photo: Liza Heider

The new year is approaching and I am so very happy to announce that OaklandBellydance will soon have a new look. In the meantime you can see my new website at Shabnam Dance Company.Com. An Internet Explorer and Ipad friendly version is being built as we speak, so pardon our dust if you navigate cyber space with those

The studio photos were taken by renowned photographer RJ Muna and the outdoor pictures were taken by the incomparable Liza Heider. It is always a pleasure working with these amazing artists and I am quite honored for the opportunity to work with them.

Along with the new photographs, the new website now has faster booking form processing for clients, testimonials from students, clients and critics and easy access online registration for my school’s classes and workshops.

With exception of private lessons and Dance Company rehearsals, the studio will be closed until January 4, 2012 for some studio additions and renovations including a double  barre for the ballet and acrobatic stretch classes.

I want to thank everyone for their continued support and dedication to dance perfection and progression. I am looking forward to making 2012 an incredible one for the Shabnam Dance Company and ShabnamInc.

Happy Holidays!

Xo

Shabnam's Serpentina Dancer Ria

A lack of flexibility can make things very difficult for dancers who are otherwise very talented. The good news is if you implement the correct stretching routine and follow it every day, you can improve your flexibility. Stretch progress may not be quick, and it will not be easy, but if you are serious about improving your dancing, then it will be worth it.

It is standard in most elite and competitive dance forms to require flexibility. From salsa, latin dance, ballroom, ballet, jazz and  bellydance. With exception of my company members,  bellydancers are not required to hit a center or front split in their dancing. But  for those interested in mastering floorwork, or gaining a larger range of motion in torso, hip undulations or more fluidity for slow dancing,  flexibility is necessary.

I added a Flexibility Training class about a year ago because I figured it was one of the things many of my dancers were lacking and felt that it would benefit their training. Within a year many of my dedicated students have shown great progress which include clean leg extension, splits and standing backbends. Some of these dancers came to me with serious hip and leg injuries and the wonderful side effect of the continuous training was the reduction or eradication of scar tissue. I am immensely grateful for their dedication and happy to witness their  progress. It’s truly amazing what the body can do with consistent training. Dancers of all ages, sizes and levels are welcomed in these classes with open and (flexible) arms!

Below are some pictures of my students and their progress. All of the dancers pictured have had no training in the flexibility arts prior to class. Flexibility Training class focuses on acrobatic and dance style stretching focusing on front and center splits, leg extension, foot form and opening up the hips. Introduction to Contortion focuses on backward bending, standing backbends and tricks for advanced students.

Flexibility Training Class:

Introduction to Contortion Class:

heaven backbend

http://www.bellydanceday.com

My annual Bellydance Day extravaganza is right around the corner and my dancers and I are hard at work hoping to make it a memorable event for all workshop participants and show attendees. This years event will have a weekend of  Master Workshops designed to elevate a dancer’s training in addition to a Fire & Ice themed show.

Workshop Schedule:

Saturday Stretch Intensive 8/27 10am

My signature dance and acrobatic based flexibility training. The second part of the workshop taught by Ballet Instructor Alicia will focus on assisted duo training where dancers will learn to stretch each other to take their flexibility further plus pressure point work.

Smooth as Ice Ballet Technique for Orientale 8/28 10am with Alicia Gonzales

Persian Bandari That pops! 8/28 11am  with Miriam Peretz

Freeze Shimmies, Vibrations & Flutters 8/28 12:15 pm with Shabnam

Fiery Fierce A Capella Finger Cymbal Choreo 8/28 1:15pm with Shabnam

I’m Thrilled about the show line up with fabulous performances.

The funnest part for me is designing the fabulous ‘Fire & Ice’ themed Bellydance Costumes…hoping to make it the most Glamorous Bellydance Show in the Bay Area…okay I’m shooting for world, but let’s see

I’ve always loved the camaraderie and community feeling of dancing with a group. As a child I participated in team sports, from track to gymnastics. I loved the training, consistency and dedication to competing and going to meets. When I retired from team gymnastics,  my focus turned to dance. My first Bellydance troupe performance was many, many years ago at Cafe Bellie’s showcase at Ashkenaz. I had 4 brave ladies perform a short choreography and I remember how important it was to all of us. It was my troupes second performance at this event where my current Petite jolie duet dancer and main apprentice Mandanah saw us and quickly joined my group. She was the first student I had that believed in my vision and her participation in my troupe elevated us to another level. In 2004 with 2 beginning level students in tow, my Troupe  won 1st runner up at Belly Dancer of the Universe Competition, in 2005 we won 1st place Troupe at Bellydancer of the Year and won 1st place  at 2005 Bellydancer of Universe Troupe Competition, 2006 1st place People’s Choice Competition in addition to Petite Jolie winning countless 1st place awards from Wiggles of the West Competition to North Valley Competition.

My First Troupe:

with 1st troupe in 2004

With One of my Company Members Heaven 2010:

In 2010 I formed the Shabnam Dance Company with the goal to elevate Bellydance for theatrical presentation. All company members are my dedicated students who train in Bellydance and Flexibility Training.  My training method includes dance conditioning, ballet technique in addition to instruction in musicality, finger cymbals and various props. My point of view as an instructor is to create dancers that are extremely well rounded. My most consistent students do well in the competition circuit and are award winning dancers.

With Senior Company Member Mandanah:

Winning 1st place in 2006

Post EDF Audition 2010

Being a professional dancer is not for everyone, we have to earn our right to perform on a respected theatre stage. This includes a dedication to perfecting movement, to never settle for good and continue pushing our bodies to new limits. My dancers meet  several days a week in troupe rehearsals generally Monday & Wednesday nights in addition to continuous studies in flexibility. A dancer without flexibility or strength is not a dancer, they are a hobbyist.

My Dancers Training:

my dancers training

Not all glamour - bruises from Turkish Drops

Last weekend my Dance Company performed at the very prestigious San Francisco Ethnic Dance Festival. We auditioned against 130 groups for a coveted spot at this event. I was deeply honored to have my company chosen to dance at the renowned Zellerbach Hall. This theatre  that has hosted famous Dance Companies from all over the world houses 2,000+ people and seats for both shows were completely filled. The level of artistry and professionalism of all the acts were breathtaking. It was an honor to perform in this amazing show that garnered a standing ovation Saturday night.

Zellerbach Hall:

Zellerbach

Whats next? My dancers and I are are preparing for our Bellydance Day event that will take place August 27th and 28th in Alameda. Feeling deeply inspired, I am hard at work creating new visionary works of Middle Eastern Dance.  I want to take this time to thank everyone for their continued support.

• Maurice Wright
• All the wonderful staff at World Arts West
• Patricia Arellano
• Mandy, Heaven, Alicia, Gloria(G-Unit),Jules,Diana,Emi,Emily,Karimah,Sumaia

More Photos from Last weekend

With Theatre Flamenco

It is that time again. We are 2 months shy from the big show at the San Francisco Ethnic Dance Festival. From an audition of 130+ groups, my Dance Company were chosen to perform at this revered event. In it’s 33rd year, this festival is the creme de la creme  of all Ethnic Dance Shows. It is an event that takes ethnic dances from Tahitian, African to Middle East and elevates them to high art by placing it on a state of the art stage  that is generally reserved for Ballet or Modern Dance.

I am doubly honored to have trained a group of hardworking students ranging from 2 years to 6 years experience to perform at an elite level on the famed Zellerbach Hall Stage. This 2,000+ audience capacity celebrated stage has hosted premiere dance companies from Alvin Ailey to Nederlands Dance Company.

I remember sitting in the audience at Zellerbach years back, watching the Mark Morris Dance Company perform – dreaming of one day, some day (yeah right!) performing a set on that stage. Never in my wildest dreams did I think I could achieve that. I am thankful for the opportunity and especially grateful to have the dancers I have right now to make this dream a reality. Thank You:

• Alicia
• Emi
• Etana
• Heaven
• Jules
• Karimah
• Mandy
• Sumaia

To be the first Bellydance  or Oriental dance company to perform on this stage is history in the making and an honor. I hope to inspire others that with hardwork , consistency and dedication, amazing things can be accomplished.

Our World Premiere Dance celebrating the past and future of bellydance ‘The Flirtation of Girls’ will debut

June 11 and 12 2011

I’ve been receiving many emails and requests from enthusiastic students lately in regard to learning and exploring finger cymbals. I cannot express how pleased I am with the new found excitement in learning these wonderful instruments, which, in my opinion are indispensible to Middle Eastern Dance.

I’ve always been fascinated with finger cymbals. Perhaps it was my quest to be a drummer as a child. I saw Sheila E as the goddess of all goddesses, and begged for a drum set for my tenth birthday, hoping one day I could play ( and work  a fabulous pair of lace pants) like her. My parents refused, and I never got the opportunity to drive them nuts pounding on a drum set , but my desire to learn a percussive instrument came to fruition when I discovered these brilliant brass instruments.

When I first began to explore this dance form I knew from the get go that I wanted to be a master at two things – Sword Dancing and finger cymbals. Although many dancers at the time (especially) in the Bellydance competition arena, were not including finger cymbals into their performances, I knew I wanted to dance with them and included sagat playing in all my routines. Seven years after I entered the competition circuit,  still only a handful of dancers play finger cymbals, and if they play at all, it’s generally triplets (RLR) for a brief part, and then removed. I’m hoping more dancers will continue to find inspiration in finger cymbals and learn to embrace them.

I have all my aspiring competitive dancers and beginning students begin with finger cymbals from the get go (Whether they want to or not!). In my opinion a complete dancer should be able to play them effortlessly within their routines, choreographed or improvised in addition to have a  repertoire of rhythms. In my Basics class we begin dance  movement with finger cymbals and work to perfect three rhythms that work in the 4/4 music pattern – Triplets (RLR), Beledi and what I call a full roll (1eaa2eaa). With these three rhythms we build on moving and if practiced with consistency dancers will be dancing  and playing music effortlessly in a very short amount of time. The earlier you start moving with finger cymbals, the better, which is why I have them start early and stress the importance of loving, appreciating these wonderful instruments.

We continue with finger cymbals in intermediate and advanced classes, exploring more complex movement and rhythms  including straight ahead and filled varieties of 4/4, 2/4, 6/8 and 9/8. My method is somewhat unconventional than most teachers and dancers in that, I teach my students to play by ear. We do not learn the 3 3 4 etc method, because in my opinion that style does not address the rhythm you are playing and can make combining movement with musicianship more difficult. Afterall, we are dancers, our intention is  to play an instrument and move at the same time. My style consists of  identifying the rhythm, the downbeat and then building from there. Even before laying my eyes on any Middle Eastern rhythm notations/ books, I approached my choreographies and performances in this way. I would just listen to the music and play accordingly.  I feel this approach has helped my students dance and move with finger cymbals more freely and in a shorter period of time.  I tell them that it does not matter if your rhythm is textbook or not…just play on beat!

I hope this has given you a peek into my method  and I look forward to dancing with you. Happy Zilling!

As most of you know getting me to travel anywhere outside the cozy confines of my home is rare. I am afraid to fly and rarely take bookings outside of the Bay Area – that is, unless you pay me huge wads of cash and promise to spoil me

Well, long time apprentice Mandanah, in all her enthusiastic glory persuaded me to come out to Vegas and perform a duet at the LVBDI show. She is well known for her finger cymbal playing, so I knew I had to choreograph something fantastic  featuring finger cymbals for a performance in her hometown. I put something saucy together and felt great about it, (but Mandanah being Mandanah insisted on throwing in a 6/8 &  9/8) so 6/8 9/8 it was…and we practiced every day for about 2 weeks. From taking many trips with Mandanah for shows, I must say – if the world is ever coming to an end or an emergency of great proportions  happens…be sure to take her with you. Traveling with her is a dream. She is organized, prepared for anything and has EVERYTHING …scissors, yes, medical kit, yes!

We had a not so great tech rehearsal but a great performance – it went without a hitch. Unknown to me at the time, we received a standing ovation from the full to capacity crowd. We are so honored and grateful that our performance was so well received and we look forward to performing more high kicks and saucy zill licks at upcoming shows. Enclosed are a few pics of our trip. Enjoy!

With Ron Mc D at our stop in Barstow

Road Trip Food - Tortilla Salad

New Costumes by eshta - saucy!

Pre Performance food -Choc Crepe & Iced Coffee Breakfast of Champions

Enjoying the scenery at Bellagio

Post show posing...take note of the cash in M's costume!

Super cheesiness by me on the wall - Lotus and Mandanah looking fabulous

Mandanah post show - note her faboosh lashes!

Bellydance Day 2 took place on Saturday August 21, 2010 to a full house at Rhythmix Theatre in Alameda. The evening show featured Award Winning & top notch performances from students and dancers from my studio in addition to special guests. The overwhelming response from last year’s  attendees was that this years show and student level was even better then last year, which means next year will be super, super, super fantastic..is it possible?  (Yes!)  I encourage striving for perfection and putting our best foot forward when it comes to performing, and I am so tickled that everyone did just that on show night. I am already planning for next year – so get ready for Glitter Galore!

Dancer’s who are interested in being a part of next year’s extravaganza, just let me know. I select dancers from classes who are dedicated, hardworking and ready to take their dancing to the next level. That means those interested in performing a solo, troupe or several numbers. It is my studio’s end of the year recital plus showcase of my new work. We generally begin working toward the big show in March with most soloists training starting in winter. My philosophy is…  why spend all the time training and becoming a great dancer, just to perform in a restaurant?  With the chance of  dirtying your feet and customers getting couscous all over your costume…that’s just silly! Below are some rehearsal and post show photos by Paula R. Above pic is from Bei.

julie, paula, jules

Goblet dance

Troupe Ooh La La’s trademark pinwheel

Paula being coy

Mandanah shakin’ and a zillin’

Group pic

Post Show Fun @ Tiki Bar

Jules

Clint brought meat

she partied her ponytail off