Welcome to Suhaila Unveiled, the official e-newsletter for Suhaila Salimpour, and the Suhaila Salimpour School of Dance.

Greetings

WE ARE MOVIN’ FORWARD!!! We are so excited to announce the move to our new studio. We will have two bathrooms, a kitchen, a bigger office and storage space… and yes…. a bigger dance floor!! Each day has been filled with picking paint, tile, and new office furniture. It is only a few blocks down from our current studio but now it will be closer to Peet’s coffee (my favorite coffee shop). We are so excited, and our Grand Opening Date is May 31. More details will be available on the website soon.

Members of Repertoire Ensemble backstage at Rakkasah West

Rakkasah was a blast, and I am so proud of all the dancers in the Repertoire Ensemble. You all did an amazing job, and the hard work and dedication showed during your performance. I stood proud in the wings watching the performance move seamlessly from one dance to another. Please check out www.youtube.com for a view of the performance. I would like to give a special thanks to Rashid for his love and support for the company. I adore working with you. And last but not least I want to thank Shukriya, Michelle, and the entire DeVine family for their love and concern for my family and me throughout the years.

The release of our new percussion CD Reflections is selling like hot cakes. This CD features master drummer, Bashara Naddah, and is a very powerful and spiritual musical representation of his artistic soul. See New Releases for more information on this album plus the release of our new single, Dark Veil, a fusion of hard rock and belly dance music. You’ll love it!

Stacey and Suhaila

I wanted to extend a special congratulations to Stacey Wuest who is my third Level 3 Certified Dancer. Stacey tested at the February Level 3, and I am so proud of her and her accomplishments. Also, thank you to Alex Snyder and her husband Tom for making my workshop in Virginia such a wonderful experience for us all.

Members of Repertoire Ensemble backstage at Rakkasah West

Last, but not least, I want to say how happy I am with my staff. I want to thank the entire group of women that keep my vision “movin’ forward” each day. From the teachers in my school, to the women in the office, to Vashti keeping all my contracts and bookings organized, to my house cleaner…. I thank you!

Editorial by Suhaila®

I left my hotel room and walked to the nightclub for rehearsal that day. I learned quickly that this was not such a great idea since I had a line of cars follow me with male voices yelling what I was sure were vulgar innuendos. What did I expect? I was in Lebanon, and women did not just walk places. I had a momentary lapse of insanity by thinking that since my hotel was just a few blocks away from the club, I would walk and enjoy the sunny day. Ha!

I arrived at the club right on time. Of course this meant that I waited around for at least two hours for the band to show up. Setting a time for something meant allowing a two-hour window for arrival. How silly of me to assume that being punctual would show my commitment to the job. Instead, I looked out of place standing around while the manager and staff cleaned up from the night before. Even when the band did show up, it took another 45 minutes for them to drink coffee and recap their personal lives before even strolling onto the stage (with coffee cup still in hand from the third refill) to slowly set up and do what appeared to be a sound check.

I carried a large bag/purse with “stuff” to occupy myself during these cultural moments. I had a book, my journal, nail polish, and tweezers (of course with a compact mirror). . . all the “must haves” of a traveling belly dancer. Depending on the circumstances, I would whip out an appropriate tool. On this particular day, my choice was my journal as my mind and heart were filled with inspiration moments I wanted to remember.

As I was writing, my manager walked over and grabbed my hand to inspect my nails, wincing at the lack of manicure and color. Embarrassed, I started making excuses immediately; I knew better than to show up at a rehearsal without looking “put together”. He was kind and didn’t say anything, but I knew my attire didn’t meet his approval. Wearing jeans and a sweater with clogs, I wasn’t dressed like the other dancers during the day; they chose outfits like Olivia Newton John wore in the last scene of Grease -- tight spandex pants, red pumps, tight white shirt with plunging neckline, full stage make-up and hair, and, of course, perfect nails.

I was most embarrassed by the fact that I knew better. As a working dancer in the Middle East, you are still “at work” even when you are hanging out with friends or at a rehearsal. You maintain a certain appearance to assure the managers, owners, band and staff that you are a star at any time of the day. They don’t want to think of you as “normal”, and it almost seems that the way you appear off the stage is more important than how you appear on the stage – as you must exude “celebrity” at all times. Being on stage was easy for me since I understood that I was being watched and judged as a dancer, and I had such beautiful costumes to showcase my work. Being on show off stage required more of an adjustment. I came from more of an artistic upbringing where greater value was placed on how you were developing as an artist rather than what you were wearing or driving.

So, after my manager walked away, I sheepishly returned to my journal, writing even more furiously than before. The first page was just “I want . . . I want. . . I want. . .” over and over again. Then I finally spit it out. . . “a safe place for dancers to grow and explore”. There! I said it! At that moment it was clear to me what my future would hold. Growing up with my mother’s training and school, I guess I took her training for granted, assuming that everyone around the world trained and developed like I had. So, I realized that if I could survive this time in my life I knew that I could inspire others with a format and environment under which I had grown.

But, it is invaluable to create an atmosphere where students can experiment and grow, learning to become artists without being judged by the car they drive or by who has the richest friends. When we can leave the superficial elements outside the studio, that is when we begin to have a supportive, creative environment for students, teachers and artists-in-the making.

I was excited (and a bit scared) to finally take the plunge and open my own studio. I had rented space here and there, but finally having my own studio offered me the opportunity to really infuse that space with the creative and positive energy I wanted. My goal was never to open a studio so I could teach all the classes myself; my goal was to have a studio in which students could also explore being teachers themselves in a supportive and structured program: to learn to teach, to develop communication skills and to learn about group dynamics. Although I can teach all my own classes and workshops, I feel that giving my interested students an opportunity to grow as teachers is a gift for them; an opportunity for them to learn, grow, and make a name for themselves with an audience that feels safe with me.

Currently, I have seven instructors in my school with whom I work on a weekly basis, and I feel very confident that they are truly learning something about themselves. I have numerous students in my certification program who are exploring and learning as teachers and artists. A lot of energy and focus is required to maintain this type of learning environment, and several times I have asked myself, “Is it worth it?” And, every time I have responded, “Yes, it is worth it.” It is worth it to have a studio where students can grow, where teachers can learn their craft, and where artists can experiment. It is most definitely worth it.

Make Time to Dance

by Margaret Cho

Margaret Cho, a well-known comedian, actress and artist, is currently Level 1 certified in Suhaila’s format.

In our busy lives, I think it is very important for us to make time for ourselves to dance. Just a private moment, away from everyone and everything else and all the worries and the cares of the day to slip away and escape. It is hard for me to do this. I juggle work and home life, as well as a very busy touring schedule for my new show Beautiful, and it is very hard to carve out even a few minutes a day for my dancing, but I find when I do make that time, it is incredibly rewarding. I take my shoes off, turn the phone off (very important because I am as addicted to texting as I am work!), put on Bal Anat or Sheherazade and get moving. A few simple drills, or just sitting on the floor doing glute squeezes really gets the kinks out! Some snake arms can really get rid of the wear and tear that comes from sitting at the computer all day. I really think snake arms can also cure all kinds of back problems! When I don't have enough time for class or a workshop, just a song in the middle of all the work to stretch and remember that even though I am many things to many people, for myself, I am a dancer.

Jennifer L. Carter

Jennifer L. Carter, MSW, is a Program Development Specialist with the Missouri Coalition Against Domestic and Sexual Violence. She is currently Level 1 certified in Suhaila’s format.

We all have defining moments in our life. When I was seven, my parents divorced, and I saw my father first physically assault my mother during the first Christmas visitation exchange of me, their only child. Later that year, I saw belly dancing for the first time at the Texas Renaissance Festival and bought my first pair of zills. The details of both events are blurry, but each mesmerized me for very different reasons. When I was 18, I enrolled in a belly dancing class in Austin and finally put those zills to use with Vonda, my first instructor, who was later Suhaila certified. Later that same year, I began meeting with a group of women on The University of Texas campus regarding violence against women in the community. More than ten years later, I am continuing to evolve as a belly dancer, my greatest hobby, and as a domestic and sexual violence advocate, my chosen career. They create the yin and yang in my life; thereby, creating my whole person. Each passion provides energy to the other, fueling my life and my soul.

Many parallels exist between modern belly dancing and violence against women movements, and I feel great honor when I can talk about how my two life passions entwine. I have been asked many times why being both a belly dancer and feminist is not a contradiction in my life. When you understand the true history and potential of belly dance there is not contradiction - in fact, there is beautiful symmetry and balance. One gives life and energy to the other and they feed off one another.

I heard Suhaila once say at a workshop, “You thought you wanted to learn how to belly dance; you really wanted to change your life.” How true that phrase was for me when I first began to belly dance. At the time, I wasn’t sure what I wanted, but in retrospect, I wanted to heal and I wanted freedom.

I found so much more than I ever expected.

At some point, the dance became more than an art form, more than a workout and far more than a way to meet friends. It became therapy. It became the activity that brings me the most pleasure, joy and hope after hearing from survivors of violence about their trauma and failed system responses. For some, belly dancing is a career calling. For me, it is the avocation and activity I find necessary to remind me that women can have power and control over their bodies and their lives. Without it, on those days when I am feeling as though it is completely overwhelming to change the world and stop violence against women, I might not keep going.

I have worked at the Missouri Coalition Against Domestic and Sexual Violence for over four years, providing training and technical assistance to members and the general public. I feel incredibly grateful to my organization for supporting my love of belly dancing by allowing and encouraging my offering of an annual conference belly dancing workshop each year for the advocates at member programs. In addition, I have provided a retreat for advocates at one program that included belly dancing as a part of the day’s activities. Later this year, another state coalition is flying me to their annual conference to teach a belly dance workshop as well as lecture on empowerment and belly dancing. Not only is belly dancing a wonderful way for women to heal from sexual trauma or domestic violence, it is a wonderful forum for domestic and sexual violence service providers to reduce and prevent vicarious trauma.

Vicarious trauma is the changed worldview that trauma-related service providers can experience after hearing numerous survivor stories and providing empathetic support. It is cumulative and continuous in their lives. They can start to experience similar symptoms as those women with whom they have worked, and it can provoke previous feelings and memories of their own prior victimizations. When it comes to domestic violence, some of us are survivors of personal attacks and some of us grew up in an abusive home. When it comes to sexual violence, there are few women who have not experienced an unwanted sexual touch or provocation at some point in their lives. When you work with trauma survivors and hear their stories day in and day out, it can change your sense of being, alter your worldview, distort your belief that there is good and your belief in the justice system to do right, and shatter your sense of safety.

According to literature, exercise is one of many methods used to counter and reduce vicarious trauma; however, I have yet to read any specific mention of belly dancing. I wonder if the impact of participating in a dance form that is female-centered and has been used for thousands of years as a way to reduce feelings of oppression would be more beneficial than, say, tennis (this is not to downplay the important of tennis, but it doesn’t have the same history as belly dancing). Would it be more effective to participate in a female-centered, ancient dance to regain power and control?

For me, belly dance has been not only a way to heal from my own pain; it is currently the rejuvenation I need to keep me strong, both physically and mentally. It actually enables me to continue to have the hope and the strength to provide services for domestic and sexual service providers. Belly dancing is a way to physically express freedom from oppression, even if just for a few minutes each day. It is a way to become in touch with one’s body and feel ownership of it after being abused or hearing about women being abused. When women feel alone, isolated, dirty, crazy, unloved and unattractive, belly dancing creates a forum for empowerment to help women feel proud of their shape and self, meet other women, and feel a sense of control over their body and mind they might not feel otherwise.

Ironically, I am often called upon to explain to advocates that it is not a contradiction in my values to be both a belly dancer and an advocate. Frequently, I hear that I am personally oppressing women even further by belly dancing. An unintended consequence of the popularization of belly dancing is the misunderstanding, particularly among women, of the very act of it. Just as feminism has turned into a dirty word in certain circles, so has being a belly dancer. I continually educate advocates about how belly dancing can heal not only survivors, but also those of us in this line of work who may experience vicarious trauma. It is truly the physical expression of gaining power and control over one’s body after being victimized.

We live in a country that has created more opportunities in recent years for women than in the past and in current conditions of many other countries, but for those who think there is total equality and lack of oppression in the United States, I challenge you to work with anyone who has experienced domestic or sexual violence and to hear their stories. We know that domestic and sexual violence can happen to any woman, regardless of their socioeconomic status, education or race. I do not believe that because I have been in this line of work for so many years that it reduces my chance of being victimized, because I continue to be a woman - the number one predictor of being victimized.

I believe the movements of belly dance, and the supportive environment it creates, allow me to feel stronger and happier than I would otherwise feel. After recently attending the three-day Suhaila Tribal Fest in St. Louis, I feel invigorated by the challenge of the workshops, revitalized by the beauty of the performances, and grateful to hear Suhaila’s personal story before Bal Anat began. Most of all, I am appreciative of the pleasure I receive by being a part of a group of women sharing their vulnerabilities and strengths in a large room over several days. I greatly appreciate Lois Marshall and Suhaila for bringing the event to town, and creating a way for me to arrive at work on Monday, once more refreshed and inspired (and a bit sore) for whatever challenges lie before me.

In the February newsletter, we intended to show a "bananas" clip from YouTube.com. Apparently, some received the January link again and others received the "bananas" link. So, we're trying "bananas" again. Would you consider this work creative or artistic? To provide your comments, please send an email to suhaila@TheRealSuhaila.com and put "Inspiration Point" in the subject.

http://www.youtube.com/watch?v=RO10s_HK6d0

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Suhaila Salimpour -- P.O. Box 8612 -- Landscape Station -- Berkeley, CA  94707 510-526-4344

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