Table of Contents:

Promoting Your Events to the Press

Shamanic Belly Dance

Promoting Your Events to the Press

By Morgana

Years ago, a respected dancer hosted an email listserv dedicated to Oriental and Middle-Eastern dance in the media. In the beginning, it was a thoughtful forum in which members sent links of articles about dance - from major national newspapers to small, hometown press - and discussed what they thought of the articles and their representation of dance. However, in a short while, its scope narrowed to dancers mainly venting their outrage about articles they believed were poorly written or inaccurate, without much discussion about answers.

As a newspaper professional, I and one other dancer who also had news reporting experience tried to offer some insight, but were lectured by the dancer - who, insofar as I know, had never held a journalist's job - about the deficiencies of our chosen vocation.

I have written in the past about dance and the media - both being important parts of my life - and it's a place I keep coming back to, in part because new questions and issues are raised, and because I try to learn new things, both as a dancer and as a professional journalist.

A question I am sometimes asked is: not only how can dancers get more coverage - more complete, in-depth and accurate coverage - in the news media? Most journalists are not in the position to promise articles, but there are some helpful ways to convey information about upcoming events in your local community, such as a benefit show or fundraiser, or hafla that is open to the public.

• Prepare a mini-press kit to send in advance of your event, with a concise description of the event. Basic information should include time, place, day of the week (yes, please indicate if it's Saturday or Sunday, because this is a small step that can easily be overlooked in the midst of deadline), complete street address and city where event is to take place, cost, and contact. I have seen many a press release from various community organizations missing all or part of this information, which may seem small in the grand scheme. But faced with a choice of dealing with a notice with complete information versus one that has be checked out, many editors with little time to process many coverage requests will choose the one that has supplied complete details.
• Keep descriptions brief. In general, one or two paragraphs can explain clearly what the event is about and in the case of a benefit, what cause the event supports. Sending lengthy critiques written by other press organizations generally do not get used. Also bear in mind not all news organizations are affiliated with each other. Most editors will not use an excerpt such as, "The so-and-so Times said..." if that news organization is a competitor.
• If using specialist terms not familiar to everyone in the general public, such as Arabic or Turkish terms for aspects of the dance, provide quick, precise, layman's definitions. Zagat equals finger cymbals, for example.
• Include a phone number and/or email of a reliable contact person, and times that person can be reached.
• Photos can be very helpful. Space limitations may not always allow the use of photos, but high-quality, high-resolution photos sent with a press release - or in a link where photos can be downloaded - can make an editor, again pressed for time, very happy. Much happier than "photos available on request," which actually creates the extra step of having to track down the person who supplies the photos.
• Send only high quality photos. No out-of-focus shots, shots that do not show a person's face or head, or photos that obscure the photo subject (such as a person walking in front of the dancer mid-performance). Include a caption identifying the people in the photo, as well as a credit for the photographer. Make sure that you have permission to use the photo, both from the photographer and the subject.
• Allow some lead time. This past week I was faced with the painful reality of not being able to write about a really cool and important film release, because I received no advance notice about the screening. It had nothing to do with my feelings about the film, and everything to do with the fact that it was simply too late to do anything about it. I cannot speak for every news organization or every editors' needs, but I know that having a few weeks' notice makes it much easier to plan. Many arts and entertainment sections for instance are planned days or even weeks ahead of time.
• Before sending anything, check to find out the name of the appropriate staff person to receive your materials, and what the deadlines are. Often that information is available in the newspaper or conversely, on the website you want to contact.
• No news organization can promise a story, either in advance of an event, or coverage of the event itself, with the realities of staff and resource management, and often, a large number of requests for coverage. However, a press kit, sent ahead of time, allows for other possibilities, such as a news brief, photo with caption, or events calendar listing.
• Articles cannot always list every performer or participant involved. One way to give thanks to people or businesses or organizations that helped out might be a letter to the editor. As with press releases, check out deadlines and word limits (most newspapers have limits on the length of letters) before sending.
• Before sending anything, check it over, verify spellings, times, dates and other info. A truly unpleasant experience for an editor is having an inbox full of "revised press releases" after the originals have already been formatted and laid out on a page, or worse, already gone to press, where they can't easily be retrieved. Of course if an error is realized afterward, an editor would rather know than not know, but it's better to reduce the need by vetting materials before sending.

Occasionally, I have been to community events where a presenter has asked me to speak about submitting information to newspapers, and sometimes the presentation has been put in the context of doing so "instead of advertising."

Paid advertising space is offered as a service and while policies do vary, one way to think about it is this: a recurring conversation in the dance community is that dancers and dance teachers want to be paid fairly for what they do and not be expected to always provide their services for free.

Most teachers, for instance, cannot sustain themselves by providing free instruction to all their students; if they did, they couldn't cover their own costs, such as studio time, or make an income. It's much the same for a news organization that depends on advertising to pay staff, benefits, and printing costs and still provide the calendar listings, articles, and other services it offers to its readership.

Dancers are doing great things as artists, entrepreneurs, educators and leaders, all of which can be newsworthy. Rather than simply blaming the media for a poor image of Oriental dance, reaching out to the press might lead to news consumers seeing dancers doing good things in the community and a more complete image of dancers on the move.

Shamanic Belly Dance

By Aepril Schaile

From guedra and zar, to trance dancing, ritual dance, and some forms of modern theatrical belly dance, shamanism has long intersected with belly dance. Shamanism is very, very old, reaching back into before the beginnings of recorded history. The word "shaman" has become a generic term, but originally comes from Siberia; what we think of as shamans exist the world over by many different names. Shamans exist in tribal cultures; however, with the modern hunger for community and tribal belonging, shamanism holds interest and meaning for many in today's world.

What is shamanism? Shamanism is a form of direct spiritual experience. It is considered by many to be the first form of religion. Yet shamanism is not a religion per se. As a direct form of spiritual connection, it has much in common with mysticism. However, it's different than mysticism in that it specifically involves the ability to journey to other worlds and planes of existence. The shaman brings back information and experience from these journeys and shares them with her community. Shamanism often involves the presence of a power animal, or totem as spirit guide. Shamanism is closely associated with nature and the spirits of nature, and is connected to animism, or the belief that the world is soulful and alive.

Who is the Shaman? There's been much debate as to whether or not a person who is doing shamanistic work is truly a shaman if she is functioning outside of a tribal context. Fears of cultural appropriation and imperialism are one reason. Another reason is concern over whether or not people living in a cultural context that values materialism and external achievements over deep communion with nature and the internal process can fully grasp the depths of shamanism; that people will appreciate the sensational or romantic aspects, but not the deeply profound and sometimes painful work involved.

Traditionally, one is either called to be a shaman or one inherits the position of shaman from a relative. In tribal cultures, shamanism is passed down from parent to child. Most people who become shamans through "the call" experience a serious illness of some kind - physical or mental - from which they must recover and self-heal, coming out changed and able to connect with the spirit world in ways that are unusual. Tribal shamans live on the margins of society and hold a position that is a blend of priest/ess, doctor, and artist. Shamans heal the community through their visions, and often prophesy what is to come.

Whether or not we live in a tribal culture, the archetype of the shaman is still ever present and active. Some might even say the presence of shamans are necessary for a healthy society. Psychologists and artists are thought by many to be the modern-day shamans of our society. These are the people in our culture who delve into the psychic underworld and interpret their findings. Working with psychic material, symbol, and archetype, they are shamanistic in that they can function as oracles and healers.

Aepril Schaile at Super Sassy Fusionistic Belly Dance Experience. Photo by Dreamers' Realm Photography.

Shamanism and Belly Dance

In the long historical connection between shamanism and belly dance, the zar is one beautiful example. This form of shamanistic dance originates in East Africa and Egypt. While the dancers aren't all necessarily "shamans" per se, the practice of the dance is shamanistic. The women who dance the zar go into a trance, working with the spirits who are attached to them to purge illness. The dance functions as a healing ritual and social bonding experience between women. The trance is a shamanic journey that enables the dancer to experience visions and come out with new insights into her own well-being and the well-being of the community.

The guedra is another example of the belly dance/shamanism connection. The guedra is a trance dance originating from desert nomadic peoples of southwest Morocco. Danced as a blessing, the dancer takes on the archetypal role of priestess/shaman. The execution of this dance also functions as a way to become closer to, and to surrender to, the Divine. As in many other shamanic traditions, guedra is danced to the rhythm of a single drum, but is danced on the knees. In her article Guedra Dance of Morocco, Jasmin Jahal describes the dance-ritual beautifully: "It starts with the woman looking like a shapeless black mass, representing the night, chaos, lake of understanding or cosmic energy. The mass moves to the rhythm, becoming turbulent, representing the exaltation of an organized universe. The hand movements speak of passion, drama, beauty, joy and sorrow, a full gamut of emotion. Then a sudden silence restores the energy to its pre-creation void." I had the privilege of watching Morocco of NYC performing guedra at "Night of 1000 Goddesses" in Manhattan; it was beautiful, and the air in the room crackled with energy.

I am a shaman. I went through the illness/healing experience, coming from it with a deepened and profound sense of my artistic and spiritual mission. In fact, though I had never danced before, I began belly dancing during this time. After considering myself to be awkward and gangly all my life, I found grace through this painful death and rebirth transformation. I also began to have frequent out-of-body experiences, perceived spirits more clearly, learned to communicate with nature, and became expert at the oracle work of astrology and tarot. I lived on the outskirts of my community in a cabin up in the Vermont woods, isolated along with my wolf-hybrid companion, Coda. Since beginning to create as a dancer, my work has always revolved around mythological story, particularly those involving underworld journeying, and nature spirits. Aside from dancers, and maybe more so, my major influences as a performer have been shamanic performance artists such as Rachel Rosenthal and Diamanda Galas. I am a shamanic ritual-theatre belly dancer. My totem animal is Raven; my companion is Wolf.

Though not everyone is a shaman, I think that everyone can experience shamanism. Everyone can experience the journey to the upper or lower worlds to which shamanic experience transports us. Everyone has a power animal, and everyone deserves, and has access to, the healing experience that shamanism can bring. Shamanic experience usually centers around music and movement. Belly dancing, with its ancient roots and healing properties, is a wonderful vehicle for shamanic experience. Belly dance embodies many of the ancient symbols involved in shamanic visions, such as figure 8s, circles, and undulating lines. Belly dance also likely has its roots in ancient ritual-theatre, where the Divine was thought to speak to the community through the body of the dancer.

The Shamanic Belly Dancer

The Morrigan III. Photo by Michael Harkavy.

Belly dancers can perform shamanistically without necessarily being shamans. Here are some guidelines for being shamanic as a belly dancer:

• A shamanic belly dancer balances aesthetics with magickal function in costuming. In belly dance, beautiful appearance is emphasized. But for shamanic dance, beauty is not necessarily first and foremost. Meaning matters, too. Costume pieces will be chosen for their symbolic meaning and energetic properties at least as much as for aesthetics.
• Shamanic belly dance is more than wearing animal bones and big headdresses while doing arbitrary "moves". The emphasis in shamanic belly dance is not an outward external form and technical dance prowess. It's not about doing a "schtick" with a great costume. What is emphasized is the dancer's ability to take what is happening on the inside and convey that to the community. That said, the most profound effect on an audience will be had when the dancer has the technical mastery to communicate through movement. The more tools in the tool box, the better house you'll build. Animal bones can look amazing. But a shamanic belly dancer does not wear animal bones (or fur or skin) just to look "cool". These items represent the spirit of the animal. Reverence and blessing must be given to the animal spirit, and the animal who gave of its body. Animal parts are to be worn only in the spirit of love. Shamanic dancers are not required to dress in any particular kind of costuming at all! As long as the costuming has meaning.
• A shamanic belly dancer gives something to the community through her work. The emphasis is on healing rather than display or entertainment.
• A shamanic belly dancer is not afraid of dark content or "shadow" work. Part of the work of a shaman is to know and own the dark parts of oneself. She does her best to turn the "ugly" elements of the underworld into healing material through story and metaphor. (For me personally, I have found great healing in shadow-work. That said, support from people who are compassionate, knowledgeable, and trustworthy is key during times of shadow-working.)
• A shamanic belly dancer learns techniques to stay grounded, to balance sensitivity to the invisible world with living in mundane reality. We're not able to heal others unless we're healthy ourselves. Physically, mentally, emotionally, spiritually.
• A shamanic belly dancer may meditate before performances. Shamanic belly dancers require special focus before a performance. Meditation can profoundly help the dancer to be grounded.
• A shamanic belly dancer puts aside her ego to be fully present in performance, and to allow Spirit to enter. She does not make her primary concern what the audience reaction will be, but instead focuses on being as authentic as possible.
• A shamanic belly dancer may need time after a performance to ground and regroup. Self-care is our right. Finding a moment alone can be a challenge for dancers who dance at shows with multiple performers, or no backstage area. Other dancers may even resent this dancer for not watching their performances before and after. I try to tell my sister performers and host what my needs are ahead of time so as not to insult. Not everyone understands, but by and large most do.