Welcome to the circle...
Mandala Tribal

Frequently Asked Questions



ABOUT CLASS

PERFORMANCE

ABOUT TRIBAL

What does Level 1 cover?
Level 1:Foundations is an introduction to the foundation vocabulary and skills used in the tribal bellydance, rooted in the combined formats of Gypsy Caravan and FatChance Bellydance, though we will explore the influences of many different groups and styles which lay the groundwork for dancing in the inFusion Tribal style. We will study correct posture and isolations of hip, chest, and arm movements. We briefly introduce basic partnering skills and the concepts of group improvisation. While this class is focused for the first-time student, the skills we study in this class are important for all levels and is vital on a continuing basis for refinement.

For a specific list of vocabulary and concepts explored at this level, please see the Student Resource Center

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What does Level 2 cover?

Level 2: Foundations Plus builds extensively on the skills learned in Level 1, which is why it is so important to have a solid background in Level 1. We start every class with rigorous isolation drills to get the blood pumping and get in tune with our muscles. Then we begin layering other skills on top of the moves we learn in Level 1, such as adding arm and hand movements in conjunction with hip movements, traveling steps, transitions, and combinations. You will need a pair of zills (Purchasable online at Saroyan Mastercrafts), as we begin to explore Middle Eastern rhythms and dancing with zills. We also expand our movement vocabulary with more steps, and begin to spend some time in various group formations, learning to more confidently lead and follow when dancing together. The Level 2 class is a little bit more strenuous in nature, moving faster overall, but don't let this scare you. It just means that students with a strong background in Level 1 will find a new level of challenge when they move up to Level 2!

For a specific list of vocabulary and concepts explored at this level, please see the Student Resource Center
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What does Level 3 cover?
Level 3: Concepts & Combos starts to really put the skills learned in Levels 1 & 2 into practice in group dancing. Emphasis on technique refinement, more advanced strengthening and flexibility, advanced steps and formations, and incorporating zills more generously. There is consistent practice in chorus and partner work each week.

In addition to tribal improvisation, students will begin to explore the broader skill set encompassed by the art of bellydance, including precision isolations, traveling and layering, and more detailed combos and choreographies. This work, in tandem with tribal improvisational skills, is the foundation of Tribal Fusion Bellydance. Tribal Fusion is a challenging and exciting discipline, combining the artistic possibilities of choreography with the unique connectedness and spontaneity of improvisational dance. Students will have the opportunity to develop both group and solo performance skills, whether or not their goal is to perform in the future.

Students must have studied with Sharon through the full course of levels 1 and 2 and have a mastery of the foundation vocabulary and skills before moving into this level. This class requires instructor permission to join.

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What should I wear to class?
Comfortable clothes that you can move in. Yoga pants and a fitted tank top or tee shirt are a great combination for first-time students. Avoid any garments that restrict movement in any way, such as jeans, narrow skirts, etc. A good test for bottoms is to try this--sit down in a straddle stretch (with your legs spread as wide as you can comfortably). Does what you intend to wear prevent you from doing this, or expose you too much? If so, then wear something else. For tops, choose something that is either cropped or form fitting to the torso. It is important for me to be able to see your body line to ensure proper alignment and movement.

A hip sash or hip scarf is also common and great for being able to really see how your hips are moving. If you choose to wear a hip scarf, please avoid "noisy" scarves, such as ones with loud coins or bangles, as it can make it hard to hear the instructor and distract other students.

Bare feet is the norm, though any soft dance shoe would be fine as well if you so choose. Street shoes are not allowed in the studio.

You may at a later date decide you want to begin investing in some of the fun and colorful costume pieces that make up a tribal bellydancer's wardrobe. It is certainly never a requirement, but always a lot of fun to start to wear a few pieces to class, such pantaloons, a 10-yard skirt or choli. See more info on where to purchase costuming in the next section. Ultimately, what you wear is up to you, so long as it is comfortable and allows you to dance, dance, dance.
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Where can I get some of those great costume pieces?
My "day job" is as a tribal bellydance costumer. My most popular pieces for class include Slash Loons, Sari Shorties, and Hip Slashes. I also sell jewelry, hair flowers, videos, music, and more. The 5th class of every session is shopping week. Let me know what you are interested in and I will do what I can to accommodate you!

Additionally, there are lots of great sources for tribal bellydance costuming on the web. Google for "tribal bellydance costumes" to see what's out there. Tribal encompasses a lot of different styles of costume, so find what speaks to you. And if you ever need a reference or opinion on a particular item or vendor, don't hesitate to write me and ask.
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Do I have to have a bare belly to participate?
Not at all! Wearing what you are comfortable in, which will also allow me to see your posture, is more important than having a bare belly. But do keep this in mind--in class, your bare belly is in context. I, personally, would not take a stroll down the street with a crop top on--it just wouldn't look or feel right to me *personally*. But in class, nothing feels more natural than to have my belly bared and shimmy for all I'm worth. I am among trusted friends in class (and if you don't feel that way on your first night, you will very soon!), and baring my belly is appropriate for the activity I am doing. It also allows me to better see my posture and alignment, and as your teacher it is easier for me to see it to help guide you in correct posture and movement.

Again, let me reiterate that you do NOT have to bare your belly for bellydance. Not now, not ever. There are costuming options for all levels of modesty and all preferences for style. In class, so long as you are not wearing baggy tee shirts, which obscure your body line, then anything you feel comfortable in will do--fitted tee shirts, tank tops, leotards, etc. Bared or not, your belly is a beautiful thing--a seat of power which bellydance draws from. Feel free to show it off or keep it covered at any time in my classes!

Ready to take that first step to baring your belly, and want a little support? Try SugarPetals. They make these fantastic body suits with PowerMesh tummies which are not only a good modesty option, but are SOOOOO comfortable! I wear them all the time, as do many of my students. Great for class wear, stretchy, comfy, washable, and a ton of colors to choose from. If I sound like a saleswoman, it's only because I love them so much! For maximum versatility, I recommend the "Mesh Middle Unitard" in black cotton/lycra with tank-styled top and tan or black colored PowerMesh middle, but really any color you like best will work great.
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Am I too old/too young to bellydance?
There is absolutely NO age limit, high or low, to enjoying bellydance. Misconceptions abound, from the idea that one must be that Hollywoodized 20-something with the flat tummy and long exotic black hair, to the idea that bellydance is somehow "too sexy" for young women (like the grossly misrepresented MTV images of "bellydance"), to the idea that bellydance is only for old housewives trying to seduce their husbands. None of these images or ideas accurately portrays the amazing eclectic mix of women from all walks of life who enjoy bellydance in their lives.

Girls and Young Women:
I have had girls as young as 7 in class, and women over 70 (though they aren't telling ;)! It is a particular privilege to be able to give the gift to dance to a young woman before she enters her teens--to help her love, own, and respect her body before she reaches that delicate age range. This dance is good for the body, and more than that, it is amazing for your mind and soul. The use of the word "soul" sounds woo-woo, I know, but it is hard to explain until you have experienced it. The way this dance feeds you, the way it gives you permission to be fully in your body, to be truly present in the moment among all these amazingly fun and supportive fellow students... For young women, it is a rare opportunity to be surrounded by female role models who love their bodies, in all shapes and sizes, and celebrate their space in the world through their dance. To see so many women moving and sharing and appreciating the body they have been given is a (sadly) rare thing, and it is powerful to be surrounded by this experience; as an adult surely, but even moreso as a young woman who is being sent so many opposing messages about her worth and her body.

My only considerations about young girls taking my class is that so long as they are attentive and non-disruptive, they are welcome in class. You may choose to accompany your daughter or granddaughter--this is a fantastic activity to share in together, and I have a lot of mommy-daughter pairs in class every week, in all age ranges! If you choose not to participate, then I ask that for children 10 and under a parent or guardian be present in the hall throughout the class. For 11 and up, you may choose to drop your daughter off for the duration of class. You are welcome and encouraged to observe the first night of class regardless, though subsequent classes observers are not allowed, out of respect for new dancers struggling with new concepts who may feel uncomfortable being watched. Please come and introduce yourself the first night of class, so you can get to know me a little. Parents should be aware that the occasional racy comment or curse word does slip out now and again in class--my classes are primarily adult women, and the environment is treated as such. Surely I am no Dennis Leary! LOL But I want to make sure I mention this so that if that makes you uncomfortable, this class may not be for you and yours.

Women of "A Certain Age"
For older women, too, this is a fantastic dance form to undertake. Your range of movement, flexibility, and stamina is built gently but surely over each week. And we all need some affirmation now and again as to our undeniable sensuality and strength--at no age are we immune from negative self-talk and the harsh messages of the media. Bellydance is a cure for the sickness of allowing the commercial world determine our beauty and worth!

No matter if you have danced before or not, or how long it has been since you last challenged yourself physically on a regular basis, you will find that bellydance is suited to all women. It is a dance which honors and celebrates diversity in our bodies and abilities, while uniting us in purpose and aesthetics. Unlike other dance forms, which demand that our bodies conform to the ideals of the dance form, bellydance is an art which instead conforms to and compliments our bodies, just as they are.

In my classroom, we celebrate the matriarchal lineage that this dance follows back through history, and I consider it an honor to be able to share this dance with women of wisdom and experience beyond mine.

All Ages:
I strive to make my classes accessible for all ages, all women. There is a place for everyone, from 12 to 22 to 42...and beyond! The only way you can know for sure is to come and see for yourself. That's why I offer your first class for free--so you don't have to take my word for it.




How do I know if I'm ready for the next level?
Different students learn at different paces, is the short answer. So, too, do different sessions of my classes move at different paces based on who is in attendance. For instance, if we have a lot of brand-new dancers, we may take a little more time to work on specific skill mastery, and not cover all of that level material in that six-week session. Sometimes the class is full of "veterans" who have taken that level class in prior sessions, and the class will move faster. The best way to know is by letting me know you're interested in moving up and I can let you know if the time is right.

There is a frequent misconception that if one takes a Level 1 series, the next step is to start taking the Level 2 series, and so on. The truth is, a dancer new to this dance and format can expect to take Level 1 for a AT LEAST few sessions (three or more) times before moving up to Level 2 comfortably, which moves faster and demands a familiarity with the movement vocabulary taught in Level 1. Some students find that a longer period of time spent at a particular level is beneficial before moving forward, and I encourage you to take it at your own pace, and consult me for recommendations if you like. I do allow students to make the decision to move from Level 1 to Level 2 for themselves, so if you want to try Level 2, you are welcome to try it. For Level 3, moving up is allowed by instructor permission only. If you are a Level 2 student who feels ready to move up to Level 3, please e-mail me or talk to me after class!

Here is a link to shira.net (a fantastic online bellydance resource!), which is a little Q&A on the subject of moving forward in classes. While it is talking about a non-Tribal bellydance class, the same good advice applies!:

http://www.shira.net/dearshira/everbeginner.htm
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I have taken classes with other teachers before. Can I join the Level 3 class?
I invite all new students to come to Level 1 classes to start their exploration of tribal bellydance. While my classes in tribal bellydance are based in "traditional" forms of bellydance, you will find it is very different from anything you have studied before (even other styles of tribal group improv/ATS). The skills required in my classes depend on a specific and specialized vocabulary of movement, including very particular body alignment and layering, which you can only learn by studying the style from the ground up.

All that aside, different teachers have very different approaches to the dance, which are important to be familiar with before moving up in their classes. If you have studied other forms of bellydance, you may progress very quickly; or you may find Tribal and/or my classes are so different that it will take more time than you imagined to master the many nuances of this unique art form. Every student is different.

If after two or three sessions of Level 1 you feel you are ready to move along, there is a Level 2 class to explore which builds on the skills mastered in Level 1. Most students stay at the Level 2 level for more than a year, as there is a lot of new information to absorb at this level. Many students choose to take the first two class levels in conjunction--refining the previous level while taking on the challenge of the new level. My advice, not only with my class but in any class, is to always start at the beginning and take your time. Don't rush the process of learning, strengthening, refinement, and above all becoming comfortable with your teacher, your classmates, and the skills at Level 1 and 2 before pushing yourself to move up.

For my part, even after dancing for as many years as I have, I love taking foundation level classes from other teachers, for the chance to learn their unique style, and to refine my own skills and see the movement from a new perspective. It is not a sign of being "lesser" or "lower" to be a Level 1 student. Instead, it is the mark of a serious and respectful student to consider each class and each teacher a unique opportunity to revise and refine our skills. All of us, no matter where we are in our dance, benefit from revisiting the foundations often.
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What if I want to take classes from multiple teachers/in other styles?
I heartily encourage my students to explore as many classes with as many teachers as they have time and resources for! Taking classes and workshops in diverse styles will make you a more well-rounded dancer, and can only help you in your advancement in your dance. Seattle has a wealth of instructors and resources, so avail yourself of them!

That said, when and if you decide to perform tribal group improvisation, it can be helpful to narrow your regular weekly studies to one format with one instructor. Tribal group improv demands the ability to recall a very specific set of movements, executed in a very specific way, and requires split-second response times. When trying to develop this muscle memory and swift recall, it can be difficult to be trying to sort through and keep separate information from multiple formats in your head and body.

My advice is to take your time exploring as many teachers and formats as you have available to you, and when and if you decide to pursue group improvisation as a personal style, choose the teacher, class environment, and format that resonates the most with you to focus your time and energies with. If that is me, that would be wonderful! And if it isn't, that's just fine, too. I want my students to pursue their personal bliss, and in dance that is guided most by their trusted teacher and the fellow students they dance with.

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When do I get to perform?
Performing is an exciting way to bring the joy you feel in dancing to an audience--I have been a performer all my life and can definitely vouch for what a rewarding experience it can be to take to the stage. However, it is by no means a requirement, nor is it even a "natural progression" that every dancer should one day perform. Many students are quite happy to confine their dancing to class and/or their living room, and never perform for the public, and that is absolutely fine.

For those who do want to perform, it is important to know that the skills one must develop to become a professional performer is a process that takes years. No matter how eager or well-intentioned, one cannot simply "take a few classes" and be adequately prepared to present this art form to an audience. Would you take a few ballet classes and do Swan Lake? Would you take a few painting classes and have a gallery opening? No, it takes years of thoughtful study and dedication to reach that point. Any art deserves time and guided development before it is ready to be presented to the public.

Nomaditude
Hafla Durga 2006

Student level performances, under the guidance of your teacher, are a good way to see if performing is for you, and to learn some basic and vital performance skills. For a student performance, careful choice of the appropriate venue, music, and costuming is something your instructor can guide you in, and are details that should not be taken lightly. A trusted mentor or teacher can help you sidestep common pitfalls, and make sure that you represent yourself beautifully and confidently on stage. Remember, when you perform, you represent not only yourself, but your fellow dancers, your teacher, and the art form in general. Don't you think it's important that you put your best foot forward by being adequately prepared and guided by someone who is experienced in performance of this art? Check out the next section about our student troupe, Nomaditude, to see if it's something you'd like to try!

It bears repeating: Please understand that the skills and responsibility required to perform, even casually, takes years to develop (and yet again years more to refine and polish). Students should consider carefully before accepting an opportunity to perform without the guidance of a trusted mentor/instructor. It's a responsibility that deserves preparation and respect. Please feel free to talk to me if you have any thoughts or questions about performance ethics and preparation.

Bottom line, concentrating on your personal development, dedicating your energies to improving your dance skills and expanding your knowledge of tribal bellydance, may guide you down the road to performing one day. Don't rush the process. Enjoy the job of being a student, and make regular study/classes your highest priority in pursuing a future in performance. Trust me--your dedication and commitment will be well worth it.
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Can you tell me more about your student troupe?
Our student troupe, Nomaditude, is an invitation-only student level troupe. Members must be Level 3 students, and attend both Level 3 classes and Tribal Fusion Performance Prep classes each week. The opportunities chosen for Nomaditude's participation are specifically geared toward student dancers, and are an appropriate atmosphere for beginning performers to get their feet wet with public performance. Nomaditude is a great way to get a taste of what commitment and time it takes to present a polished show. We generally participate in several events per year.
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How does one get to perform with your professional troupe, inFusion Tribal?

inFusion Tribal Bellydance
Med Fest 2005

If one were seriously interested in one day being a part of inFusion Tribal, my classes teach the format which inFusion's style is based on. Regular study with me is the way to develop the improvisational skills, movement vocabulary, and diverse elements of tribal fusion bellydance which make up inFusion Tribal's format and stylings. While there are no guarantees or promises of an invitation, advanced students in my class and Nomaditude members would have a distinct advantage in consideration for future troupe additions. My greatest advice is to be dedicated and patient--focus on your personal development, setting goals for your own physical and mental growth in the dance, independent of any troupe affiliation expectations. Should you reach Level 3 and are interested in being considered for other performance opportunities, please feel free to talk to me about it.

To learn more about my professional troupe, inFusion Tribal Bellydance, Click Here.

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How is Tribal bellydance different from other forms of bellydance?
The quick answer is threefold:

Group Improvisation - Tribal appears to be choreographed, but, using a common vocabulary of moves and non-verbal communication, the dancers are actually making it up on the spot! This creates a unique energy between the dancers that is tangible to both the performers and the audience.

Costuming - The costumes are an eclectic mix of influences from all along the Romany Trail. The overall look is more "ethnic-flavored", tending to incorporate lots of layers of bold colors, rich fabrics, detailed embroidery, and heavy jewelry.

Attitude - Also called "'mood and 'tude" by yours truly. There is a way of carrying oneself as we dance which is widely recognized as the "Tribal posture". Regal and proud, with an even, penetrating gaze or a smile of inward joy and playfulness. Overall, a queenly posture emoting an air of confidence and power.

Tribal is just as serious and technique oriented as any other form of bellydance, or dance for that matter. It takes dedication and time to improve, but the learning process is unique in that it always involves others. True Tribal at its heart is NOT a solo dance, though there can be solo portions to a performance. Think about it: TRIBAL. A tribe is a group that shares a common bond. Dancing Tribal is about connecting with other dancers as you express yourself. You may practice at home alone, but to perform Tribal dance involves working in harmony with other dancers.

Kajira Djoumahna, author of "The Tribal Bible" has this to say about Tribal versus other bellydance forms:

Dancing together at a Gathering

"Tribal Style favors celebration of strength, mystery and power. Since we are always dancing with at least one other dancer, this style is also characterized by much more interaction between dancers than in other group styles that must rely on choreography, and less interaction with members of the audience than in traditional or solo forms. Because of these fundamental differences, the Tribal Style excels in development of self confidence, strength, camaraderie, awareness of self and others and being in the moment."

While dancing closely with others is part of what makes Tribal so beautiful, this can be a very intimate experience for some people, and it may be hard at first to dance with others, look them in the eye, and honestly trust them. I promise that if you give it a chance, and remain open to the experience however challenging it may feel at times, the rewards are wonderful, your confidence will grow and friendships will be created. The energy this dance creates is infectious!
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Isn't tribal the same moves as cabaret, just different presentation? I already know all these moves. Why do I need to learn them any certain way? Isn't a figure 8 just a figure 8?

Not really. The way moves are generated, and the very specific body and arm posture associated with each move, is really vital to the pursuit of tribal improv. In cabaret, for instance, when doing a taqsim (up figure-8), you can move your arms anyplace you like. Whatever feels right. You face whatever direction you want and just dance it. In tribal, depending on the style you choose to pursue, you will have some very specific positioning and arm accompaniment. And to change the move, you may have other indicators you need to learn to express through the movement you are doing, such as when you want to do a level change, a tempo change, a stylistic variation.

For instance, in the Gypsy Caravan style, with taqsim we face straight forward, and the move is accompanied by a snake arm which mirrors the hipwork. If I want to indicate a Maya next, my arms resume the usual tribal posture, and is now accompanied by outward wrist floreos. This is important to know, because if someone at the back of the group can't see my hips well, or can't determine what I am doing without looking down at them, they need these other physical cues to indicate what we are doing. If they see me go from a snake arm to an outward wrist circle, then they have an idea that I am going to do a Maya. Similarly, if I switch my body position from straight forward to a 3/4 profile, and my upstage arm raises up into an "L" arm with my extended palm down, then they know I am going into a hip bump. And in the inFusion style, if that extended hand flips up, it is a cue for yet another variation on the move. If the wrist lifts briefly, then it is cueing an inside turn, which has a specific arm movement accompanying it. If it curls at the elbow and my palms rotate out, then it is an outside turn.

And these are only a tiny number of countless examples. Various arm and hand variations can indicate turns, travels, or signal combos. So if you just do the moves how you were taught in your cabaret style classes, you may not be able to lead or follow anyone else who studied another style. Getting the idea yet?

I know it can feel frustrating to start back at what sounds like "square one" when moving to a new style of bellydance, but ultimately, to be able to pursue tribal style, you do need to start from the beginning and get all the moves down very specifically at each level--especially the foundation levels. It may seem like it will be boring and repetitive, but I can't tell you how many "advanced" bellydance students walked into a Level 1 class, and afterward remarked how different it was, and how difficult even the simplest moves became when they changed to fit the tribal format. I can't emphasize enough how important it is that you study the nuance of what you are doing at every level, and learn how those subtleties affect your tribal lead/follow experience.

Orientalist painting of Ghawazee Dancers
18th Century

Do you teach authentic, traditional, or period bellydance?
Depends on what you mean by traditional, period dancing. There is really no such thing, in the literal sense. Even the most "authentic" of bellydance we do today is all based on speculation, piecing together of scattered facts, and the watering down of oral traditions long since adapted and altered through geo-political and religious upheaval over centuries. While much can be traced some distance back, "period dancing" (if by that you mean SCA period of 600-1600) is not something that one can really study or teach with any authority. The best I could suggest is find a teacher and a class you enjoy, with a style that resonates with you. Then take that dancing, add costuming you have researched to your satisfaction as appropriate for your period and geographical area, and you will be as close to period as one can truly be.
Read below for more information on the historical authenticity of Tribal.

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Is tribal bellydance a historical dance? I have heard that tribal is more authentic than other forms of bellydance. Is this true, and if so, how?

San Francisco Classical Dance Co
San Francisco 1970
photo by Cedar

Tribal bellydance traces itself back through the same roots as many of the traditional dances found today in the Middle East, Spain, North Africa, Turkey, and India. These are also the same roots that modern cabaret bellydancers can trace their "lineage" through; only the chosen moves, styling, presentation and implementation is very different. Both Tribal and Raks Sharki are the product of fused cultural elements combined through shifts in borders, political and religious leadership, and migration over time; though I admit fully that Tribal relies heavily on the modern, purposeful fusion of these elements, while Raks Sharki's blendings are more deeply entrenched in historical changes we today have no control over. But I digress! Bottom line: No, Tribal bellydance, from a strictly scholarly angle, is no more authentic or tied to history than any other modern form of bellydance. That's the very short answer. If that is all you want to know, then you can stop reading here or {back to top} and find other questions you might be interested in. Those who want to read my ramblings, read on!

All the above said, I find that the *spirit and focus* behind Tribal bellydance is somewhat more closely tied to history than some other forms you may find in modern day. For an extreme example, from my studies, when Shakira 'shakes it' on stage, this is about as far removed from the original intent and presentation of the dance the further back you follow bellydance through history. That is not to say that this dancing is wrong, lesser, or does not have its place. I am a strong believer in moving forward and adapting art to feed new audiences--I am a fusion artist myself, after all, and very much enjoy bellydance in all its beautiful forms. But from a strictly historical standpoint, this presentation doesn't quite accurately portray the dance in it's native historical setting.

A common thread found when one researches bellydance origins is the fact that dances such as these were more often private displays, performed only in the company of family or tribe, and was rarely viewed by the eyes of outsiders. In many examples, the dance was only performed and shared among the women, sequestered from the men. The focus of the dance was therefore turned inward, on one another, for one another. The dances were not choreographed or planned--it was a spontaneous expression of the dancer's feelings in the moment. They did, however, know a common vocabulary of movement among their family or tribe, and sometimes would come together in larger displays of synchronicity, while at other times they would just dance alone with abandon. An audience was not a consideration, as there really wasn't one. It was one big gathering of women to share, to heal, to laugh, to celebrate, to mourn...to dance.

inFusion Tribal Bellydance
photo by Chris Moore

I find this to be the same focus of Tribal bellydance today. Dancers are finding a connectedness with other dancers--their "sisters"--through the dance. The format of the dance demands a focus on one another that performing solo or a choreography does not. Many women seek out Tribal because they do not have aspirations to perform publicly or dance solo, but instead want to find a level of joy and fulfillment in sharing the dance among trusted friends. Many people are seeking a sense of community that the world of fast cars, "im-personal" computers, and MTV doesn't seem to afford them. Coming to class is joining their tribe for an hour or more a week, and encourages them to simply share of themselves on a different level than the rest of their life might allow. "Come on, it's just a dance class," you might say. And this is true. One should always remember that ultimately, we are in a class, learning a dance. But the side-benefits of studying Tribal bellydance are numerous and rewarding, and, I believe, links this dance to a long thread of history in a unique way.

A related question to this topic is "Do Tribal bellydancers really just dance for each other, and don't worry about whether the audience likes it or not?" This is a common misconception about Tribal as a performance art; which differs from Tribal as a personal expression, in my opinion. Both of which are perfectly valid pursuits!

I want to be very clear: while the overall effect of Tribal is to connect the dancers and turn their attention inward, when performing Tribal bellydance for the public, the focus and intent of the dance MUST shift. As a performer, one has a responsibility to their audience that differs from what is demanded casually in class or at parties. So while the spirit of connectedness and energy projected inward to your "tribe" is vital to maintaining the unique energy and presentation of Tribal, one must learn to divide their attention and energy to share with the audience. Much effort must be made to project yourselves outward to those who have come to watch, honoring their presence while still maintaining the synergy of the group on stage. This skill is one that only develops over much time and concentrated study of this art. And learning some other forms of dance, bellydance or otherwise, on the side helps a lot in developing stage presence, as well as having the side benefit of cross-training your body and providing you new inspiration to incorporate into your dancing!

This has already gotten much longer than I had planned (this is how it usually works with me, be warned! ;), but the long answer made short comes down to this: while the dance itself is no more historically relevant than other forms of bellydance, the spirit of the gathering of Tribal bellydancers draws on a long line of traditional gatherings going back through centuries of dance. This doesn't make it better or more accurate than other forms of bellydance, but it does make it unique.<

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Where can I learn more about tribal bellydance?
Coming to class and giving it a try is the best way to learn more about Tribal. It is really something to be experienced in order to best understand it. Your first class is free, so it's no risk to check it out.

If you are interested in learning more about the dance and its roots with a little reading, visit my online tutorial. In it you will find a brief overview of the different dance styles which are blended to create Tribal bellydance, as well as links to further reading.

The Many Faces of Tribal Bellydance

Of course, if you have any additional questions, please feel free to e-mail me anytime at
info @ mandalatribal.com

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Last updated by Sharon on April 16th, 2007