If the Shammadan Fits, Wear it...By Jamilee Abir - E-zine Apr 07

Ahh... I remember the experience of making my 1st candleabra fit perfectly (^&%$!!#*&!!  Oops!  Was that my inside voice???).... My friend Anna in Vegareville sent me a note saying she just COULD NOT get her new  candleabra to fit & balance properly.  Could I help her her out next time she comes to town.. I said I would LOVE to, but she may want to try the following method.  I figured this out by trial and error...

 1) First: Measure your Head  (you may need a friend to help you)

a) My Method- Place a thin single layer material "sweatband" on (think retro- circ 1980's cool ) , make sure it is as wide as your metal headband on the candleabra. Hold the candleabra on your head over the sweatband and adjust until it is balanced, then line up the sweatband underneath it so no edges are showing.  You are now ready to measure.

b) Start at the from your brow where the sweatband is, to the back of your head, again where the sweatband is.  Write it down.

c) Take the side measurements using the sweatband as a guide again (ear to ear).  Write it down.  Have some wine for your nerves.  Give your friend some wine too.

Look at the measurements, is the forehead to the back of your head longer than the ear to ear??? AHA!!  This means we do not have the perfectly round heads like the Egyptian manufacturers THINK we do!!!

2) Candleabra Strategy:

a) To prepare the inside ridge of the "head band" of the candleabra a strip of material, such as soft absorbent cotton (T-shirt fabric works well) twice as wide as the headband plus an extra 2 inches.

b) Fold the strip in half length wise, and line the fold up with the top of the band, then glue/sew whatever you need to do to attach it on the inside of the headband Leave the "extra" to flap gently in the wind (just kidding)  Once the headband  fits the shape of our head, the excess will be used to fold over "stuffing" if required.

c) Loosen the "screws" on the branches so they are all pointed forward & back.  Lay it down, & squish the headband a bit for a more oblong shape.  Is the front of your head a little more narrower than the back?  Squish the front of the headband in a bit more...Try it on and adjust it a few hundred times (have lots of wine on hand)  You do NOT want it tight, as there has to be room for the soft lining, and little nooks and crannies can be filled with stuffing.

d) When you find yourself getting dizzy with exertion (although the culprit is probably the wine) put everything away, and go sleep it off...  Alternate Ending: Adjust, stuff the headband where you need it(I find usually the sides of the temples needs the extra wedging) and Ta Daaaaa!  A balanced, fitted candleabra is yours!!!
©Copyright -Jamilee Abir

Class-Advanced & Beyond...: There are some students who do not want to perform in anything other than MAYBE the year end performance.  They like to come to class, maybe make a costume, or maybe not.  They love the once a week class, love dancing and socializing with everyone and do not mind the occasional recital. They may have a favorite choreography, and the appropriate costume that they will perform with the group occasionally.  They may like progressing to higher levels, and an Open Class is very comfortable.  They may be lovely, confident and very good technical dancers, and they may take part in workshops and other people's classes, but they prefer to dance more for themselves and MAYBE  for their close friends and family....

Performance Class: There are other student groups that I would classify as a performance class.  They have a DESIRE to dance with their peer group and love to show what they have learned by performing it!  The choreographies would be learned in class (which they have paid for because it is adding on to their own repertoire and skill sets) and rehearsals usually would be held in accordance to the show commitments.  Rehearsal space would also have to be paid for (fund raising may help to offset the rehearsal space costs, or even contribute to group costumes, workshops etc).

They have a few choreographies under their hip belts, they may even have a group name, they buy/make appropriate costumes and like to dance as with their group in other events (i.e.- seniors homes, other dancers' shows, charitable events that entail a granitite which depends on how the fees are negotiated and how much the budget is, or even a *Private function where again a gratuity is offered. (*There are stipulations applicable for private functions so as NOT to undermine the professional dancers and companies)

Performance Class dancers must give the same level of commitment whether there is a gratuity or not.  Polished, well rehearsed performance, arrival in a timely manner, program and music organized. The person dealing with the client (organization coordinator or private citizen) must have good communication skills; professional sounding and acting is essential. The dancers must arrive looking put together, performance make up/ hair on and wearing dressy, but easy to get into/out of outfits.  A nice carry-all,( including a galabaya cover-up) not grocery bags for their gear . This applies to student groups and professionals, so much can be said on, it is a subject all on it's own...will cover more another time....)

The students in the Performance Class may be starting to develop their own solo choreographies, or team up with another classmate.  They would get full credit for their own choreographies.

If the dancers are being paid, the instructor MUST ensure a polished and balanced performance.  Most of the paying jobs are from the instructor being recommended, or by the group being seen at a venue, which IMPRESSED the client!  With paid shows in the Private functions, the Instructor may have the tough task of sorting her students, according to the amount of people she can get gratuities for.  At a private citizen function, ONE DOES NOT DANCE FOR FREE, freebies are reserved for the student shows, donating performances for the betterment of our own Dance Community and charitable performances.

 I would not send a student out to do a professional's solo, or demand full professional fees for my performance class for a lot of reasons, the following is what I feel are the most important to me.

It is not fair to the student ('cause believe me, the director could become a real bear if the performances are not up to standards and could add an unbearable amount of  pressure to the group, it is the director/instructor's integrity and professionalism at stake)   The students know they are not in a professional company, and have not the time, money or the room in their lives for any added worries, they just want to be able to dance with their friends in their gorgeous costumes with their fun teacher when the time is available and right for them...

It is not fair to the other professional dancers who are trying to make a go of this as a career, part or full time as THEIR integrity and professionalism is also at stake.  They have spent enormous amounts of time, energy and money to hone their craft.  They are knowledgeable and will always admit they are still learning all sorts of methods- both from participating in workshops and classes and from their own experiences and hard won knowledge by their own mistakes.

And it is especially not fair to the entire  Middle Eastern Dance Community as it would be UNDERCUTTING and the general p

ublic could make unfair judgments on pricing and even on this art we love if it is misrepresented or undercharged for.  (Much to add to this, but the focus in this dialogue is Performance Class/Professional Dance CO.  I think I feel more tinkering on my keyboard is ahead for me...)

I always try to sell the professionals.  If they want a ready-to-go professional duet or group, I contact the known PROFESSIONAL groups and sent it their way.  They can deal with the negotiations and arrangements, in that case, it is a recommendation only and my company does not collect a commission. ( but it sure is a great way to build community solidarity and good will) For duets, I will again access the professional dancers, we have been known to collaborate for special events.

 If students are involved in a paid event, then it would be made known to the client that they are students, a gratuity negotiated for the students, the professional get FULL FEE and I would agree to a minimum of 1 professional along with 3 students to perform class choreographies.  If I need to fill more time between our choreographies for costume changes,  I would contact other teachers who I know have Performance Class students. (I had a lady ask for 1 pro & 1 student.  I said in that case I will send 2 professionals and advised the rates.  She said she could only afford 1 fee, can she have a student? I said, no, students are most comfortable in groups, they are entitled to a gratuity and there must be at least 1 professional and 3 students, if this does not meet her requirements,  she could try someplace else..... She settled for 4 students and 1 pro....(Such salesmanship!!)  Performances for Student Recitals, Charitable Events, Senior Homes, Hospitals etc  usually are more flexible, such as sending in student soloists with the group, and arranging whoever is available to dance to go (can be fewer than 4...)

BOTTOM LINE: In a Performance Class, there is so much more room for flexibility, if people cannot make it, if not everyone can perform in the exact same level as everyone and, if there has been 10 people committed to a performance, and only 7 can show at the last minute, everything can be adjusted because this a group of students in a performance class who may or may not be receiving gratuities and whoever has contracted them KNOWS AND HAD PAID ACCORDINGLY FOR THIS.   There is still a lot of pressure and time commitment on the Instructor (sometimes also called director)  It is their artistic vision, usually their choreography and definitely their experience the students are learning from.

Professional Group: I can only give you the basic understanding of it that I have.  The idea of a professional group is they make enough money to pay the director, for the rehearsal space, for the new choreographies and to draw a wage, whether it is part-time or full time.  A lot of companies have directors that also create the choreographies. Some of them hire in choreographers for certain pieces, or for all of it.   Many of them are non-profit groups or societies. Fund raising benefits, government grants, donations, and performance fees are ways to generate revenues.  Many companies (like Yasmina Ramsay's Arabesque) in addition to their contracts and fund raising, have applied for grants.

A professional dance troupe is a completely different flavor than a Performance Class.   First of all, one has to audition to join. A dancer auditioning has to know and be able to perform with ease & fluidity all the basic and layered movements, understand the rhythms of the music from the Middle East, especially the most popular ones with music for dancers and play the finger cymbals like a demon.   They also have to pick up choreography fast, whether it is their God-given talent, or they just work extra hard on their own time to accomplish it.   Usually they have performed professionally in restaurants, parties, and some of them are instructors.  Many of them have also have been in performance classes (sometimes several of them).

The director should have a good idea of personalities, and usually can weed out or cultivate the dancers' personalities to what they think will work. They also have to FIT in the group.  There has to be group unity both in movement and visually.  The directors sometimes have to arrange even the body types for group dances and solos.

There would be weekly rehearsal commitments, and well as the company would have to pay for new choreographies, which would also be learned on a weekly basis (sometimes 2-3 times a week)  If  7 dancers have been contracted  to dance somewhere,  there HAS to be 7 that are rehearsed, polished and ready to go.   There is a big time commitment.

Hopefully after reading through my long-winded explanations, your conclusion will be there IS a BIG difference between Performance Class and Professional Dance Companies.....©Copyright -Jamilee Abir

1. Learning to move your body to the music, play basic rhythms on finger cymbals and wearing a pretty costume is only the START of becoming a professional Middle Eastern Dancer. At least 3 to 5 years of classes and workshops are necessary to achieve the skill levels & understanding of movement to music in order to move confidently & well. A professional can flawlessly perform both basic and complex combinations of movements & steps as improvisation and has performed both basic & intricate choreographies using the appropriate music & costume. A professional dancer must also be very comfortable and adept at reading and interacting with her audience. In most cases,this interaction is expected and is the highlight of the performance for many clients. CAN PLAY FINGER CYMBALS LIKE A DEMON!

2. Has knowledge of different dance styles, music and costuming and is able to use that knowledge appropriately for the various occasions & performances that the dancer maybe required to perform. (eg. Egyptian Cabaret, Egyptian Folkloric, American Cabaret, American Tribal Fusion, Tribal – Techno Fusion, African-Egypt. Fusion.) Know that some of these dance styles ( Amer. Tribal or Tribal Fusion) may not be accepted by Ethnic- Arab audiences. Wearing the right costume, ie. More covered or full dress for an Ethnic wedding & NEVER WEAR WHITE, you don’t compete with the bride!! Also more coverage for a school event or shows for children. This all has to do with cultural sensitivity.

3. Is able to perform to live Arabic Music as well as recorded music with good improvisational skills and has a repertoire of both oriental- cabaret stylings and folkloric dances of the middle east. Folkloric Examples. Raqs Assaya (Cane) Raqs Shamadan ( Candelabra, nice for Egyptian weddings) Saudi ( Khaligy Folkloric). Continues to attend classes & workshops to upgrade skills as well as connect with the dance community. Seeks and accepts feedback and criticism whenever possible. Is punctual, reliable and conducts herself professionally for all performances.

4. Has put together a good selection of music for performances cd’s . This is sometimes tricky. Some restaurants prefer the latest Arabic pop music or a lot of remixes using a strong disco sound backbeat on top of traditional Arabic pieces while others prefer more traditional & classical oriental or lively folkloric music. It’s a good idea to have 20 to 30 min selections of a bit of both with a good strong drum solo included in the mix. It is also important that cd’s be of consistent recording quality. Communicating with fellow professional dancers or your instructor about performance music is helpful.

5. Has a business based on Middle Eastern Dance performance, can be a part-time home based operation or works through a LEGITIMATE agency that is licensed and has a business ph. #. When working for an agency make sure that the agent is ADDING THEIR fee on to the AGREED upon fees by the professional dance community, rather than deducting their fee from your earnings (including your tips!) – BE SURE YOU ARE COLLECTING THE FULL RATE.

See the current minimum fee rates for Calgary 

Anyone charging less that the current minimum fees in your own Dance Community is NOT a professional belly dancer.

6. Charges the set fees (see above # 5) agreed upon by the dance community and never undercuts. The importance of NOT UNDERCUTTING to get shows cannot be over emphasized. Undercutting hurts everyone, and you must consider the cost of all your costumes, music, gas for car, travel time, classes & workshops. ( Also may need to provide sound system on occasion.) Undercutting lowers the standards for everyone and makes it impossible to continue performing and costuming to the highest standards, which in turn cheapens our dance in the eyes of the public.

7. Demonstrates highest ethics when asked to substitute for a job for another dancer. Price undercutting and put-downs of any kind towards the other dancer in order to steal the regular job is NEVER done by a professional. This makes us all look bad.

8. NEVER accepts bookings for bachelor parties or private parties for men only. This not only sends the wrong idea about Middle Eastern dance, it puts the dancer in a potentially dangerous situation, even if she conducts herself with the utmost decorum. When negotiating a private booking, a dancer should always ask if the audience will be a mix of men and women.

9. Only performs family-friendly shows. If anything a dancer does resembles exotic dancing (removing clothing, etc), she is NOT a professional Middle Eastern Dancer.

10. Has business cards, photos & publicity material that looks professionally done and are reasonably up to date.

11. Researches information available to Mid-East dance enthusiasts, usually has a great stash of video’s, dvd’s, books, magazine articles & subscribes to such.

12. Has at least 2 (to start with & more will come later) professional quality cabaret or oriental style costumes, and several folkloric style costumes & a caftan style cover-up. All costumes should be in good condition whether oriental or folkloric, ( no uncovered bra straps) & must look great even for close up viewing. For professional performances, costumes must be professionally made – costumes that LOOK unfinished, ratty or thrown together will not do! Be prepared to pay $600.00-$the sky's the limit per costume, in addition to purchasing proper shoes, jewellery, make up, zils, and other accessories. Costumes must look flattering for your body type and be properly fitted. Here arises the question of body type. Oriental dancers do generally have more public acceptance and leeway in terms of weight & age, however it seems that a fit and youthful image is still the preferred type that is hired for regular restaurant work.

TATTOOS & PIERCINGS: Because the cabaret and oriental style represents a more classical and traditional style of dance, large body tattoos & multiple obvious piercing are not the most favored look when performing for an Arabic community.  They truly do suit the American Tribal or Fusion Tribal although you do not have to have them to perform in this style (henna and temporary tattoos are a great alternative

13. Volunteer performances such as charities or cultural celebrations may be requested. If the dancer chooses to participate, the benefactors are treated the same as if it was a paid engagement as far as the commitment goes. When approached to do charitable work, it is good practice to let the client know the current rate for professional performances and ask for a honorarium or tax receipt in lieu of the regular fee. This let the client know the value of our services and helps them gain a greater appreciation of what we are doing for them. It is also a good opportunity to network & present your promotional material & will sometimes evolve into a paid engagement later.

14. Above all, dancing professionally must be treated like any other profession - a professional dancer treats her peers and clients with dignity and respect, conducts herself with professionalism and integrity, and continues to upgrade her skills and knowledge so she can always present herself and her art in the best light.

Organizing a Hafli... By Jamilee Abir- Printed Vol 1 Issue 2 '97

 This is a wonderful opportunity for dancers, student to professional level, to perform and fraternize!!  If you are in an area that does not have places that regularly feature dancers, this can build public awareness, and future business! This also is an alternative for class end celebrations such as a Student Night. !  The intent of the Hafli is a venue for students to perform for their family and friends in a warm, encouraging atmosphere and for professionals to strut their stuff and build towards a strong community spirit!!

 (**NOTE**I recommend that only 2 to 3 are held a year, so if there are large Shows planned in your area, they will not  interfere with ticket sales. I change the location for  each Hafli.  It gives more exposure for the dancers, and in the competitive restaurant market, lets the owners know we are trying to be fair to everyone.  Also, this platform is useful in developing regular PAID performances, you don’t want the restaurants getting used to FREE entertainment all the time!! To organize a Hafli, one option is to get together with fellow instructors & dancers and form a Hafli Committee.  Or, if you are a real dance community go-getter, head it yourself, but make sure you have lots of help!!!  The following guidelines have been  developed by putting on the past six Haflies here in Calgary. We learn more each time!!!...

 Event Staging:

1) Choose your date on a Tuesday, Wednesday or Sunday .  7:00 PM is a good start time.

 2)Form a Scouting Team to find the perfect place.  Choose a Restaurant or Lounge that has a minimum capacity of 50 patrons with seating  arranged for optimum viewing.  Having a bit of  floor space to utilize as a stage is a bonus.

-Check out the sound system (literally, it HAS to be GOOD.) Is it Cassette, CDs, MP3? Check the lighting.  Can it be dimmed for the Show? Is there ceiling room for prop dances? What about changing space???

 3) One Spokesperson should will be the liaison  for the restaurant manager or owner and the committee.  Advise the manager that they will not make much on liquor, just the meal service.

-This event is NOT to be advertised by the restaurant . It is for the dancers, their families and friends, and the restaurant will be filled!  A flyer for their window should be all the advertising they need.

-Set a minimum charge of $10.00  to $12.00 per person, to ensure the guests order a full meal.

-Seating will be done by reservation. Make each party responsible for calling the restaurant and arranging their own

seating. (DON’T do a block reservation, it can cause major pandemonium!!!). Also each party MUST let the restaurant know if they have to cancel, or if more or less  people are arriving than originally reserved for.

4) Invitations for this event can be mailed, e-mailed or personally delivered to all the instructors so they can copy it for their students.  I have a two sided flyer that has an invitation on the front the dancers can copy or fax to their families and friends and information on the back for participants.  I mail it out with the newsletter for the Calgary area now. Once it’s mailed, I wait 2 weeks to let the dancers have a chance to reserve for their family & friends, then give the restaurant a flyer.  The restaurant reservations fill up fast.   To offset costs of paper, Xeroxing and postage if applicable, you may want to ask for a $2.00 cover charge at the door from all the guests (Not the dancers though, they are performing for free!!)  Let the restaurant know you will be doing this, and assign a couple people to collect at the door.  If you are not from the Calgary Area and are interested in an example of the flyer, see the * below for instructions on how to get a copy..

5) Have an Organizer for the dancers. She/He will be the contact for the show line up and the liaison for the committee .  An answering machine is a must!!.

-There should be a limit of 10 to 12  performances.  The Organizer must know the layout of the restaurant to know the feasibility for prop and troupe production numbers..

-Performances opportunities work best on a first come (call?)  first serve basis, and there should be a cut off time for booking . (we cut it off about 4 days before the Hafli)

-Set time limits & STICK to them!!! Beginner to intermediate dancers should be 3-4 minutes, advanced & professionals - 8 minutes tops. Troupes have the same guidelines .

- The Organizer should get the performer’s name (names if it’s a troupe) how they would like to be introduced, and have that information ready for the MC.  Finding out  experience level is helpful in arranging the performances.

-The performers must have beautifully recorded music on fresh cassettes queued at the BEGINNING of Side A, and a backup tape as well.

-Specify that proper costuming is to be worn. Presentation is VERY close to the audience and you do not want potentially embarrassing situations happening!!! (Or bad raps...)

-The organizer will call back all the lined up performers the day before the Hafli, to verify they will still be dancing and to let them know when they are slotted in.

-We have divided the Hafli into 2 Parts with a 10-15  minute intermission, , and send the dancers out one after the other. The
show is fast and exciting that way.

-Find out how long it takes for each dancer to be costumed & ready, as it is easier on the changing space. As each dancer is finished, she changes then sits with her guests to eat & enjoy the show!

-The Organizer will work with the MC, and Stage Managers to coordinate the show.

6) Have at least 2 Stage Managers , to ensure the dancers , MC and music are cued.  The restaurant may have someone to operate the music, but the cassettes should be put in order and clearly marked  by name, number or both,  and if possible, sound checked for the recording levels well before the show. They can return the tape after each performance to the dancer .

 7) Ask someone who you know has a great speaking voice for MC.  The important thing is to be HEARD.... The MC should make sure they have the list from the Organizer with the announcement info and correct line up as soon as it is available, also check with the performers on the pronunciation of their names, music etc. before the show starts . Let the audience know that the entertainers are dancing for free, and TIPS are very much appreciated.  Demonstrate the proper way to tip.  Show them how to appreciate the performance Middle East Style by zagareeting at the fast music, hissing at the slow music and universal clapping and whooping  to energize the dancers!!  Don’t forget the Kudos for all the people who helped make it happen and to the restaurant and staff.

We also have taped Arabic music for the background, that is played softly before the Show, then cranked up during intermission, and after the Show finale, in case the audience feels the urge to dance! Have lots of fun !  It’s well worth the effort!!©Copyright -Jamilee Abir

I just spent 4 hours re-arranging all my stock ….  This was step #1- of my Operation-0rganize project (being done on my much needed vacation time off from my daytime career) Step #2 is looming ahead - organizing all the paper work…..EEEEEEK!  Just before going on holidays, I was wondering if I really had time to look after Abir’s Casbah properly.  I thought about all the grandiose dreams, and how I had difficulties with accomplishing some of the goals I had set for myself with Middle Eastern Dance, as well as at times not being able to keep up with my client requests…..So, I did a Positive & Negative List…

NEGATIVE:

 1) $$$ for Stock   Ooooh, those visa bills…. Well, you gotta have stock!  But I am running out of ingenious hiding places for the bills (that my husband can find…)                                                                                                              

2) Money Misunderstandings.  I lost a couple hundred (yep! Count’em) because of trying to convert US to Canadian & vice versa… Learned the hard way h   ow to do it.  I sometimes bring other vendor’s stock on the road with me.  As an example of a costly misunderstanding, a beaded bra & belt set ended up with an incorrect price, ($200.00 rather than $450.00), and I sold it on behalf of another vendor (not realizing the incorrect price).  The vendor called the lady who bought the set, told her the problem, and offered her a choice of paying the balance, or sending it back collect and receiving a refund on the amount she paid.  The lady was very pleasant, but said she had already done some alterations on it, and said she would think about it.  She called a couple days later and advised the vendor that she spoke with a friend about the misunderstanding, and they felt when a STORE was at fault, the customer is always right, and shouldn’t have to pay the difference, but to be fair, she would pay half of the balance.  The vendor (who consigns her stock from a supplier in the US), actually had to pay her supplier out of her own pocket for most of the difference) agreed to this arrangement. (I THINK the cheque for the balance was received)    The whole thing is as a vendor in these exotic wares, there just is NOT that kind of mark-up to play with (unlike businesses with store fronts).  Most of the vendors I know (me included) are CRAZY about the dance, want to supply other dancers  and hope like hell there is enough profit made to buy more stock and more glitzy stuff for themselves!

POSITIVE
 

1)The lovely people that I get to deal with…From the dancers themselves, to their families and friends,                       

2) Working together with the other vendors. I have cemented many a wonderful friendship with vendors such as Calgary’s Son of The Pharaoh, &  Arabia Adorned, Vancouver’s Senitza’s Designs, Costumes by Jordana, Shalazar Creations & Rahma, Montreal & Toronto’s Sim Sim Imports, Albuquerque New Mexico’s Isis Imports from the US, and many, many more!                                                                                                                                   

3) Choosing and receiving the beautiful merchandise (it’s like Christmas time when a shipment is in)                                              

4) Expanding into Vancouver, British Columbia and sharing the company with my beautiful cousin Perri Richardson (Amar).  Buying trips with her are WAY too much fun!!!!                                                                                         

5) Did I mention having first crack at the merchandise?    

6) Bazaars, I LOVE going to them, setting up, and the interaction with everyone attending. (Builds great pecs too!) 

7) Watching a dancer who is obviously delighted with her(his) purchase. 

 I could go on & on about the positives, and they certainly out-number the 2 little negatives… so I am going to stay in it for the long haul!  Happy Dancing!!!! ©Copyright -Jamilee Abir