Sources

Roots and branches

Researching and continuing to learn from new teachers around the world extends my mind in two directions - back to the roots, and out into the branches. It’s very important to stay rooted, so my personal style has a firm footing from which to grow.

The first style I learned is called American Cabaret (or AmCab), initially a product of the supper clubs of the US coastal cities. It’s particularly known for propwork such as veil tricks and sword balancing. The video below is a choreography by the superstar Aziza of Montreal, master of the silk veil - I love her stuff! Here I’ve mixed her choreo with raqs sharqi improvisation in the Egyptian style, thus showing two of my major influences.

I also added my activism and support for the source cultures to this piece, as another fundamental component of my personal artistry.

“Teacher learns the most”

Jillina Carlano

I have learned more in six years of teaching than I did in the previous 15 years of hobbyist training and performing.

I’ve always enjoyed researching topics, the feeling of discovery is simply fun for me - but the stakes are higher when you teach.

I threw myself into understanding the components of various styles I had learned, so I could transmit them more effectively.

Dance that makes history

My classes often focus on specific times, places, and people in dance history. This helps us explore the key differences between styles that have made bellydance what it is today. One popular style, pictured here, is Sai’idi inspired folkloric dance.

This cane choreography uses the song “Luxor Baladna,” referring to the Upper Egyptian city where raqs assaya (dance of the cane) has especially deep roots.

This 2019 hafla (“party” aka performance for other dancers) is the first time I performed with my own student - Juliana did an amazing job after only 4 months of study!

My events

Juniper's first performance with a student of her own, Juliana. They wear galabeyas in black and pink

Land of opportunity

Learning to dance in the California Bay Area meant there was always an amazing teacher, show, festival and workshop nearby - just about any time you could want. While the caliber of talent was palpable, I didn’t always fully appreciate the opportunities I had.

For example, this is me at a Redwood City workshop with Raqia Hassan, starmaker of Cairo. Most people need to fly to Egypt to get this experience!

Life in New Zealand has taught me that I was incredibly fortunate to see and learn so many things, without even having to travel for the privilege. Now I’m in the business of paying it forward to my students and collaborators.

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Unraveling and reweaving

My first step in teaching was to systematically go back over what I knew, and figure out what was what. As a fusion dancer, I naturally let styles blend into my typical response to music, but that would only confuse a beginner.

There’s a big difference between knowing how to do something, and knowing how to teach it! I read curriculum books (Katayoun’s is pictured here), took courses with some of my favorite experts to see how they explained it, and developed my own lesson plans.

I decided it would be best to lay a foundation of classical, traditional, and social dance styles, in addition to fusion opportunities for experienced students.

What is fusion?

A dance sword and cane share space on a cafe table with a flat white and Oriental Dance curriculum by Katayoun

Egyptian Pop playlist on Apple Music screenshot

Keeping current

One of the best ways to keep your finger on the pulse is listening to the current top hits from Egypt. My beginners especially love how easy it is to follow their pop music! It’s very fun and catchy. We mix it up with classics as well.

As Zara (one of the top Cairo stars) explained, it’s also important to seek out the Egyptian dancers, because they are underrepresented in their own art - at least when it comes to good pay, quality venues, and international attention. This has to change - I’m following more native dancers from various “source” cultures, not only to see how it’s done, but to hear their voice in the industry.

Hear some hits

Costume corner

It’s a privilege to have access to special costumes for distinct styles, especially here in New Zealand where shopping is more limited. However, it’s important to understand not only the appropriate music and movements, but also culturally relevant costuming.

Anything that doesn’t have all of those things (matching moves/props, music, and costuming) is fusion, which can be hard to spot if you don’t have much exposure to dance trends!

Left to right, these are a “tally assuit galabeya” (traditional dress decorated with metal embroidery), a Turkish “bedlah” (two piece suit), and a contemporary dress from one of the best designers in Cairo, Sahar Okasha. Contact me if you need help finding costuming to fit your budget.