Interview with Bellydancer Ashley Rhianne

Ashley3What sparked your interest in bellydance?

I saw my first bellydancer at age 14. It was at a goddess fair in Langley.  Being a Bohemian hippy teen, I was super inspired and wanted to learn how to dance like those women.  I had studied ballet for several years and then jazz dance, and bellydance was something totally different and up my alley.

I had also been fascinated by Egypt since I was little, and the music seemed to touch a chord deep inside me.  I started to look around White Rock, where I grew up, for classes. And I came across a teacher named Nahida who had danced in Egypt. I started taking her classes in 1995, and the rest is history!

Was dance and performance part of your upbringing? 

I was a natural performer since pretty much from the time I could walk.  My parents and younger sisters don’t dance, but my father loves to perform and be on stage.  He was often organizing lip sync contests at his work where he was the lead singer, and was quite addicted to karaoke for a while!  My paternal grandmother was a dancer and danced pretty much up to her death at 85.  I definitely take after her.  She was one of the brightest sparks I ever knew.

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Choosing Music Over Meds

One man’s quest to retrain his brain- through movement and dance-to overcome a severe movement disorder. Federico Bitti suffers from dystonia, a disease that affects a person’s ability to control their muscles. He is using a new therapy involving neuroplasticity, and specific exercises to retrain the brain, which for Mr. Bitti, includes …DANCE!

It’s stories like these that keep Dance Me Free growing and remind me why the site was born in the first place. There is proof, all over the globe, of how Dance and Music really do heal. You’ve got to watch this one! Incredible! What an inspiration.

And Dance, you’ve done it again!

La Época Interview- Part 1

Josué JosephOn Faith, Music and Talent

Dance Me Free is all about the power of Dance- and the Arts – to move, inspire and heal. What an honour it is to feature an individual who understands and embodies this concept through a variety of artistic disciplines. Josué Joseph is an award- winning musician, composer, film producer, dancer and international instructor. He is an all around inspiration.  It has been a pleasure to get to know more about what drives this artist, and I am thrilled to be able to share his insights and passion for the arts in this in-depth, two-part interview.

Thank you, Josué, for your openness and authenticity. I am grateful to have met you and I know you will continue to inspire people wherever you go.  

(Click here to view the full Interview Introduction)

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Why the name La Época?

The idea came to me immediately after the death of Tito Puente.  I was talking to my father- Alfonso Panamá –who is a legendary bassist of the Palladium. After talking to him, and to Johnny Pacheco, Celia Cruz, Cachao (another famous bassist), and to some other well-known musicians and dancers, I noticed that no one else had created a film which put all of these legends together,  to document their legacies.  And my concept was different from other films that were done about the Palladium.  I didn’t want my film to be about the Palladium.  I wanted it to be about “the time” of the Palladium, and to allow people to see the musicians that supported the major orchestras.  For example, Tito Puente and Celia Cruz were in other films about the Palladium.  But Tito Puente and Celia Cruz were individuals, they weren’t an entire orchestra.  So who were the musicians who made these individuals?  That’s what I wanted to focus on.

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Intro to Interview with Josué Joseph, La Época- Of the Time,… But Also Transcending Time

IMG_8595-2No hay que llorar; el tiempo pasará, tú verás.

(There’s no reason to cry; the time will pass, you’ll see.)

Podrás abrasarme de nuevo, tú veras.

(You’ll be able to hug me again, you’ll see.)

Que no hay que llorar! Que conmigo estarás de nuevo!

(That there’s no reason to cry! That you’ll be with me, again!)

Que podrás adorarme de nuevo! Yo se que no me olvidarás!

(That you’ll be able to adore me, again! I know that you won’t forget me!)

Each of these lines is written in aqua blue across my bathroom, hallway and closet mirrors. The words are the lyrics to the song Verás, which I was introduced to in a live performance at the 1st Vancouver Mini Congress this fall. I don’t remember ever making it to the early parts of any dance congresses before. I usually like to save my energy for hanging out with friends and then social dancing later. Yet, something that weekend compelled me to skip out on a good friend’s pre-party and show up early for a film being shown at the congress instead.

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A Heart to Heart With Charles Ogar

charles10“Dancing with the heart” is a phrase that has been so overused that I think it had lost the depth of its meaning for me over time, until… people like Charles Ogar came along. Charles not only reminded me of the true meaning and feeling behind those words, by the connection he creates in his dancing, but he also put a whole other twist to it as he opens up about matters of the heart in this interview.  After learning about some of the journey Charles’ heart has been taken on, – from having faith in his passions, to leaving his old career behind, to enduring heart surgery, and following a new path by trusting in where the universe is taking him- I have  a whole new appreciation for the power of the heart. Thank you Charles Ogar for opening up with such honesty and authenticity in this interview and allowing us to know a little more about the heart that lies within you as a dancer and teacher.

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How Art Inspires Art- The Depths of Dance- by Linda Strathdee

DANCE1-INKOver a year ago, I had participated in a master class blues workshop in which each of us were critiqued individually about our dancing by both the instructors and the other participants.  We were then given tips on what improvements we could make and then were to dance in front of the audience again, this time keeping in mind these suggestions in order to see and feel how they could transform our dancing.

I learned so much from that workshop, but unexpectedly, one of the most memorable components of it was a dance by two student participants I had never met before- Patrick and Linda.  They didn’t do anything particularly fancy or flashy in their dance, but their connection to each other and the music was so sweet and heartfelt. Continue reading

Healing helped by your passions, healing helped through dance…

healing

… And sometimes, that healing comes in the form of something that lifts your spirit, something that makes you feel alive, something you are passionate about.  Sometimes, that healing is comes in the form of Dance.  

What Dance Teaches Me

live to danceI have been so lucky to have some of the most inspiring teachers  come into my life.  Little did I know that Dance would be one of them.

Dance has influenced the decisions I make, the places I go, the people I meet, the perceptions I have about life, the values I cherish the most, my awareness of myself as a body and a soul, as well as how I interact with others and the world around me.

Someone recently asked me why I dance, and the first thought that came to my mind was, ironically, NOT thinking.  Dance, as I explained to this person, is one of the first places I learned not to lead (or follow) with thinking, but to feel.  With Dance, I shut off my brain, and engage, or turn on, my senses.  This is huge for someone who is constantly thinking and processing and analyzing like myself.  And wow, what it has done for my writing.  As a writer, I need to be much more in touch with my senses, and to be able to capture moments when my senses are really heightened. Dance makes me much more aware of those moments and plants the images of them deep within my memory.

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Kizom-what? – Part 2

Kizom-what?– Part 2 –Interview with Eddy Vents- discussing Kizomba Dancing (continued) To view Part 1, click here

Tasleem: At the end of Part 1 of this interview, you talked about the importance of the connection in this dance.  Because it IS more about that connection and energy, it’s really hard to describe kizomba to someone else.  Often, I hear it being described in terms of other dances. The description “Afrieddy vents2can tango” has come up a few times, and I’m wondering what your thoughts are on that.

Eddy: I think people describe kizomba that way because they need to refer to the dance with something that is more familiar.  If I explained kizomba to you by talking about the other dances it’s connected to or came out of, you probably won’t know what I’m talking about, because you’ve never seen those dances.  So ‘African tango’ makes it easy for people on this side of the world, who have not experienced those African dances, to imagine the dance using something they already know.

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Kizom-what?- An interview with Eddy Vents- Part 1

Kizomba. What is it, and why are more people talking about it?  The word itself seems to stir up a whole range of reactions from those who have never danced it.  Some of my favorites are:

“Oh, is it related to Zumba?” 

“You’re referring to that NEW dance, right?” 

“Yeah, I think I’ve seen it and it reminds me of high school dancing. Not much to it.” 

“Oh, I can’t do THAT, being glued to a partner that way?”

“It looks so simple.”

I laugh, not just at the reactions, but at how I can relate to them because, before I started learning kizomba myself, I’m sure some of those thoughts ran through my head as well.  But it didn’t take long for me to realize that there is so much more to the dance than what it appears to be from the outside.   In fact, all of those perceptions above disintegrate when the magic of the true kizomba takes a hold of you. 

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