I’ve saved Dance for last in my 5-Day Artist Challenge, because my relationship with dance is both of utmost importance to me, and hardest to describe. (So hard, in fact, that apparently I had to wait for ages, forget that I still had never finished the post, and pick it up with renewed fervour.) You may have forgotten, in all this time, about the Café Bakery of the Artist Challenge, but it’s official. Writing is sourdough, Drama is French toast, Visual Art is sandwiches, and Music is cookies. Therefore: in thinking hard about what the Bread of Dance would be, I’ve decided that it’s flatbread.
Seems counter-intuitive, maybe, but this is how anciently foundational I know dance to be. Flatbread has existed for thousands of years. It is essential to cultures all over the world. It is as sacred as communion wafer, and as celebratory as focaccia pizza. Flatbread is important whether you have everything, or almost nothing. It can be crisp or soft or stretchy, or basically whatever you need it to be. It’s tortilla, it’s naan, it’s lavash, it’s chapati, it’s matzo, it’s pita, it’s roti, and so on. And any of those types can be consumed in simplicity, or filled with all kinds of delicious details.
And another thing: flatbread is very often round, like the dances in so many cultures. A circular creation that underpins and supports many aspects of culture. I make this point because for me, dance is not just a joy, but a necessity. It is not just a practice, but a basis for community.
It always makes me sad to know there are those who believe they can’t or shouldn’t dance. I’m lucky to have been encouraged in dance ever since early childhood. I can’t imagine how it would feel to have that instinct squelched. The urge to manifest a rhythm or melody, to let yourself be literally moved by the music, especially for young kids, is a powerful one.
The Groove movement, made known to me by my amazing Dance co-facilitator at OELC iArts, insists that we can ALL dance. That if we think we can’t, all we need are few building blocks to help us find our own style. That, and a safe space to move. Dancing is for everyone. It counts whether you’re dancing with thousands at a rock concert, or by yourself in your bedroom. We all need that whole-body thrill of letting the music become part of us.
My dance journey has been through many phases:
- Dancing as a preschooler, wearing whatever dancey costume I could get my hands on, in our living room with my sisters – mostly to dances by Brahms or Dvorák;
- Taking my first ballet classes, realizing I would not wear an actual tutu or pointe shoes for many years, but still adoring how sublime I felt doing it;
- Taking up figure skating as well and loving the transfer of dance onto ice;
- Going through puberty and suddenly being less-good at both these forms of dance (where being petite – not to mention short-waisted – is a huge natural advantage);
- Attending Wilfrid Laurier University and taking ALL the dance classes offered (i.e. ballet, jazz, hip-hop, modern, swing, jive, and Latin);
- Attending the University of Toronto and joining the Only Human Dance Collective, which gave me more experience in everything, plus Irish and African and – finally – bellydance.
The meet-cute between bellydance and me occurred while I was working on my Masters in Toronto. The hip-hop class I wanted to sign up for was full. I thought, Hm, I’ve never tried this! I was hooked the first time I saw my teacher do a maya. I couldn’t wait to learn how to do that.
Once I began learning, I fell straightaway in love. It was all so fascinatingly beautiful. And finally my body had found a home. Finally it could be itself – long waist, large ribcage, prominent butt, funny-shaped feet and everything. Finally I was teaching it to do things that felt natural.
Since then, I have discovered that bellydance, in Ontario at least, is not just a hobby but a community – one full of diversity, creativity, and caring.
This past November, the dance troupe I belong to presented its biennial professional show called Mosaic. In this show, bellydance techniques are fused with all kinds of other dance techniques to create wonderful, unique choreography. There are a dozen of us who form the main troupe, and we worked really hard to bring the visions of our choreographers to life.
There is no way to adequately describe the rush you feel when combining the satisfaction of a job well done, the joy of movement, the exhilaration of performing in front of an audience, and the bond of a loving community working their tails off together. I am incredibly grateful to be part of it.
Here is a piece we did in November. It took the most work of any of our pieces, because it required the most intricate synergy. It is chock-full of empowerment symbolism. No performance is perfect, but we are proud of this one.
Here is another piece that we did at the previous Mosaic two years ago. This is a favourite piece of the troupe in general because it’s so much fun. I adore it because it makes me feel like a kid: whooping and hollering, being unabashedly noisy with an instrument, animating a big swishy skirt, and especially dancing the big circle at the end where we skip and gallop – just pure candid joy.
Now my daughter is taking creative dance classes, and she loves them. Her excitement when she emerges from the studio is a sign that she is getting the joy I wish for her. And both my kids, when we put on music at home and just boogie down, have fun and smile more afterwards. It’s a shot of happiness to the body and soul.