| Show i Y Yr Yi i. i r Tech's u r hems Sha n Belly Bell Dances f To Feed y S 71 f J a The mh Soul Soulby S 1 J e 0 U I r F by J Kevin Brown Brown- Bro TOwn wn v r r r c 0 a A Sha student and belly dancer says her Ier craft t Feeds the sow r yet her inv involvement in the better than 2000 year-old year discipline began with ith the simple intention of losing weight Nine months at Gloria Marshall never compared with the results obtained 11 after only three months of belly dancing i Her predates involvement the belly dancing fad which began in 1974 Sha's is holding strong to date even though belly dancing as a fas fashion on 1 was succeeded in about 1979 by aerobics I The di discipline has historically drawn from and today continues to attract 2 r the male dancer Ancient Middle Eastern cultures believing the female t 1 unfit to give birth to the Messiah taught its men the dance explains Sha with witha 4 a grin Today its it's the t technique the isolation of muscle groups required by byr bythe r i the dance that captures capture the male interest i Concerned over ov over r- r the misunderstood thrust of what belly dancing is all about Sha continues Sha-continues continues to fight f for r enlightenment sometimes in the very settings which have darkened the art art- artIn In bars or as belly grams and arid even as a practical joke belly dancing is always performed as a ce celebration of life Compiled from numerous seminars and an an extensive portfolio of experience Sha has outlined six stages to the dance These hese will be recognized d by anyone who has witnessed the dance in full length and regalia First stage represents the young girl innocent and unlearned She dances to toa toa toa a medium fast paced musical accompaniment under numerous flowing veils Second stage is performed perform d at a slow pace in both music and dance Now the unveiling takes pl place With each veil depending on how many the performer can an afford is shed another aspect and year in inthe the girls life Ufe until she arrives at full womanhood This is a sensual moment where the body's undulations are meant to replicate the birthing motions r Floor TaJ eem is an actual child bearing rite In this the third stage the dancer retreats within herself spiritually in man an Q eff effort rt to cast out evil spirits The music slows to an almost tedious pace In a fervent f enactment re-enactment nt the dancer thrashes about on the floor throwing the body and head ad in what t is called calle l jar Its hard on the costumes and American audiences They tend to associate the slow music and prostrate inclination of this stage with erotic memories explains Sha explains Sha thus Floridian Floridi n Indigo her reptilian partner along with upright and isolated belly rolls' rolls for an otherwise costly performance the dancer then maintains eye contact with the audience which which which-is is intrinsic with this variety of entertainment The fourth stage celebrates the birth of of- the prized male child a Middle J Eastern preference The music speeds up and the dancer coaxes someone from the audience viewers generally fall into hysterics watching the poor chit chit on on stage emulate the curling hips and tummy of his or her proficient partner Stage five is a riveting frenzy of shimmies The dancer and drummer perform in a duet a composition that parlays with increasing intricacy t the e banked efforts of one of-one one against the other It too is a celebration with a touch of the frivolous intended to bring the audience to a high Stage six clusters the dancer with the musicians in an elaborate finale of music motion and life It is the proverbial skip do down doth th the yellow brick r road ad where we all live happily ever after Sha has taught at the Granite School Districts District's Continuing Education and Fitness but to the Kairo Program Spa Lady now Spa today belongs by Night dance company and performs at the Grecian c an Gardens Family a ily Restaurant |
