Alhambra Dance Company - Call to Audition

Alhambra Dance Company

Alhambra is a Middle Eastern & Flamenco fusion dance company located in Toronto. Founded by dancer Caliana in 2006, it has since evolved to include a collective of talented dancers. Choreographers for the company include Caliana, Alexandra, and Maha. Innovative and captivating, Alhambra excutes seamless and beautiful interpretations of both Middle Eastern dance & Flamenco.

Call to Audition

Alhambra Dance will be holding auditions to expand the company.
When: Sunday January 9th @ 12-2pm
Where: O.I.P. Dance Centre, Studio A
190 Richmond Street East
Toronto, ON M5A 1P1
(647) 477-5225

About You:

You ideally will already be at the Advanced/Professional level in Middle Eastern Dance. Having other dance styles such as Flamenco, ballet, contemporary, jazz in your repertoire/dance background would be an asset.
Specific requirements for successful candidates:

You are dedicated to being a professional artist in all aspects, have an open mind to doing things differently and trying new styles of dance.

Successful candidates will be expected to attend weekly rehearsals for 2 hours on Sunday afternoons (mid-late afternoon – exact time will be announced when it is confirmed). Regular attendance and being ready to dance at start time is important to maintain productivity.

In the event we are preparing for upcoming shows, you can expect extra rehearsal hours on a weekly basis.

To maintain a positive and productive artistic environment we are putting a limit on the amount of troupes/companies our dancers can be a part of; limit of 2 companies per person, which includes Alhambra Dance.

You ideally already own some professional Oriental costumes.

Rental Costs after money raised in our own events are applied will be split amongst all involved in the dance company.

Dancers can use 1-2 inch heels when learning flamenco, but ideally for performance you should at least invest in some character shoes. Anyone wishing to do further study outside of what is provided through the dance company should invest in actual flamenco shoes.
What the Ambassadors of Alhambra Dance will provide:

* Excellent dance experience
* Training in Flamenco Dance in order to execute Flamenco Oriental pieces optimally
* Excellent dance experience

The Audition:

Please prepare a 5 minute oriental piece to be performed in front of the panel. Depending on turn out, you may not get to perform the full 5 minutes.

You will be shown a small portion of folklore, oriental and flamenco to then be “performed” to the panel in a group/in groups (depending on turn out).

If this dance company sounds like something you want, please contact calianadances@gmail.com or reply to this email in order to get your name on the list for an audition.

Dancers Are Genetically Different Than The Rest Of Us

I came across this article today. I guess there is a "dancing" gene after all, though I KNOW that you can learn to dance even if you have two of the biggest left feet. Enjoy!

Source: Dancers Are Genetically Different Than The Rest Of Us

"What makes dancers different than the rest of us? Genetic variants, says a researcher at the Hebrew University of Jerusalem.

In a study published in PLoS Genetics, Prof. Richard P. Ebstein of the Department of Psychology and his research associates have shown, through DNA examination, that dancers show consistent differences in two key genes from the general population. Ebstein is the head of the Scheinfeld Center for Human Genetics in the Social Sciences in the Department of Psychology.

This finding is not surprising, says Ebstein, in view of other studies of musicians and athletes, which also have shown genetic differences.

Ebstein and his colleagues found in an examination of 85 dancers and advanced dancing students in Israel variants of two genes that provide the code for the serotonin transporter and arginine vasopressin receptor 1a.

Both genes are involved in the transmission of information between nerve cells. The serotonin transporter regulates the level of serotonin, a brain transmitter that contributes to spiritual experience, among many other behavioral traits. The vasopressin receptor has been shown in many animal studies to modulate social communication and affiliative bonding behaviors. Both are elements involved in the age-old human social expression of dancing.

The genetic evidence was corroborated by two questionnaires distributed by the researchers to the dancers. One is the Tellegen Absorption Scale (TAS), that correlates aspects of spirituality and altered states of consciousness, and the other is the Tridimensional Personality Questionnaire (TPQ), a measure of the need for social contact and openness to communication.



The genetic and questionnaire results of the dancers were compared with those of two other groups examined – athletes as well as those who were both non-dancers and non-athletes. (Athletes were chosen for comparison since they require a good deal of physical stamina like dancers.)

When the results were combined and analyzed, it was clearly shown that the dancers exhibited particular genetic and personality characteristics that were not found in the other two groups.

The dancer “type,” says Ebstein, clearly demonstrates qualities that are not necessarily lacking but are not expressed as strongly in other people: a heightened sense of communication, often of a symbolic and ceremonial nature, and a strong spiritual personality trait.

Others involved in the research with Ebstein were his Ph.D. student Rachel Bachner-Melman, as well as additional researchers from Israel and France."

How to charge for gigs

Recently I've been asked about how to charge for gigs. Great question! I'm happy to share what I've learned about this, to not only save you from ever getting burned but also in the knowledge that sticking by high standards is good for all of us!

I typically do 3-7 gigs a week here in Toronto. I dance regularly at 4 different restaurants, two of which are Arabic nightclubs. In addition I appear at many parties & weddings. I've had the honor to have many wonderful clients and to be a part of so many wonderful memories. These clients make up most of my business. My article is a bit tongue & cheek and certainly not intended to be a reflection of all the clients that contact me.

How to charge for gigs:

Lets start by breaking down the clients perspective of what they are paying for. They see you for the duration of your show, and that's usually it unless there has been a meeting in advance. From their perspective they are paying you for the 15-30mins that you are there for. Fair enough.

What most experienced bellydancers will know is that the 15-30mins that you are doing the actual performance is the least amount of work in the whole process.

Lets keep in mind what it took to get to the point where a client may make initial contact. You have hopefully spent many years and $$$ learning how to bellydance and have taken a professional course, have acquired some professional costumes ($300 - +$1000 each), have all the additional props (silk veils, isis wings, canes, shamadan, sword) and have invested in some marketing & business materials (website + SEO, business cards, terminal to accept debit & credit card payment, etc).

Here are your set up costs to begin your business and these efforts have brought the client to you.

From here, the gig booking process begins with the initial contact by a prospective client. This is time spent via emails or on the phone to listen and answer questions from the client. Here you will ask your set of questions and explain your booking process.

1. You require a deposit to secure the booking.

I take a 25% deposit on all bookings. This tells you the client knows they want you there and will not change their mind at the last minute. You can confidently book this into your schedule so that when someone else phones, you're booked and won't be upset knowing you could have done the other gig if the first one bails. You are valuable and so is your time.

2. You will provide a Contract/Terms of Agreement
This document should outline the details of the gig (Client name, contact info, event type, address, etc) and your terms. You can view a copy of my standard contract here: www.mahabellydance.com/BLANKContract.pdf

*I actually don't require a signature unless meeting in person. An email acknowldgeing that they have read it is sufficient for me.

If someone is not willing to give a deposit or agree to your contract, great. You know that they are wasting your time and you have successfully weeded them out. If you are professional with a great website, photos, costumes, & contract people will take you seriously and will feel confident giving you a deposit. This also assures the client that you will show up!

The next part of the process is preparation for the gig. This includes: choosing an appropriate set of music, getting ready, and getting yourself to the event. For me this is a two hour + process. My image when I arrive is very important to my branding as a bellydancer. I'm ready from head to toe: my nails are always done, hair, outfit, everything. You have to be making efforts to be the best most glamorous version of yourself. This means hair, nails, lashes, buffing, pro makeup - the works. Decide what your budget can allow and remember this all takes time & $$ going to your appointments.

Getting there. You have to be on time and consider your mode of transport; are you hiring a driver or do you have your own car?

All these things considered, once you are there and doing your show, 90% of the effort is done.

I hope this all gives you a perspective on what exactly you are charging for your gigs.

How to price yourself:

There are a few considerations at this point:

1. What are other professionals charging in your area.

This will give you your base. Don't undercut - you will be shooting yourself in the foot and bringing everyone else down with you.

2. Is this an event or weekly/monthly restaurant gig.

You can see my breakdown of prices here: mahabellydance.com/hire.php#prices

Events include weddings and parties. They are a one time event though you may have clients who will hire you a few times a year in this category.



Weekly, bi-monthly, or monthly restaurant shows allow the dancers constant exposure to potential clients and will produce more gigs. Also, for clients who wish to see you perform in advance, this is where they can come watch you. For this reason, a reduced rate is appropriate.

*Auditions:
Don't ever audition for free. Unless it is 3pm in the afternoon and the only people there are the owners and some staff. You should have video available on your website. I've had clients come to the studio to watch a demo when I was dancing in a duet. This is rare and they paid for the rental and an additional fee for our time.

3. The location of the event.

You should charge more for travel time. Firstly because of the additional expense of getting there, but also the extra travel time will mean you may not be able to book a second or third gig in an evening.

4. Charging for a second show

For me, I will charge half for a second show IF there is no more than 30mins wait in between shows.
For restaurants, the price is NOT reduced for a second show. You are already giving a reduced rate. Don't do a discount on top of a discount.

5. Zaffa

If the contract is for a Zaffa only, it is the price of a regular show. Zaffa and a show is treated similar to two shows. I charge my regular rate for the show and $150 for the zaffa. I'm more flexible about the wait time in between shows. What often ends up happening is I will do the Zaffa, go to anther gig, and return to the wedding for the second show.


Negotiation:

People will always try to negotiate. Be patient and firm. Negotiation is embedded as a norm in many cultures so expect it. If you let yourself be pressured to taking a lower price, you have devalued yourself and wont feel good about it.

Common negotiation tactics:

1. "If you dance at my event you will get a lot of exposure and you can leave your business cards all over on all the tables."

This could be worth it if you are provided with the name, address, telephone, and email address of ALL attending guests so you can send your marketing materials to harass them to hire you for parties or sign up for you classes. Yeah right.

Unless this is for a charity that you would like to volunteer for, they are just looking for a free or discounted show.

How about you get paid your rate and still get to leave your cards all over like at any other gig?

2. "We are just a small group can you give us a discount?"

Consider all I wrote above about the gig process. Does it really matter how many people are there? It's same amount of effort from start to finish if it is for a dinner party of 5 or a wedding of 500.

3. "What if we only want 15mins instead of 20, 25, or 30mins?"

Again, consider all I wrote above about the gig process. It's same amount of effort from start to finish if it is for 5mins, 10mins, 20mins, or 30mins. You still spend the same amount of time in consultation, getting ready, and getting yourself there. The whole concept of "the bellygram" for less is rediculous. The price is the price is the price if you are there for 5mins, 5000 people, or 30mins for 5 people.

4. Common one for restaurants: "You charge $150 for a weekly show? Come this week and I'll pay you $100 then we'll talk about it."

Ugh. No. Here's what may happen. They may have no intention of having you weekly. There is a special event and they want a bellydancer for that week. Chances are after the show they will say: "We are going to think about the weekly thing. We'll call you." They may call you months later for a single show for $100. Ugh.

You are better off to charge your gig rate the first show. Discounts apply after that based on if the show is weekly or monthly.

This one I've learned the hard way with a newly opened restaurant. I didn't lower my weekly restaurant rate, but I still accepted my weekly restaurant rate on the first show as they said they wanted a weekly show. Though everything went well, they decided it wasn't in the budget for weekly entertainment....and said they would like to start this in a month or so when things pick up.

So they knew in advance that they could not afford weekly entertainment, but they said they wanted it when they called me.

You will either be contacted by restaurants having bellydancers for the first time, or ones that have established bellydance show.

The later will likely have a set rate they pay the dancers. You can take it or leave it, or ask for what you would expect to be paid.

5. "It's a weeknight and not prime gig time can you give me a discount?"

Ok, I'm sure you're catching onto why not, right?

6. "We want you to come to our party. We have LOTS of family weddings coming up this summer, can you give us a deal."

Same above as the restaurant scene...


If you conduct your business in a professional way you will be treated that way. Don't devalue your skills or your time, ever. If you're good at what you do, you will always have work so no need to ever feel pressure to compromise your prices.

I have had a honor to get to know an amazing musician and person here in Toronto, Dr. George Sawa. Dr. Sawa was born in Alexandra, Egypt and is a master Qanun player. He has taught and written on various subjects in Arabic music at the University of Toronto and York University. He has also produced 2 CDs: The Art of the Early Egyptian Qanun Vol 1 & 2. Vol 1 was nominated for Juno award in 2009.

Recently, Dr. Sawa has published a book on music appreciation for Bellydancers that is the only book of it's kind and is an excellent resource for teachers and students of Middle Eastern Dance.

The book contains chapters on the essentials that every Middle Eastern dancer should know: Rhythms, Melodic Modes, Musical Instruments, Musical forms & Maqams. In addition, 2 cds are included containing approx 33 tracks each that compliment lessons in the book. The photography is stunning featuring bellydancer Bozenka and images of Arabic instruments (all from Dr. Sawa's collection!). I had the privilege to be a consultant (or rather guinea pig) on this project and highly recommend this excellent book.

It is lovingly dedicated to the memory of Taheya Carioca, Samia Gamal, and Naima Akef. aw :)

You can find the book here: www.georgedimitrisawa.com/buy_music.htm

The book is reviewed on the Gilded Serpant here.

Bellydance & Striptease: Have things really changed?

While on my way home tonight from teaching, I logged into facebook and came across Dilara Sultan's article: "Belly Dancers: You Gotta Go With Your GUT!"

She approached a controversial topic concerning bellydance performances in Burlesque shows. I thought it was great advice she gave: follow your gut. If it doesn't feel right, don't do it. I am known to have strong opinions about Oriental bellydance as an art form and while this golden rule is great for making decisions you're just not sure about, my gut reaction to this is don't do it.

I've had the privilege over the past few years to be surrounded by women dedicated to elevating bellydance as an art form. They work towards excellence always learning new things, producing high quality gala performances that appeal not only to other bellydancers, but the general public. I've also worked with outstanding professional Middle Eastern musicians and collectively we have all respected each other as artists.

While I am viewed as an artist by my students & colleagues performing at galas and with live music at an Arabic nightclub, there are the other gigs....the ones where I'm hired by a wife/girlfriend for their husbands/boyfriends birthday, the calls I get to perform at bachelor parties (of course I don't perform at them), and the comments when I arrive to dance at a party: "look at you, you're so hot! The guys are going to love you!!" So here, I'm no longer a serious Oriental dance artist, but a PG13 option to hiring a stripper.

So as it stands here in 2010, bellydance as an art form is still so exotic to a majority audience. These types of clients are not calling a ballerina to dance for their husband or boyfriend. Now put this next to a strip tease act?? Is this really helping our art form?

Bringing us back to the bulesque show. Don't get me wrong, I LOVE burlesque and I hope that one day bellydance is strong enough of an artform to be in a burlesque show. I see these women as artists and their status as artists share some commonalities with us bellydancers! For example, most people who tell me they saw a bellydancer at such and such a place once, I ask, "What did you think?". The responses are either, she was really good! or she was really awful and why did she just keep trying to drag people up to dance with her?!?

Bellydance as a new art form means there are fewer standards as to what gets seen on stage. Meaning, in other dance forms, it is less likely to see a dancer in a professional setting who has not had many many years of training. Unfortunately for us, sometimes dancers begin to perform publicly outside of student shows and the result of an amateur performance viewed by people most likely seeing a bellydancer for the first time results in the public taking us less seriously. I've seen similar catastrophies in burlesque shows. While there are some stellar performers out there, when amateurs take the stage as professionals, it brings the whole art form down.

I think a big part of the blame is in the concept of the "bellydance community". This whole idea that we should not criticise one another and tell everyone that they are very good just to be supportive is detrimental to our art form. If the only people showing up to our shows is the bellydance community, we're doing something wrong. It's ok to criticise! Be nice about it while demanding excellence!

I really love this art form and I want to see it elevated to the same levels as other dance forms such as contemporary dance, ballet, and even Flamenco. I think we have a long way to go. Ballet took 200 years to have a standardized vocabulary of movements and really we have only been around since the 1930s. In the mean time, we have to continue to work hard to put high quality bodies of work out there for the general public and be conscious of what settings our dance is being viewed in.

Carassauga 2010

Summer goes by too fast! I can't believe it's August and I have taken only one weekend off in July! I have a lot of projects on the go, which I will be mentioning here soon.

This summer I headlined the Turkish Pavilion at Carassauga. It was an amazing weekend because I got to share the stage with the student troupe I direct, The Sultanettes.

Through this event, I got to appear on Roger's TV a few times. Check it out:

Interview on Daytime Show

Drum Solo Performance