other – whether cabaret or tribal. We have a studio with several different spaces which we run as an incorporated society (of which I am chairperson) which is used by members for classes, troupes, practices, drumming classes and we have a resident rock band as well (made up mostly of husbands of belly dancers). I am excited about the opportunity to host the Festival in Dunedin in 2012 and will work my hardest to make sure it is a success, so please all come and visit us for some southern hospitality.
June / July 2011
SUBSCRIPTIONS TO 30 JUNE 2012 ARE NOW DUE FULL MEMBER - $35:00 FAMILY MEMBER - $15:00 each 3 CONVENIENT METHODS TO PAY POST YOUR CHQ · EMAIL US YOUR CREDIT CARD DETAILS · DIRECT CREDIT
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Doreen Bestmann - aka Dori My dance name is Dori and 2011 will be my 11th year of belly dancing. I am an oriental dancer at heart however I have studied both folk and tribal group improvisation styles have dabbled in the odd fusion style. For a number of years I was a level 4 dancer and teacher with the School of Contemporary Belly dance in Christchurch where I did the bulk of my early training and teacher training. I have also spent 4 years in England teaching, learning and attending major festivals with dancers from all over the world for further development. Some of these include Fifi Abdou, Raquia Hassan, Randa Kamal (Egypt), Artemisia (Belgium), Leila Haddad (France), Horacio and Beata Cifuentes (Germany), Jim Boz and Fathiem (USA). I have performed professionally in NZ, the UK, Germany and France both in staged and restaurant settings. Since returning to NZ in 2010 I have been based in Auckland where I have been immersing myself in the local dance community, attending classes and performing throughout Auckland when there is time to fit it all in. I have previously been on the MEDANZ committee for 2 years as the membership person. I think it’s important to be involved in national dance community, get to know people and keep improving what MEDANZ has to offer its membership, which is why I am back. If you have any suggestions, queries or heaven forbid complaint or general nagging to do please feel free to contact me as your MEDANZ representative (note that nagging is best appreciated over coffee/wine so Auckland invites would be most welcome! :) ).
June / July 2011
P age 5
We are thrilled to nominate
Judith Varga aka Kashmir as a Lifetime Member of the Middle Eastern Dance Association of New Zealand
Judith joined MEDANZ in 1995 , making her membership 16 years duration! She has been an active committee member serving five terms on the committee between 1998 and 2004 including two terms as President (1999 - 2001) and one term as Treasurer (2001/02). Perhaps Judith can be best summed up with an excerpt from Brigid Kelly’s Presidents report of 2001/02 Judith has probably worked harder, longer and on more projects than any other committee member and it is in no small part due to her work that the association is now a substantial national organisation with two - soon to be three - major festivals under its belt.” Even when not on the committee, it is often felt that she is still a shadow member. Her input is frequent with questions raised for the committee to consider as well as being an active participant of AGM’s - even when she physically cannot be there. Always ready to volunteer for jobs that need doing, Judith shared many a thoughtful opinion whether she was on the committee or not. Judith was responsible for our first website in 1999 and continued to maintain it until 2002. She was Newsletter Editor from 1999 to 2001 often writing most of the copy herself. And she held on to much of the historical information of MEDANZ thus provide a home for our records. While we used to have a festival of sorts with workshops etc, it was Judith that stepped it up and made it what we have today with the first new look festival held in Christchurch in 2000. Judith has a strong sense of policy and even now is the committee’s go-to girl if there is a problem or lack of knowledge on the formalities, rules and regulations of business meetings. She was a major player in the re-writing of the constitution in 1998/99 and the amendments in 2004. Judith took great pride in developing the teacher’s registry and maintained and updated the teachers list until just recently when the committee took over the task. In conclusion, Judith more than meets the criteria for lifetime membership. With her on-going input into the development and evolution of MEDANZ and the dance itself within New Zealand, Judith’s input sets the bar for what is expected when the requirement to “contribute significantly in their own time to MEDANZ growth and development” was inserted into the constitution. Judith Varga is definitely deserving of this honour. many thanks to Bev Dowling for compiling this
June / July 2011
We are thrilled to nominate
Liz Irvine aka Fatina as a Lifetime Member of the Middle Eastern Dance Association of New Zealand
Liz joined MEDANZ in 1994 which means that this year she has been a member for 17 years. She has spent more time on committee - particularly in Executive positions than any other member of MEDANZ. Committee 1995 / 96, President 1996 /97, 1998 / 99 and 2006/07, Vice President 2004/05, 2005/ 06 and again 2007/08. For that madness alone she deserves a Lifetime Membership. From the time Liz became a member of MEDANZ, she threw herself onto the committee and was keen to participate actively in the organisation. In addition to committee work, she was also responsible at some stage for other jobs that are vital to keep MEDANZ ticking over - librarian and newsletter editor. She has shown herself to be a strong leader in the shaping and development of MEDANZ and was always a gentle but firm guide to fellow committee members. Liz always had a clear vision but combined this with an open mind to the thoughts and ideas of others. It was no wonder that the committee were always sorry to see her term finish. Liz actively taught throughout New Zealand, holding workshops from north to south - always in popular demand for her humour, experience and great teaching ability. She is one of the few New Zealand teachers that have taught workshops in Australia. Liz was always keen to bring in overseas dancers to New Zealand such as Shamira, Barbara Wolfkamp (a founding MEDANZ member and first teacher for Liz) from Australia as well as Tina Hobin from England and Belladonna. She was also involved in the significant Australasian tour for Shareen El. Festivals never seem the same without Liz and in the entire time festivals have run - including the earlier shows we used to have - Liz has only missed three festivals - and only due to exceptional circumstances. Liz is a well known and very popular member of MEDANZ . She has been and continues to be part of many many dancers lives. She is a treasure in to the New Zealand dance community. We are sure you will agree that no-one deserves this honour more. many thanks to Bev Dowling for compiling this
June / July 2011
P age 7
luxurious 100% silk mesmerising exotic
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Taxim Jasmin Jahal
Often you hear someone say that this particular piece of dance is a Taxim and you nod knowingly - not wishing to seem ignorant of exactly what is implied by the word Taxim. Your teacher may have quickly explained it in passing but you are still not really sure what it means. Below is an explanation that explains it in language that even I can understand. I hope for some of you newer dancers, it will
help you as well. In a dance routine or long piece of music, "taxim" (tahk-seem) refers to a short segment of music performed primarily by one instrument (sometimes accompanied by a ‘quiet’ drum in the background). It is performed by any instrument in the band other than the drum and percussions, such as an organ, accordion, flute, violin, kanoon and oud. The taxim offers a break from the steady rhythms and recognizable melodies. The musician plays improvisationally, expressing emotion and varied levels of intensity, according to however he feels. There is no melody and little repetition. It is impossible to choreograph dance steps to a taxim that is to be performed to live music. Both the dancer and the musician are performing spontaneously. The best performance occurs when both artists are so attuned to each other that the movements and the music become one. In other words, the dancer visually expresses the music that is played as a reflection and inspiration of her movements. Even though the dancer has no idea what she will hear next, she simply flows with the sound, but not without the musician’s keen attention and response to her dancing. Of course, recorded taxims allow the dancer the luxury of becoming familiar with "what’s coming next." Yet, it still takes repeated listening in order for you to begin to remember its irregularities. Also, there is an element that is lost in recorded music, which is especially pronounced in a taxim. That element is the fact that there is no ‘two-way’ interaction between dancer and musician. The pre-recorded music was not created ‘with’ the dancer, but ‘for’ her. However, this does not mean a taxim within a taped routine should be avoided as ineffective. On the contrary, it can be an exciting transition from one melody to another, one type of rhythm to another, one type of mood to another. For example, a routine may begin with a beledi, move into a taxim, followed by a drum solo, and then conclude with a finalé. The emotions throughout bring the audience full circle and may even tell a story:
Beledi: Happy, ‘hello,’ lively, earthy, giving freely to your audience; Taxim: Soft, sinuous, dramatic, internal, dancing for yourself, expressing inner feeling;
Drum Solo: Fiery, exciting, fast, sharp, surprising, impressing the audience with isolations and the ability ‘not to miss a beat;’ Finalé: Restoring the beledi’s happiness and giving (you give your performance to the people as a gift), and now it’s time to bid farewell. The taxim may appear at the beginning of a routine, but most often it lies within. It is never performed as the finalé or alone (that is, without following or being followed by another piece of music). It is the contrast to the other parts of the routine that make the taxim so effective. Also note, you will seldom, if ever, see a taxim performed by a troupe. It is meant for the soloist. Following are my suggestions to help you ‘choreograph’ a taxim: a. Listen repeatedly to the music until you think you ‘know’ it.
Try to decipher the phrases (e.g., say the primary instruments is a flute, when does the musician take a breath? Where are the pauses? How long are the pauses?). You want to move to the phrases, even if there is a drum beating in the background. The only time you move to the drum is if the beating gets loud enough to ‘take over’ for a moment. c. Identify the primary instrument. The type of instrument may help you determine the kind of movement to make:
VIOLIN: String instrument in which vibration makes the sounds, implying any kind of shimmy. Also, the sounds are usually smooth, sometimes haunting, and may suggest a liquid type of movement, like a turn or a slinky walk. You might even do the slinky walk combined with a steady hip shimmy. Or, if you envision the bow sliding over the strings, you might choose to sway with it. There are times when the strings are plucked, as if droplets of water are falling into a smooth pool, causing you to do sharper movements or accents. For the most Page 8
June / July 2011
part, the violin implies liquid, water.
OUD, KANOON: These are also string instruments. The oud (ood) is in the guitar family and the kanoon (kah-noon) is like a zither. As with the violin, the strings vibrate in order to produce sound, vibration denoting shimmies. The strings are strummed with a pick, so your movements may exemplify the strokes. Also, the strings can be plucked individually, suggesting locks, and they may be plucked in a series, so that you might do a shimmying hip circle. The oud and kanoon make flowing sounds like the violin, but generally the sounds are deeper and heavier. As the violin implies a flow of water, the oud and kanoon imply the flickering flames of fire. ACCORDION: An interesting instrument because it produces heavy sound by an expanding and contracting air flow. Your movements could reflect this with, perhaps, a hip shimmy performed while your upper body and arms form expanding and contracting motions. Or you might do large slow undulations that stress the stomach contraction followed by a release. Think of the waves of a sea relentlessly rolling in to caress the beach, then receding. Water is the best analogy for an accordion, yet it is a different kind of feeling than the water of the violin.
FLUTE, NEY: The shape of a flute or ney (nay) is masculine, yet the way it is played and the notes that it makes are clearly feminine. This combination is expressed in sensual movements. Yet it is not an earthy sort of sensuality, but an ethereal one. As a wind instrument, your movements should be light, airy, flirtatious, yet luxurious and elegant, like a floating piece of sheer silk. The upper body should stay lifted and the arms should ‘breath.’ Think of an enticing scent of incense. The flute is associated with air. ORGAN: Earthy yet smooth, the organ offers rich blends. As the flute suggests a light piece of sheer silk, the organ suggests a heavier piece of smooth satin. The instrument itself is grounded, not held by the musician, implying earthiness. Your movements should be smooth yet earthy, as are figure eights, hip circles, ummies, camelwalks, undulations and backbends. The key to your movements is to stay grounded, with feet flat or heels slightly off the floor. With the organ, keep the earth in mind. Imagine a slow-moving kaleidoscope, beautiful patterns that are ever-changing and blending. This is the image you want to create in your taxim. Keep the movements controlled, usually slow, and very much internal, as if in this portion of the routine you are dancing only for yourself. There is little acknowledgement of the audience. Consider them lucky to witness such a private moment. Thus, avoid directing your movements, especially your gaze, at the audience. Play with the taxim. Move spontaneously to it and make note of what appears. After all, this is the best way to perform the taxim, the way it was meant to be performed. Imagine the musician is in the same room, watching you, and that each phrase he plays is because of what your dance is inspiring. Improvise. Do what feels right
June / July 2011
P age 9
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June / July 2011
So why bother learning to zill?
reprinted with the kind permission of Mahin
We all have things we struggle to learn as dancers, for many it’s zills. They are challenging for sure in that “rub your belly, pat your head” kind of way. So many dancers seem to not play them these days that it just gets easier and easier for new dancers to justify passing them up like some optional prop. Heck, your instructor may not even play – so why should you bother? Investing the time to learn and practice zills is about much more than being able to make a bunch of noise while you dance. Learning zill rhythms intrinsically changes the way you hear your music – it’s like seeing down to the ocean floor through clear blue water. You know so much more about what’s there than if you only watched the sunlight glinting off the waves. That deeper understanding of your music’s structure lets you dance closer to its heartbeat and really bring the music and the movement together as an integrated visual presentation. When you can play zills proficiently - maybe even boldly – you take on the additional artistic role of musician as well as dancer. Even if you are performing to recorded music, you can bring extra excitement with a “live” music element at your fingertips. If you are performing with a live band, you absolutely become part of the music-making. Done well, this interaction is exhilarating for both the dancer and the audience. Whether live or recorded music, zills are a voice that let you express yourself creatively within the framework of the music. You can embellish a melodic flourish, add drama with accents or use them as a bridge between the rhythm and punctuation of your movement, and the basic meter of the song. The possibilities are creative, endless and FUN. You don’t have to play for every performance, in fact, your preferred styles and music choices may come off better without them. You’ll still benefit from the rhythmic understanding and musical thinking that learning zills brings. Last year in a workshop, Princess Farhana told us about a student of hers that didn’t want to practice. The student justified her position by saying she hardly ever saw her play in performance. The Princess’ answer, “Yes, but I DO know how if I want to!” So all I’m saying is, give zills a chance! Mahin is a professional performer and instructor dedicated to helping dancers of all levels blend technique and artistry through her “In the ears, out the hips” philosophy. She is also the author of the “Daily Bellydance Quickies” email. For more information, please visit www.shes-got-hips.com.
MEDANZ News now available ON LINE If you would rather receive your edition of MEDANZ News on line Send your email address to email@example.com Back issues are available by logging into http://issuu.com/medanz/docs June / July 2011
P age 11
Who influences YOU when you dance?
This is a question we all think about at times – who have influenced us and inspired our dance and style – this can be from the first dancer you ever saw to your teacher and dancers you have on video and may have seen on you tube or dancers you have taken workshops with I am a cabaret dancer at heart – I enjoy the sparkly costumes the solo performance, improvisation and troupe work choreography having said that I enjoy mixing of styles where you incorporate other things such as ballroom, or moves and combos from workshops that I have attended both in cabaret and even tribal fusion styles. My biggest influences in dance for me is – first my teacher Fatina aka Liz Irvine, My first contact with this wonderful woman was hiring her with one of her students at the time to perform at a medieval style feast where she wowed the audience into stunned silence – followed by rapturous applause. Speaking with Fatina afterwards she said the lack of audience feedback during the dance was a bit worrying –to make matters worse the mostly male audience would look away ever time one of the dancers looked at them as they were unsure where they should be looking. Having now experienced audiences who sat there motionless then provided rapturous applause on the end as opposed to those who clap along I understand just what she meant. If it wasn’t for Fatina’s passion/love of the dance I would never have pursued dancing or taking up teaching when we moved to Cambridge in 2002 and keeping up taking classes with having two small daughters 22 months apart.. Keeping teaching/dancing through both pregnancies (up to a week prior to the little ones birth) and returning to taking classes when both little ones were only a couple of months old. Other major influences I have in dance from NZ are Bev Dowling –Aka Moon jelly, she was my biggest influence in sword dancing initially but since then I have blended in some of my knowledge of medieval fighting technique to create my own style of strike and balance in sword. From video learning the biggest name to influence my dances would be Jillina – we have adapted versions of her pop choreographies to a dance format more suited to the style and ability of what I teach and my students. Following Jillina is equally influential Jasmin Jahal whom I have a Beyond Basics Drills video of and enjoy watching her performances as well as Rachel Brice whose yoga fusion isolations DVD was a great assistance with perfecting the technique of an omi Watching other dancers – all of the dancers named above go in this category without exception – yes even as a cabaret dancer I enjoy watching tribal fusion dancers and a little bit of tribal however I am not about to pick up these styles and start teaching them or making them my primary style of dance. Other dancers I enjoy watching – well I have copies of ever MEDANZ show from 2002 onwards and find that there are some wonderful pieces ever year, even when the quality of the DVD/video may not have been the greatest – and I have always enjoyed the MEDANZ shows that I have attended even when they are a bit long and you get a sore bottom from sitting down too long So next time you think about your style of dance and who has influenced you think back to those DVDs you have learnt from, your teachers and artists you have done workshops with you might be quite surprised to find there are quite a number.
June / July 2011
Due to time constraints, the Librarianâ€™s Report did not get presented at the AGM. So it was decided that it would be ideal to present it to you all here. In addition to the report we will - each issue - give you part of what is on offer from our library. You are all encouraged to utilize this wonderful resource. ANNUAL GENERAL MEETING - 2011 - LIBRARIANâ€™S REPORT I had a kinda rocky start to my term as MEDANZ Librarian, but with help from the Committee, the out going Librarian Louise Fleming and fellow Dunedin dancer Petra Colwell, it finally reached Dunedin. Even then, due largely to computer differences, things where trickier then they could have been. So big thanks to the Members of MEDANZ who requested things from the Library, especially in those early days, especially Ra, Sue, Shelly, Schirin and Jane. These members not only were patient and kind but helped me learn the ins and outs of being Librarian. NEW BANK ACCOUNT Due to ease of following transactions we have opened a separate account for the Library. possible to pay for loans from the MEDANZ library on line.
It is now
The Bank account is with The National Bank and is simply called MEDANZ Library The bank account number is: 06 0942 027084800 The updated Library List includes 13 new bellydance DVDs. This updated Library list will be available on line. If members would like their own booklet copy of the Library List they can request one when they send the Librarian their order and it will be sent out along with the rest of the order. When you order things from the Library please remember to fill out the forms sent with your items and send them back to me when you return your items. Next year the festival will be held in Dunedin. This will be great because members will have access to the whole of the MEDANZ library throughout the weekend. I have been asked about borrowing things for more then 3 weeks. To extend your loans just contact me. The only time this could be a problem would be if someone else was waiting for a particular item you had. Another concern was members not using the library. DVDs are loaned out but not as many books and magazines, and as for our poor old VHS tapes........ To address this, I will be making up special packages with different themes. These packages will include DVDs, magazines and books and will be on loan for 4 weeks and the set price must at least cover the cost of packaging & post and Banking Fees. For example:
The Dark Dancer Package, which may include: Gothic Bellydance (a performance DVD) Dark Fusion with Sashi (a teaching DVD) Embellished Bras by Dawn Devine Brown (a soft cover book) Habibi featuring Jamila Slimpour (a magazine) Or
June / July 2011
P age 13
The Egyptian Dancer Package, which may include The Belly Dancers of Cairo (a documentary plus performances) The Beledi with Ranya Renee ( a 2 DVD teaching pack) Habibi Magazine featuring Nadia Hamdi A Trade like Any Other (soft cover by Karinvan Nieuwkerk) Or The Magazine Addicts Package, which may include Four different magazines, All different titles, All different years These will be published on Line and in Newsletters. When you start borrowing from me I will add your email address to a distribution list which will receive any updates. I might even make up a package especially for you! Martin Fastier is helping me with the sad VHS tapes by converting them to DVD. And I will also attempt to add the titles of all our magazines to the Library List. Below are the rates which are currently charged for items borrowed from our Library:
Loan Fees: Magazines:
$1.00 except Habibi $2.00 Books: $2.00 Videos & DVDS: $5.00 All items are loaned out for a period of 3 weeks - extensions are at my discretion but as I said before the only reason I would say no was if someone else was clamouring to get the item. BOOKS WE HAVE IN OUR LIBRARY MAKE-UP & COSTUME The Art of Henna by Neeta Desai Designs, history etc. Bedleh, Baubles and Beads by Dawn Devine Brown A comprehensive costume ''how to'' book focusing specifically on cabaret style costumes, including patterns, accessories etc. Costume Goddess Series: Expert how-to's by Dina Lydia Flattering Costume
Cabaret Belt & Bra
This is an excellent collection of books. Suggestions, easy to follow instructions and diagrams can assist even the novice sewer to make a costume that is both flattering and exciting. Costuming From the Hip by Dawn Devine Brown Guide to many different styles of belly dance costume, including patterns, how to measure your body and much more. Embellished Bras by Dawn Devine Brown Provides in-depth instruction and useful advice that guides readers through the process of turning a store-bought lingerie bra into a fabulous costume piece. From Turban to Toe Ring by Dawn Devine Brown Another good costume ''how to, book, this time concentrating mostly on Tribal style gear. How to Bead by Maise Jarraff French embroidery beading. Pants for the Dance by Dawn Devine Brown and Barry Brown A design idea book for Middle Eastern Dance Costumers. Skirting the Issues by Dawn Devine Brown and Barry Brown A design idea book for Middle Eastern Dance Costumers. Style File by Dawn Devine Brown and Barry Brown A visual vocabulary of Middle Eastern Dance Costume.
June / July 2011
WHATâ€™S ON? NEW ZEALAND
Belly Dance workshop in New Plymouth with Tanya Saturday 18th June & Sunday 19th June, 2011 Workshops + Teacher Session http://www.artofmovement.co.nz/newplymouth_workshop.htm
Workshops with Zumarrad in Wellington: Beledi progression and Ghawazee 26 June - 28 June Tarrant Dance Studios, 125 Cuba Street, Wellington To register, please contact Ziva/Sylvia Edge-Perkins via facebook or this link: http://www.tribalbellydance.co.nz/events/workshops-zumarrad/
Workshops in Palmerston North with Tanya As part of Hipnotize Mid Winter Festival Tanya is offering two workshops
Saturday 16th July, 2011 in Palmeston North. For more details and registration check out the web page http://www.artofmovement.co.nz/palmerston_workshop.htm
Workshops and Hafla with Pip E-Lysaah 16-17 July Auckland Central See www.phoenixbellydance.co.nz for details
Tribal Weekend with Pip "E-Lysaah" 06 August - 07 August Leaps and Bounds Dance Studio, 9 Bracken Street, Whakatane, New Zealand All enquiries and registrations to firstname.lastname@example.org
Belly Dance Weekend Retreat 9th-11th September 2011 Otimai Bush Lodge, near Auckland See www.phoenixbellydance.co.nz for details June / July 2011
P age 15
WHAT’S ON? NEW ZEALAND
We’ve had the first instalment – Now we’re taking it to the next level Red Queen Pip E-Elysaah Hamilton June 25/26th 2011 Tribal & Dance Technique Workshops & Hafla For more details contact: Shelley Dawson - 027 717 2699 or 07 8493328 a/h email: email@example.com
Angel Thank You As Chief Angel at the MEDANZ Festival 2011, I would like to say a big thanks to those who gave their time to help the Teachers’ and their classes this year. Overall I feel that they are a valued asset in helping classes to run smoothly during the Festival. My best wishes to them all Dianne Thompson
WHAT’S ON POLICY 1.
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We attempt to have the newsletter out in the first week of the month but this is not always possible.
June / July 2011