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A Passionate Process

9/15/2021

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by Claudia Selene Smith, Principal Dancer
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When I first attended my free DanceCraft class, it seemed the room was filled with self-assured women. They carried themselves with ease and were comfortable with themselves. There was a table with costume pieces and props set up on it. I felt very self-conscious and intimidated. There was an awkwardness inside me and I really wanted to turn around and exit the room. Yet someone had spotted me, said “hello” and fortunately for me there was no escape.
Little did I know that I was about to embark on a journey that would transform my life.

I was familiar with performing, I had recently left an A Capella barbershop chorus in the Nature Coast area, and I was hungry for more physical movement. Years before I had taken weekly jazz dance classes and learned that I enjoyed moving my body. I learned that dance was a healing balm for my body and soul.

When I look back at that free class (2012) I remember feeling so shut down. Jaynellen took us through the basic steps of an improvised dance. There were students there who were actively taking the classes and they knew the steps well and stood next to me helping me to see the movements and the form. The experienced students were friendly and helpful. They conveyed their happiness about performing and practicing the dance. I felt their welcoming warmth and I basked in the middle of the room surrounded by the more experienced dancers.  

I had decided that I would attend the class once a week to take the place of my gym membership. The moves were difficult. Dancing with my stomach and moving my hips the way this dance required was not an exercise that I’d ever experienced. I compared myself to others in the class especially another woman who had come into the class around the same time I did. I have a competitive nature and it was hard for me to accept my shortcomings.  I soon realized my learning process I was a tactile experience. I learned by feeling and experiencing the moves in my body rather than just by sight.

I learned that some of the other women had made a deeper commitment to the dance.  I told myself, “Well I am just doing this for fun. I don’t want to get serious with it, an hour once a week and then go home.”  This attitude seemed to affirm the difficulties that I had with the movements. After a year I decided to take a second class so I travelled across county once a week taking the Level one Dance Craft improv in both locations.  By doing this more women were brought into my life and my muscle memory began to improve.

I did struggle whenever I got into a lead position. I wanted so bad to learn how to lead the group but I was challenged with my timing and rhythm of the music with the steps. My teachers, Jaynellen and Paula, suggested that I count the music with the steps. Since I wanted so badly to improve, I made a commitment to be the designated counter for the class. I counted the music for everyone and my dance improved dramatically. My confidence with leading the group grew in leaps and bounds. I finally felt like I was keeping up with my sister dancers. I began to feel as though I now had something of value to give to the new dancers who came into the free classes and the new students that made the decision to commit to weekly classes. 

I began to maintain a quality of dance that finally enabled me to begin to learn the second level in DanceCraft. I went into this next level with a sister dancer, and together she and I struggled through learning another library of new steps. This brought more challenges to our bodies and our brains. It was near this time that I earned my 25-yard skirt, and learning to dance in such a large skirt was another challenge.

At about the time I began learning the Level 2 Repertoire, Jaynellen began the Fat Chance Belly Dance (ATS/FCBD) style classes.. This was a whole new genre of the dance for us that was similar to the DanceCraft style yet also very different. The cues for the dance were a lot more subtle and the style relied on the knowledge of another dancer’s body language. Near the launching of FCBD style I declined moving into the classes.  I did not miss much of the class because the other dancer’s started to talk about it.  I became curious (that competitive nature of mine took over) and begrudgingly I started to attend the FCBD classes. I learned that there was a different pattern of zilling accompanying this style which frustrated me. We also learned even more ways of moving our hips with intricate isolations, practicing the taxim and reverse taxim (movement of one hip in opposition to the other on a vertical plane). These movements baffled me; they were intricate to see, let alone perform.    

I must acknowledge that many times, my anger propelled me into my next level of learning.  The teachers of DanceCraft gave me space to adapt to any challenging process. I never took my anger out on another dancer. at one point though, I stomped around a rehearsal with a frown on my face and at another  rehearsal I took over a lead pull out and didn’t stop for the rest of the song to share the lead. My ego gets mixed up in my learning process. My head thinks I am better at a skill than I am in reality. I get cocky and my vision closes down. Then, by remaining willing, another reality cracks the mirror and I see more actions that are yet be learned. I suddenly see the next level of skill. Then I the student am ready and I the teacher appear. 

The dance has kept me out-going. If it wasn’t for DanceCraft I would probably not attend as many community functions. It may surprise some of my dance sisters but I can be a bit of an introvert. I seldom open my home to my friends and I like to stay home on the weekends. DanceCraft has hosted the courthouse stage in the “former” Florida Blueberry Festival and has invited other belly dance troupes and acts to perform there. We also participated in Christmas festivals, Swamp Fests, First Responders Day, Weeki-Stock and various music concerts and festivals.  All these events were hard work; to set up the tent and pull down the tent, yet, when I look back on these events there are fond memories of inspiration, dancing and bonding with the women of DanceCraft and allowing me to learn to continue to become more extroverted.
 
When I think about those first women who welcomed me to my first free class, all the dancers since, and the current women who are now in our group, these memories and experiences will never leave me. I remember their energy, their laughter, their physical stature, their achievements.     

At this time well into my ninth year with DanceCraft many times it feels like I am living a dream. I hard to  believe that I am actually the images that I seen photos and video clips. My history of abuse comes back to haunt me in certain ways in my dance life. I have problems with accepting praise and attention sometimes.  I have troubles showing my heart and believing it is as pure and unspoiled as is being reflected back to me by my experiences and my sister dancers. And I often wonder if I am deserving of all of the love that is given to me by these dance sisters. It is a dichotomy of my many selves.

The dance is more than the shows, exercise, and practice; it is a way of life. It is indeed a sisterhood that transcends the boundaries that we set for ourselves. It pushes the definition of feminine beauty, ideology, fellowship, strength, sportsmanship and our cultural roles. I used to grieve that I found this dance at the age of grandmother hood, this dance that I told myself was made for a younger woman. This art that takes years to perfect. DanceCraft has helped me to redefine my age, resilience, condition, and acceptance. My dance teachers, all of them, have given me the gift of passion that transcends all time. 

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How Dance Changed My Life

5/3/2021

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by Tracy Lawrence, Principal Dancer

DanceCraft has been an integral part of my life for the past 7 ½ years.  When I joined this belly dance group in 2012, I had no idea it would change my life.  I spent many years in adult dance classes, where I experienced unhealthy competition, jealousy and drama. It wasn’t until I began exploring and understanding this unique improv style of bellydance, that I was able to become a better version of myself (and I am still working on that!).
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Jaynellen Arrington and Paula Nelson both played an integral part in challenging me technically as a dancer, a follower and a leader. The content shared by these amazing ladies goes far beyond technical dance.  We learn about communication, troubleshooting and leaderships skills, as well as patience with ourselves and others.  We share positive energies with one another and embrace our imperfect bodies to perform beautiful movements. We learn from one another, share our difficulties with one another, and support each other like no other group of women I have ever known.  Our mentors are there to guide us in the dance, but what we achieve beyond that is solely from the effort we put into ourselves.

During Covid isolation, we never missed a beat.  Jayne made sure we had virtual zoom classes set up and began to learn in a whole new way.  Each week we overcame new challenges and difficulties.  We began to use the two-dimensional platform as a way to view ourselves differently as dancers, to better our skills, and to read each other’s body language from an entirely new perspective.

Our bellydance style is a great form of exercise, both isometric and cardio.  It increases endurance, strength and flexibility.  We learn how to relax and contract certain muscle groups in our dance movements.  For me, the best part about this dance is the absence of stress on my body.   I suffer with severe scoliosis and lower back issues.  This form of bellydance has greatly strengthened my core muscles over the years. I routinely use it as part of my physical therapy and my healthy lifestyle.  

Performing with these beautiful women has been the greatest joy in my life.  These ladies have become my sisters and my lifeline.  There is never pressure or competition.  Encouragement and honest feedback are what continue to drive each of us to be a better dancer each time we are on the dance floor. We are all very unique women; different viewpoints, character traits and body types.  DanceCraft is the strong bond that ties us all together.  When we dance, we become one with the music and each other. When we dance, we are no longer different.  When we dance, we are the strong, confident women of DanceCraft! 

Tracy Lawrence, Principal Dancer


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American Tribal Dance Costuming - The Khomeissa (Hamsa)

10/25/2016

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As dancers, we often think of piling on the jewelry: bracelets, necklaces, earrings and the like, but wanting to also have balance and create a unique yet consistent look with our dance sisters. There is nothing like a flash of silver, glass, or perhaps shell and leather at the throat of a tribal dancer that sets off a costume like no other adornment. 


The Khomeissa

At the root, these have the same concept as the more representative hand most of us know as the hamsa.  It's principle function is the "protection of the wearer."  Their design differences are what give each their unique design.


Khomeissa or Khomissar Hamsa of the Imazighen

  • The Khomeissa, in the form of a stylized, geometrical hand, is believed to ward off the evil eye, amd also doubles as a fertility symbol. It is made from shells.
  • History - The Imazighen are part of the Berber culture with a traditionally nomadic lifestyle. They are the principal inhabitants of the vast majority of the middle and western Sahara, as well as the   north-central Sahel. It has believed that they are likely descended from the ancient Libyan people of the kingdom of the Garamantes, described by Herodotus. They are historically referred to as Tuareg, meaning “abandoned by God” in Arabic. They prefer the term Amazigh, plural Imazighen - a word which means “free people.” 
  • For over two millennia, the Tuareg operated the trans-Saharan caravan trade connecting the great cities on the southern edge of the Sahara via five desert trade routes to the northern coast of Africa (Mediterranean). 
  • According to Tuareg Jewelry: Traditional Patterns and Symbols by Helen E. Hagan and Lucile C. Myers  - the Khomeissa is associated with Khamsa (‘five’ in Arabic) and worn as a protection against the evil eye. It is thought to have been originally crated using five shells on a leather backing and worn on a leather string. Shell jewelry was reserved for the noble class of women. The book goes on to quote a Tuareg/Amazigh saying that a Tuareg woman would rather go naked that go without a khomeissa. 1

Authentic, beautiful North African amulets are to be treasured and truly complement any tribal costume.

• • • Take Away: Think of jewelry as dowry pieces.  Go for the best you can afford!


Keep spinning adorned!

Paula DanceCraft 
November 2016


We can recommend resources we trust on request. 

*All 
hamsas pictured come from private collections. Clockwise starting from the left:
1. 
Enameled, high silver content Khomeissa   2. Shell Khomeissa backed on leather  3. Khomeissa, backed with leather with ebony inlay.

Footnote: 1 
Helen E. Hagan and Lucile C. Myers, Tuareg Jewelry: Traditional Patterns and Symbols (XLibris; First Edition edition, 2006).

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North African Amulets in Tribal Dance Costuming

9/17/2016

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 The HAMSA


As dancers, we think of piling on the jewelry: bracelets, necklaces, earrings and the like, but wanting to also have balance and create a certain look. There is nothing like a flash of silver, or perhaps shell and leather at the throat of a tribal dancer that sets off a costume like no other adornment. 

​
*Take Away: Think of jewelry as dowry pieces - Invest in the best you can afford. 


There are so many choices out there, we will cover them in subsequent posts. In this first post of two parts we would like to address the amulet that seems to be worn the most: The Hamsa. 


HAMSA: The traditional, Middle Eastern amulet 

  • In the Jewish, Christian, Islamic or Pagan faiths - the hamsa is considered an amulet of protection bringing its owner happiness, luck, health, and good fortune. Also known by the name Hand of Fatima or Hand of Miriam.
  • The hamsa is found in jewelry as well as on entry walls and as wall hangings to protect a house and its occupants.
  • Typical shape is a stylized hand with the fingers spread apart to ward off evil, or as closed together to bring good luck. Highly stylized versions may be difficult to recognize as a hand. 
  • Popular belief is the hand is worn fingers up to ward off the evil eye. Fingers down as the hand of God bringing luck.


Authentic, beautiful North African amulets are to be treasured and truly complement a tribal costume. We can recommend resources we trust and purchase from, upon request.


Keep spinning adorned!


​

Paula DanceCraft 
September 2016


*All 
hamsas pictured come from private collections. Clockwise starting from the top left:
1. 
Khemisset necklace   2. Hamsa with star on carnelian   3. Berber hamsa with mixed metal   4. Stylized hamsa, mixed metal on turquoise   5. Stylized hamsa with chalcedony/lapis   6. Turkmen earrings with lapis   7. Moroccan hamsa

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