On July 20th, 2000, I drove away from Atlanta, Georgia in a rented truck full of everything I owned. I was also driving away from my home of seven years, full of loved ones, and I was crying my heart out. This trip was no longer something to look forward to, it was my reality, and I was on the road to California with one of my dearest friends. We were on a quest for the ultimate dancer environment and after taking one two-day workshop with Suhaila in North Carolina, we decided Berkeley was the place to study. We had been in a troupe for about one year, but found ourselves needing more structure in our studies. Our teacher encouraged us to follow our instincts, go to California, and even hinted that Suhaila and her mother might be breathing life back into Bal Anat. We had heard tales of this mysterious dance group, even seen footage that seemed out of this world, and we were spellbound. But it was just a thought, just a dream.

One year later, as a part of the production crew, the event coordinator, Jessica, and I arrive approximately at 2pm on Saturday, June 30th. We expected to meet at 1pm, but traffic over the Bay Bridge was crawling, however, we were just in time to help the musician's load their gear up a fearful flight of swaying metal stairs from the back alley. Getting situated before Suhaila, Andre, the dance company, and various side show acts was little more than making sure the musicians were comfortable, talking with Broadway Studio's stage manager and going over the itinerary with Jessica, our Event Coordinator. Basically, that hour was the calm before the storm.

There are always last minute details to panic about; I think its part of what heightens the energy of the show. I am calling Suhaila's cell phone from a payphone to check on the 1971 videotape we are to view at 8pm and she turns out to be in the next room holding Isabella and laughing excitedly with her mother. Andre is talking with Jessica and the security staff, setting up their radio communication. From the moment the Salimpour-Khoury's arrive, the volume of energy in Broadway Studios is up several notches.

3pm and the flood of people begins. We have thirty dancers who want to know where to put their belongings, two aerial artists with an entire ground crew to help them set up, two of the cutest contortionists I've ever seen, and a team of videographers documenting the entire mess. Next to arrive are 250 folding chairs, a video projector, the DJ, a couple of cigarette boys in red glittery outfits, and what about the food? Broadway Studios staff is graciously handling the refreshments below the roar of the musicians who are anxiously warming up.

It is past time for a run through of the show. It is amazing how time speeds by just when we need it to slow down. The dancer are gathered in the VIP lounge chattering amongst each other while Suhaila works out the logistics of the procession. Everyone is happy, as usual on the day of the show. Suhaila has the uncanny ability to make everyone feel prepared and relaxed. We quiet as she gives direction and in moments, the mizmars sound the procession's first notes. We go through the entire show to work out the staging, and it is already time to get our make-up on. The VIP room opens at 7pm and we have to be ready to receive our guests. The dressing room is so small we have to get dressed in shifts. Suhaila and Jamila have a corner of the dressing table/mirror and stay up there to oversee us all. There is the usual buzz of many women getting dressed together. At time like these, I often wish I had my tape recorder to record the utterly silly and hyper talk.

The next hour flies by in a warm haze of greeting, eating and a glass of champagne. The tensions mount as we near 8pm. The VIP lounge is full of colorful characters and we even have a mysterious fortuneteller complete with a crystal ball. The front doors have opened and I hear there is a line streaming all the way around the block. I start to worry that we will exceed capacity, or that Marissa is having a hard time working the ticket booth. I didn't expect the place to be filling at such a speed, especially at 8pm.

The show in the next room has already begun. The aerial artists ran through a half- hour of a beautiful show. I have to admit I didn't see much of the pre-show, but every time I peeked though the balcony curtains, I was oohing and aahing. I was getting psyched up with the dancers; we were sweating and giggling and cursing with delicious excitement. Every once in awhile I would watch Suhaila and her mother in awe at their ability to have handle so many shows, so many people, and with such grace. I don't know if I will ever fully understand what drives these powerful women, but whatever it is, it works, and it works for a great number of people. This mother and daughter team motivates, and has motivated an enormous movement in the Belly Dance community.

It is time. The 1971 video is playing and it is Suhaila's only demand: we emerge from the wings just as the video fades. Simple, yet entirely effective. Ululation's preceded us, the mizmars fill the entire theatre, the dancers emerge onto the floor, which is filled to capacity, and there is almost not enough room in the isles we created. There is an electric mist swirling around the theater, through the audience, weaving in and out of every performer as we neared the stage. I doubt any dancer felt the floor on bare feet, or looked at anyone directly but the dancer in front. The room was thick with magic and we veritably floated to the stage. The mask dance was reenacted with amazing depth. The dancer had a special gift for the part and she was uncanny. It was breathtaking and quite difficult to capture into words. It was an ancient dance telling a beautiful story of creation and it warns us of the power we create. Next, the Karshlama, the welcoming dance, full of hops to a 9/8 rhythm, catchy and cute. The Snake Dance was enchanting and the Moroccan Dance had a deep groove. Our Pot Dancers were the sexiest water bearers in town, but I think the Algerian, or the Ouled Nail Dancers stole the show. Their costumes looked straight out of a history book, and the dancers themselves looked so much the part. The Sword Dance was awesome, delicately balanced and truly difficult. The Cane Dance was my favorite of the group dances because the choreography flowed so well with the use of the cane.

This brings near to the end of the show. Rashid comes out to the center with so much charisma, he barely has to move to stir the audience. His deep smoky eyes shine brilliantly among the layers of metallic draping throughout his sumptuous costume. The tray is huge upon his head and he is relaxed as ever, milking the energy from the audience slowly as if he intended to be on stage all night. He is languid and supine, coy and tempting. He rests on his stomach, still balancing the tray upon his head. He is Rashid, our very own gorgeous dancer and creative consultant. He designed most of the Bal Anat costumes and spent many hours putting the finishing touches on each of our costumes. His creativity and dedication to Bal Anat is essential to the magic of each of our shows.

Now we are on the edge of our seats for the finale, our Mama Sutra. She takes the entire stage, in one step, it vanishes, and she is above us all. In an instant, in pure metal assuit decadence, she consumes and feeds the energy of the entire theater. Nobody blinked. Nobody Breathed. Nobody moved she allowed the first song to break, then she graciously bowed her had and we exploded in applause. Her taxim was full of deep emotion that seemed to defy the audience that might criticize her fusion style. The sentiment went beyond the room, beyond San Francisco, and down to the roots of the serpentine element, the woman's knowing dance of creation and the methods we use to arrive there. Cultured, learned, experienced and wise, Suhaila dance it for us. She shared her pain, her joy, and we loved it. When she had wrung us dry, she ended her dance by bringing her mother and daughter out to center stage. We applauded the three generations of Belly Dance, past present and future with a standing ovation and there was not a dry eye in the house. The place was in an uproar for several moments more, and even continued a rhythmic clapping as we processed off the stage.

We were surrounded by loved ones from the moment we broke from the procession's line. People rushed to tell us how much they loved the show. Some people were deeply moved, I could tell from the way they were not smiling, but rather pondering a deep chord that had been struck within them. This show was definitely an eye opener for this new generation of "Tribal" Belly Dancers. They could finally see and understand where their American root of the term "Tribal Belly Dance" originated. It is a phrase coined by Jamilla Salimpour in 1968 when Bal Anat advertised for their show at the Renaissance Pleasure Faire as a "gathering of many tribes" under one name. Many people from the Belly Dance community, performers and otherwise, truly appreciated the work put into the show. The magic was felt by all that attended, because it was all that created it. Everyone was invited to dance on the main floor once the chairs were removed. DJ Jose Ruiz kept the crowd going 'till about 1am. Suhaila, her family, and close associates left to spend a few hours at home before getting on an airplane at 6am. They had a workshop in Seattle the next day and could barely take time to bask in the glory of the fantastic show. They looked pleased to see people dancing as they exited the building.

The opening of Bal Anat coincided with my one-year anniversary in California and I am again struck with the reality of my situation. Once just a dream, perhaps an exciting thought to keep me driving one mile at a time towards my goal, I never would have imagined I could be so involved in working on this project with such amazing people. I have found myself with more inspiration than ever to be on the dancers path as well as finding a place within Suhaila Productions. She and Andre are two of the most encouraging people I have ever worked for and I feel I have grown in countless ways with their direction. That was the beginning of Bal Anat 2001. There is so much more to go. We will be at the Renaissance Pleasure Faire every weekend from August 25th to Oct. 14th. You can visit us at balanat.com to check upcoming events.