Helping Hips Raq On
Workshops with Mardi Love
A Thousand and One Nights
Helping Hips Raq On with 4th Annual Charity Gala
by Kim Mangino
Spirits were high and the crowd was lively at The Helping Hips' 4th annual Belly Dance Charity Gala on the evening of Saturday, October 11. This year's spectacular gala, once again held at the Roseland Ballroom at Hong Kong City in Taunton, MA, was held to benefit the Family Coalition for Medically Involved Children, a local nonprofit organization. Once again, this show proved to be THE must-attend charity event of the season!
The ballroom was decked out for the event; it's a beautiful room with hot and cold appetizers served both buffet-style and tableside, a cash bar, mini massages, glittery chandeliers, mood lighting, and good cheer, the whole perimeter lined with wares for the silent auction. In one corner (near the expansive dessert buffet!), two living statues graced the festivities, dressed in pharaonic finery as goddesses Isis and Hathor, respectively. New for this year was a spacious raised stage in front of the band for all dance performances. Thanks to this addition, every nuance and shimmy could be seen, and there was literally no bad seat in the house.
Living decor. Photograph by Dreamer's Realm Photography, courtesy of Ancient Art Studios.
The audience didn't disappoint either. Many attendees took the opportunity to get decked out from head to toe for the event, affording fabulous people-watching. As always, this annual event attracts guests from every corner of our local community, making the cocktail hour a great place to see, be seen, and catch up with friends old and new.
Now, we all love attending such a richly detailed, fabulously multifaceted event, with food, drink, and elegant surroundings - but of course, the real star of the gala is the DANCING!
The evening's dancers featured many of the stars of the greater Boston belly dance scene, with one dazzling performance after another, thanks both to the enormously talented dancers and the fabulous band! The Mitchell Kaltsunas Ensemble featured the musical stylings of Mitchell Kaltsunas, John Nasser, Youssef the Moroccan, and Tony Chamoun. They played a fabulous show, including a great set of audience favorites for open dancing.
This year's show featured two acts of performances to live music, spaced by a refreshing set of recorded music featuring tribal, tribal fusion, and troupe work. As one first-time attendee stated, "There was lots of energy, and the performances were really good. I liked to see the tribal in the middle because it broke everything up." In addition, the live music shows were planned out to offer variety in style, music and props, which let each performer be fully appreciated for her talents while making the most entertaining show possible for the audience.
Sabaya does it big, with style and class. Photograph by Dreamer's Realm Photography, courtesy of Ancient Art Studios.
It is no exaggeration to say that every show was fabulous, but there were a few standouts that deserve special mention. Kanina charmed us all with her stage presence and expressive dancing. Sabaya, Belly Dance Sisters of the Sand, did a wonderful job! It's always great to feel the energy of a group of dancers performing together, and Sabaya shared their love of the dance with us through beaming smiles, joyful dancing, and precision floor patterns. Finally, Aurel closed the show with a powerful combination of her signature dance and song - stunning. As one guest said, "Aurel blows me away every time. You never know what language she will sing in!"
The elegant and expressive Kanina. Photograph by Dreamer's Realm Photography, courtesy of Ancient Art Studios.
Unfortunately, the second act featuring recorded music was not announced. Many audience members were unprepared for the dancing to resume and missed out on parts of the act before being able to take their seats - a real shame, considering the quality of the acts.
This event came together flawlessly thanks to the efforts of an army of nearly 50 volunteers and the support of 15 different sponsors, not to mention the nearly 60 different items in the silent auction. Having run events myself, this reviewer acknowledges the time, dedication, coordination, and management skills necessary to get such a large volunteer team to work like a well-oiled machine, and the consistent quality, success, and outstanding reputation this event enjoys within our community are a testament to your hard work. Congratulations volunteers, and congratulations to Helping Hips managing director Cherrie!
Every year the Helping Hips puts on an event of class, style, and elegance that showcases the best of the local belly dance community: our charity, grace, and talent for entertaining. In addition, the broad appeal of this event helps us to share this with the community at large. Kudos to everyone who helped make this year's Belly Dance Charity Gala the spectacular evening it was. We are all holding our breath in anticipation of next year!
Editor's note: The Helpings Hips raised $6844.78 for the Coalition!
Mardi Love Workshops
by Cat Waltzer
The stellar qualities and luscious skills of Mardi Love as an epic performer translate almost seamlessly into her ability to teach those skills to others. I had the pleasure of taking both of her workshops in June, and I learned quite a bit. Not only is this woman very approachable and sweet, but she is genuinely concerned for the well-being and individual practice of each of her students. She was utterly attentive during both workshops, and seemed to have eyes in the back of her head. Actually, maybe she just had a huge dance mirror. The point is, she was able to pinpoint specific things that each dancer was doing and adjust them accordingly, while still maintaining the dignity of each.
Mardi Love at Vadalna Tribal Dance Company's Temple
Photos by Djinn Photography, courtesy of Vadalna Tribal Dance Company.
There is something to be learned in the dance world as far as careful communication is concerned. As dancers, it is important that we all hold each other up in our dance. It is vital that we praise the wonderful, while gently assisting what can be better or more honed. If we can drop our ego in our art we recognize that there is enough glory to go around. If we can inspire our fellow dancers to become the best they can be without harming anyone’s dance-spirit, it is then that we put light out into the world. It is then we achieve the position of Master Teacher. Mardi Love is indeed a Master Teacher. It is so easy to be in awe of someone who is so renowned that they’ve actually been “nouned”. Such is the case with Ms. Love (we have moves named after her: “Mardi Love Arms” for example). However, she is so comfortable to be around, and so gentle a soul, that it is easy to feel completely at ease in her presence. So, to Mardi Love: Thank you for all that you do. Thank you for walking your dance in the spirit of your name: Love.
Note: Mardi Love was hosted by Vadalna Tribal Dance Company at the Dance Complex, Cambridge, MA on June 18.
A Thousand and One Nights
by Purvi Patel
Kanina made a triumphant return as the director of this year's "A Thousand and One Nights – an afternoon of authentic Middle-Eastern music and belly dance". This annual family friendly event was held in the elegant ballroom of the historic Rhodes on the Pawtuxet in Cranston, Rhode Island. Her success over the last three years was acknowledged by the attendance of 300 guests, a rare feat for most dance events.
With a keen eye for detail, Kanina orchestrated a memorable afternoon – from the delightful choreographies, the beautiful setting, the perfect lighting, the glittering costumes and the fabulous live music. The dancers themselves came from diverse backgrounds, featuring professional performers such as Aurel and Kanina, and some who were performing for the first time. The band was comprised of seasoned musicians including John Berberian (oud), Harry Bedrossian (keyboard), Mal Barsamian (clarinet), and Charles Dermenjian (doumbec).
I cannot say enough about the quality of the show. Drawing from her years of experience, Kanina knew how to keep the audience’s interest. The show, incorporating different cultures, styles, music and choreographies, educated the audience even as it entertained. Part I showcased her students and her troupe, the Beledi Dance Company, in lively choreographies which ranged from folkloric to classical Arabic to fusion. The distinctive "Arapina" (sung by Mike Sarkissian) was accompanied with zills as the lively and energetic opening performance. The show transitioned from one unique act to the next – a lovely veil routine to the classic Batwannis Beek by Warda and a solid group drum solo. Knowing how difficult performing can be, I was impressed by her students and the energy they put forth.
I was conscious of the thoughtful staging of each piece and how this allowed individual performers to stand out and be featured separately. Most of the dancers, even some novice ones, conveyed the impression that they were clearly having a great time. The highlight for me was a duet choreographed by Phaedra of Boston, performed by Kanina and her daughter, Lilia. In their sparkling red costumes, they effortlessly effervesced – surprisingly, Lilia imparted a stage presence worthy of her mother's. Part I culminated with the Beledi Dance Company performance to a modern Egyptian song by Hakim which alternated attention on different troupe members.
During intermissions, the audience participated in dabke line dancing, enjoyed some beverages and perused the stocks of several vendors including the Enchanted Caravan, the artwork of Elisabeth Clark, and the fragrances and essential oils of Evodia Creations . When asked her opinion of the show, veteran dancer and show producer, Phaedra remarked, "Awesome! The costumes are colorful, the girls look like they're having a good time, and there's a nice variety." She couldn’t help but add, "Thank you for the fabulous band!"
Post-intermission, the audience was transported by the dancing of the supremely talented and dynamic Aurel in Part II of the show. Her candle tray dance was simply captivating. A consummate performer, she carried the audience along in the spell she cast while making the most of the music created by the talented group of musicians accompanying her.
Kanina’s heavily anticipated performance at the end of the show did not disappoint. She conveys a level of skill and finesse the viewer readily appreciates. She plays with her audience, flirts with the band, and overall uses her body and face to interpret the music in a way that is purely fascinating to watch. I forget to look for new movements to add to my vocabulary and simply stop thinking. I just watch. And smile. And clap. A lot.
Catching up with Kanina at the end of her successful show, she offers, "My goal has always been the same and hasn’t changed. I want to bring Middle-Eastern dance to people who wouldn't normally see it. And hopefully they get turned onto it and want to learn more."
Solstice Spectacular
Rosa Noreen hosted Tamalyn Dallal for a weekend of workshops, private lessons, and, on the evening of June 11, a variety show, Solstice Spectacular, featuring performances from Tamalyn, Rosa, and several other area artists. I found some parts of the show more captivating than others‚ which seems reasonable in a variety show, as it is designed for a mixture of tastes (a BRILLIANT business and marketing decision!).
When I arrived at One Longfellow Square, I was quickly and easily checked in at the will-call counter and greeted by volunteers manning the merchandise table and door, both armed with stacks of programs. Equipped with my paper guide for the evening and having been to One Longfellow before (for last year's Spectacular, actually), I decided the best place to view the show, unobstructed, would be the front row on the mezzanine level. The floor level seating options are fine, but as they are not tiered, you run the risk of doing the head shift game all evening (you know, sliding your head right, then left, right, then left trying to see what fancy footwork the dancer is doing past the head of the person in front of you).
The show opened with the musical group Ramblin' Red, a folk quartet based out of Portland. I remember them from last year's Spectacular and found them highly entertaining. I was a little saddened that their set seemed rather similar to last year's set (though, I do thoroughly enjoy their rendition of "Jolene" and was happy to hear that again.) Powerful voices, instruments, and foot tapping that made me tap my foot right along. The song "Sweet Babe", which isn't on their record, was also enjoyable, catchy, and fun. Their base player and vocalist, Therese Workman, whose last performance with the group was at Spectacular, will be sorely missed. She brought a great dynamic and sense of humor to the group. Overall, I really enjoy Ramblin' Red's musical stylings.
Next up, the show's creator, Rosa Noreen. Rosa's years of performance were made evident in the only technical snafu of the show ~ the music faded out like the speakers had died. I had a moment of personal panic, hoping that whatever was happening would be quickly remedied ~ I mean, all that work to have the sound system go out during the second performance? But, within 20 seconds, the music was back on at full volume, and Rosa didn't miss a beat. She was able to brush off the moment with grace and was able to get lost in her music, hitting all of the delicious pauses that have become a hallmark of her dance.
Magnolia Devi: Cait Capaldi and Jan Hanseth. Photo by Jon Reece, courtesy of Rosa Noreen.
Magnolia Devi took stage third and the third time is the definitely the charm! Watching Jan Hanseth and Cait Capaldi performing their ATS was like fresh air ~ polished, connected, deeply centered, and thoroughly enjoying each other and the dance. There was a moment or two when I felt my connection to them dissipate, as it seemed their focus shifted more to technique execution than enjoyment of dancing, but most of the time that technical focus was skillfully veiled in the joy of their music and their dance. Oh, and their turns? FANTASTIC!
I was excited for Will Trix, as I tend to enjoy break dancing and hip-hop. The tutting was great, the pops, locks, waves, and headstands ~ superb! Spinning on his knees, YES! I was impressed and captivated. Much of the time, however, he was doing this jumping around thing that left me longing for more of the very physical break dancing moves and electrifying hip-hop. Maybe nerves took over, or maybe that type of movement is what he truly likes to see in his dance, I don't know. I do know I would have liked to see more of Will's tricks.
Finishing out the first act, Tamalyn took the stage. Ms. Dallal's unique take on double veil work was enough to solidify her standing as one of the world's top belly dancers in my book. I don't know if she came up with the techniques on her own, if she did double kudos! Even if the technique was borrowed, the execution was intriguing and captivating. She moved subtly, lucidly, and gracefully, gliding across the stage in an enviable way.
Tamalyn Dallal. Photo by Jon Reece, courtesy of Rosa Noreen.
Act two began with the shockingly commanding Lady Zen. No one knew how to describe this woman before she took stage, and quite honestly, I still don't know how to describe her even after witnessing her genius. The poems of power, spoken like a magnetic preacher, uplifting a congregation to heights of immense possibility; moving us in ways we don't even really understand, while only catching every third word, being swept up in the energy behind her earth-moving declarations. Utilizing an idea I did happen to catch her say; Lady Zen is a woman who has definitely stayed with her weakness, until it became her strength. And what strength it is. Amen!
Lady Zen then transitioned to the next act by introducing Samuel James with her clever poetry. It was an incredibly creative way to segue into the next act, but I, personally, would NOT have wanted to walk onto that stage to perform after such a canonization! (Pressure, pressure.) I don't know if she just really likes Sam James or if she is just THAT good at what she does (seems a combo of the two). I DO know I walked away from that intro believing she holds extremely high esteem for him and his work.
Samuel James is, as the program claims, a globetrotting roots troubadour, as he travels far and wide crooning his tunes to fans all over. Sam James proved to have a passion for his music; his foot tapping, leg kicking, head swinging, and fervent squirming made you understand that he was really feeling it, all while strumming his super snazzy guitar. My personal favorite song from his set was called "19", written for and about his father. (On another note, Sam also MC'd the event and as MC, I found Sam entertaining and amusing ~ if he ever decides to take on a second career, I think he has a knack for comedy! There were a couple moments that were a little awkward during his MC moments (something about a plane???), but overall, fun, engaging, and lighthearted.)
The next set was titled "Mystery Collaboration", but I wished it were more of a mystery. During Sam's final song, Rosa came out to dance with him, adding a revitalizing dynamic to the song performance (this is coming from a person who doesn't, on the whole, enjoy watching music being performed live). Rosa then took posture next to Sam, while Magnolia Devi entered the stage for more ATS dancing around Sam and Rosa. The dancers continued trading off performing and posing while Sam continued playing. They seemed to enjoy the collaboration, which was a plus, though I did find the staging choices slightly distracting.
Mystery Collaboration. Collaborators (from left to right): Cait Capaldi, Sam James, Rosa Noreen, and Jan Hanseth. Photo by Jon Reece, courtesy of Rosa Noreen.
To close the show, Tamalyn Dallal performed a sword piece with grace and precision, at one point appearing to float across the floor doing a vivid and crisp shimmy, all while balancing a sword atop her head. I want to give a personal shout out to her head slides, and I know the woman sitting next to me grabbed my arm at one point and said, "You better write about her hands!" Indeed! Tamalyn has beautiful energy that runs through her hands; an unmistakable sign of a dancer devoted to knowing her body and her art! One downside: when Ms. Dallal came off the stage into the audience, she disappeared from the mezzanine's view for approximately one minute. Was not a deal breaker for myself, but worth noting as the packed mezzanine could only hear the faint tings of her zills while awaiting her to return to the stage.
Rosa Noreen's Solstice Spectacular did a great job at giving its audience the variety show they anticipated. It was certainly diverse, though as a dancer, my personal preference would be to see more movement artists (Bring back Apparatus Dance Theater!). With that said, I've discovered artists at Solstice Spectacular shows that I may not have otherwise seen, and I appreciate knowing about (Ramblin' Red, Lady Zen, Apparatus, etc). The show itself and individual performance sets could find benefit from being shortened ~ "always leave them wanting more" is my motto.
So, if you are open to a variety of performers from different genres with bits of belly dance sprinkled on top, you might give this show a shot. On the whole, Solstice Spectacular employed entertaining and varied talent, and is not a bad way to spend a Saturday evening.