dance

A really real review: The Theatrical Oriental Dance Festival Cape Town 2016

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I am very delayed with this review, but as the new dates for the TODF have recently been announced, I feel like it’s spurred me into action to finally write this post.

Around 2008, I attended my first dance festival – it was the International Oriental Dance Festival (IODF) which was held at the V&A Waterfront every year in October – usually the last weekend. Initially, the festival was 4 or 5 days long, with workshops and performances all day with a gala evening on the Thursday. I never managed to attend workshops or the gala evening in those early years as I was around 16 years old and it was impossible to get around on my own. Gradually, the workshops fell away around 2011 and it became a performance festival.

The IODF went on for many years and I believe the last festival was in 2015. (We went to watch, but performed last in 2014)

Last year, Beverli from Al-Masrah Academy announced that she would be reviving her festival, the Theatrical Oriental Dance Festival (TODF), which would also take place in October. This served as HUGE excitement for us, because honestly, performance opportunities are few and far between so any chance to get ourselves and our students up on stage is totally relished. This also served (in a way) to replace the IODF which had ceased the previous year.

Beverli had organised workshops to continue the entire weekend as well as a gala evening, a hafla and a photo shoot to be done in the CBD (with buses to transport us from Seapoint to the CBD) on the Saturday afternoon.

I signed up for 2 workshops –an ATS™ workshop with Nix from SOMA Dance Company on the Saturday and a floor work workshop from Elisabeth Wilhelm, who was then teaching in Zambia (now in Atlanta, I believe), on the Sunday.

We performed on the Saturday and I got a chance to watch performances on the Sunday afternoon.

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THE WORKSHOPS

There were an incredible amount of workshops going on over the TODF weekend, in fact Beverli had organised 5 different locations to make it possible for so many workshops to be held. In total, there were 31 workshops over the two festival days! Totally spoiled for choice, I chose one workshop on each day so that I would also have some time for getting dressed and performing on the Saturday. The workshops were very reasonably priced, which meant that taking more than one workshop became possible.

The ATS™ workshop with Nix was titled “Turns, Spins & Formations” and started early in the morning from 9:00 – 12:00. It was a really fantastic workshop and there were some wonderful dancers in the class which made it quite easy to follow along and learn in a comfortable environment. We had a slight hiccup with our workshop venue, as we arrived and found it locked. It was not opened for us by the start of the workshop and we travelled around to find appropriate spots. We eventually managed to find an empty room to finish the workshop.

Nix was fantastic the entire time, and really took the hiccups in her stride. I think it is quite commendable – I am not sure I would’ve been so calm if it were my workshop.

The content of the workshop included formations, spins and turns – as advertised! 😉 I would definitely have classified this more as a fusion workshop than purely ATS™. Although we did discuss and use ATS™ principles in the workshop, it included combos and other fusion techniques and formations more than ATS™. I found this workshop especially interesting as a teacher, because it opened up another level of thinking when creating choreographies and using formations in a way that keeps the combinations fresh and interesting. Even though the physical steps may not be super complicated, the change in formation makes it look that way. Hah! Interesting little tricks…

This workshop was listed as ALL LEVELS and I can definitely say it was accommodating for all level dancers. The more novice students in the class could keep up, while the more experienced could also benefit. I felt like it was a great balance.

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The floor work workshop was held on the Sunday, and was a 2 hour workshop. I chose this workshop because I have always loved the idea of floor work, but only recently feel like I have the physical strength to keep any of it up! This workshop covered the basics of floor work, how to get up and down safely and in a classy manner, as well as 2 short floor work combos, done to very different music to be adapted for any choreography or improv piece. I especially appreciated all the tips and tricks Elisabeth gave to us throughout the workshop, as I feel these are the polished pieces you can’t always get from a DVD or instructional video.

This workshop was listed as BEGINNER/INTERMEDIATE and I definitely agree that that was the level in the class. There were only 3 of us taking the workshop (the space was very small and I’m not sure it could’ve accommodated more students) and we ranged in 1 – 10 years of dance experience.

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THE PERFORMANCES

The open stage performances ran very smoothly and on time. We had enough time to change costumes between pieces and do a thorough warm up before heading back on stage. The change rooms were clean and not far from the stage and it was an easy transition from one to the other. We really enjoyed performing both our choreographies.
I feel that the level of performances varied greatly on the stage on both the Saturday and the Sunday. It was a good mix of novice and experienced dancers, but I think it would’ve been a good idea to have more of a distinction between the levels of dancers. (I believe this is changing for the TODF this year)

The attendance of the crowd at the TODF was not amazing. The hall stayed about half full, and I’d say about half of those watching the performances were other dancers. I think the location – at a high school – was a bit out of the way and seemed closed off to the public, and the chance of random people walking by and enjoying the show was very low.

I know that the venue is changing for 2017, and I’m interested to see how this works.

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FINAL THOUGHTS

I think the photo shoot session in the CBD was a bit unorganised and it seemed as though nobody was really sure if there was something specific we had to do or not.

The only other negative from the festival is that we weren’t allowed to take videos or photos, as we could pay somebody to record us and we would be sent the footage. We received the photos, but never the video. Initially, the problem was that the booked videographer had dropped the organiser the day before the festival. She scrambled to get somebody else, and we haven’t really heard much since then. In February, I heard that the footage was being collected, and beginning July we were told the footage is on the way.

I understand that it’s been a bit busy for Beverli since the festival last year (she opened a restaurant in Claremont) but it does leave a bit of a bitter taste in our mouths since it was paid for and never received. I am trying to be patient with it, because creating a festival as well as managing so many people as well as your own life can be very hectic, and having somebody drop you last minute is very scary and difficult to manage.

I think there is great promise with the TODF, but there are definitely kinks that need to be worked out. Overall, a fantastic idea and I really look forward to more of these. I find that these days, I am more prone to wanting workshops than performance opportunities, so this is a good blend for dancers like myself and those wanting to perform.

With the overall drop of dance festivals all over the world, I am interested to see how this plays out in the longer term. I would love for this to be a continuing festival that attracts bigger names from all over the country.

I thoroughly enjoyed the workshop template and the chance to perform! I am looking forward to what Beverli has to offer us in 2017!

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OMG it’s 2017

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I haven’t written a blog post in such a long time! Partly from feeling uninspired, personal life got busy and maintaining a dance studio, as well as my photography full time does mean that there is little time for the things I used to do for enjoyment only. Now, most of my activities are twofold – for work as well as play.

Part of re-evaluating my dance goals for 2017 was to re-evaluate this blog. I started it in 2008/9 as a way to document my progress as a new dancer and put thoughts out onto the internet. It was a great source of learning not only about belly dancing, but also about myself. God, that sounds cheesy. But I learned a lot about how I think about things, how I evaluate topics and come to my own conclusions. It’s been a great learning curve.
I did briefly consider taking the blog down, but I get thousands of views a month (sorry for never posting loyal readers!) and I know it’s frustrating when a blog you’ve been following suddenly disappears, never to be referenced again! So I think, instead of totally tanking the blog, I’ll try revive it with new blog posts! At least one a month will be a good starting point. Oh look – I’m already late for January! (what’s new?!) I do think that some of my posts also contain some of my out dated ideas, so I might like to revisit some of that.

I thought I’d like to make this first blog post about what I’ve been up to dance-wise in the last… 2-3 years. Has it really been that long?

To start, our dance studio (Maya Belly Dance Troupe) flourished and then flailed badly. In 2011, we had a huge 3-night show – and it was a great success. It was held in a forest, surrounded by trees and dirt and it was wonderful. In 2015, we started out the year with over 20 regular students. (For our small studio, that’s quite a feat!) We put on another 3-night show at the same lovely venue and this was less successful. We lost money, attendance wasn’t great, and worst of all, I was tired. I loved the performing, but the organising, spending what seemed like endless amounts of money, managing people and students – it was all a bit much. When we put on our show in 2011, we were 3 teachers and could manage the stress a bit better. In 2015, there were only 2 of us. The tide has changed much since 2011.

The overall quality of the 2015 show was amazing, and I do look back on it fondly! But the aftermath of the show was tough. A lot of students left the studio – for various reasons, both good and bad – and that left us with essentially 6 regular students. We had gone from teaching  4 classes a week – all fully attended! – down to 2, barely having enough students for one class. We lost our best dancer directly after the show. It was a tough blow. The other teacher and I had to find inspiration from essentially nothing, and carry on teaching the students that were there.

I am forever grateful to the few dancers who did stick it out – they are the heart and soul of our studio now, and their commitment to the studio and their passion for dance is not unnoticed.

I am also comforted in the knowledge that we are not alone in our studio flourishing and then flailing. I have heard from dance friends all over the world that their studios went through a similar thing recently, and it’s been a difficult hole to get out of. I know that trends come and go, and when Shakira was at her most popular (Hips Don’t Lie got me into class 10 years ago!) the studios were full, busy and thriving. The trend has shifted a few times in the last 10 years, from  belly dance to burlesque to pole dancing, so I know it’s not just us.

The fact that our studio has been going for 10 years is a huge achievement all on its own. In our area alone, we’ve had 4 or 5 different studios start up and then stop in those 10 years.

Despite knowing that we are not totally at fault for students leaving us, I have found it difficult not to take their leave personally. On the rare occasion that you hear why a student has left your studio, you can’t help but wonder “could I have done this differently?” And most of the time, the answer is no. Especially in the last year, I have had to remind myself that I can’t make everybody happy, and as long as I try and have their best interests at heart, I can’t fault myself.

SO… 2017 is the year of the student for me. I am trying very hard to listen to my students wishes and take their ideas and thoughts into consideration. We are having weekly goal setting meetings with our advanced students at the moment and we have put some effort into putting on a small 10 year dance celebration in July, which will not only celebrate the past 10 years, but also the future of the studio – our students!

That just about sums up 2015! It was a hard year, and I think we barely made it through, to be completely honest. In the spirit of keeping things jovial, I will say that 2016 seemed to be the rise of the amazing students – we had a bunch of great beginners at the start of the year, that have since become even better intermediate students. Our advanced class is working incredibly hard this year and we have some of the most dedicated students we’ve ever had, with amazing visions for their future dance.

I’m excited to see what 2017 brings. J

If I have any advice for studios that are struggling: Hold onto your dedicated students, work hard with them and don’t ever forget that they were there week after week. Go and give them a hug, or a chocolate. They deserve it! 😉

 

As part of my 2017 blogging goals, I’d also like to revisit some old blog posts. Any in particular you’d like to see me tackle again?

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Reasons you’re not coming to dance class, and why they’re crap

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1.

I don’t have time/ I am too busy to attend class

You’re busy, it’s a hectic time of year and you can’t find extra time to tie your shoelaces – never mind attend a dance class!

why it’s crap – The thing is… and this is a hard truth… you need to make time for class. If you want to attend class, you need to say “On Monday evenings, from 7-8pm I have dance” for you to ever come. People want to meet up on a Monday? “No, I’m sorry. I have class.” My mom always told me that if I had said yes to something, I was going to do it, even if something better came along. And in reality, that “something better” very rarely turned out to be better.

If you let every distraction take you away from dance class, you’ll never attend.

2.

It’s too hot

Geez. These Cape Town summers can be absolutely brutal, especially if you don’t have an air-conditioned studio.

why it’s crap – There’s going to be weather whether you like it or not. Not attending class because of weather is a bit… well, it’s a bit weird. It is hot 6 months of the year, so if it’s too hot to attend class, you’re missing out on half a year’s worth of classes! The teacher is also very, VERY aware of how hot it is, and she won’t push you unnecessarily and she’ll provide enough water breaks.

3.

It’s too cold

Cape Town winter can be as cold as the summers are hot, with snow on our mountains, it brings a horrible chill to the air! No wonder you want to stay at home, with a warm cup of tea and a blanket!

why it’s crap – What are you, Goldilocks? “It’s too hot, it’s too cold!” Well with that attitude, it’ll never be just right. We always warm up before class, and once you get moving you’re plenty warm and forget all about being cold.

4.

My muscles hurt!

Ouch! You’ve been at the gym, eh? It can be rough the day after exercise – even walking hurts!

why it’s crap – Everybody knows that the best cure for sore muscles is to exercise them even more. Once you get moving you’ll totally forget about that hectic gym session – and the next day it’ll feel way, way better.

5.

I have period pains! L

The lady time of the month totally sucks! Pain, discomfort and so much more to contend with. Sometimes, I’d also rather stay home, curled up in a ball and eating ice cream.

why it’s crap – Okay, so we covered this in the 4th point – muscle pain is made better by exercise. I have found 9 times out of 10 that after exercise, my period cramps are a lot less! Warming the muscles up and moving them around is good for you! Also, it tends to make you forget about the pains, and focus on something else.

6.

My friends aren’t going tonight

Whoo! Friends are awesome to dance with, and going to class with somebody just makes the awesome class even more awesome! But when they don’t go, it’s not really worth going because it’s just not going to be as much fun…

why it’s crap – it’s awesome to have friends to go to class with, especially when you’re just starting out. But it also means that you’re less likely to come to class if your friend doesn’t come.  Your friend can’t be there for everything you do, and if you’re an adult, you should be doing plenty of things on your own. Use it as an opportunity to make new friends, and then you’ll change your mindset to “whoo! All my friends will be there!”

7.

I have exams

Exams are really brutal and you need to study as much and as hard as possible for the exam to be a success!

why it’s crap – Your brain needs a break. You absolutely cannot study and cram for hours upon hours without a break. Dance is an awesome break! It’s 60-90 minutes (so a long break!) that forces you to think about something other than your work. Moving your body, not looking at a screen, shifting your mind to something else – all healthy ways to take a break!

  1. I don’t have my shoes/belt/dance pants with me, I shouldn’t even bother

Urgh. You’re having an off day. You’ve left your shoes/pants/belts at home and now are inappropriately dressed for class. You may as well go home.

why it’s crap – You’re looking for an excuse. Your dance gear doesn’t make you dance any better. Sure, it’s a bit annoying if you forget your veil at home and we’re doing veil work. But you can still follow along. It’s never a waste of time to come to class. Even if you need to do the exercises slightly differently, you can still learn something.

  1. I’m tired

Bad day. Long week. Irritating coworkers. All you want to do is go home and rest. So very tired.

why it’s crap –  You will have off days, and it’s important to keep dancing even though you’re not feeling 100%. If you only ever dance when you’re happy, you’ll miss out on so much. Often I find classes can give you energy again, and really help make you feel better. Come to class.

 

10.

I don’t enjoy classes

You’re not having fun anymore, it’s a chore to go to class and you don’t like your classmates.

why it’s crap –  it’s not. If you’re not enjoying classes anymore, stop doing them. Sometimes you need to re-evaluate why you come to class and if you’re still getting what you want from it. On the other hand, sometimes we need to push through times of “ergh. I don’t feel like it” and you’ll come out on the other side feeling much better. It happens to all of us, but it’s up to you to determine whether it’s a passing feeling or something deeper.

 

ONE REASON NOT TO COME TO CLASS:

I don’t have money. Please, please stay away. You are not helping anybody by attending class and not being able to afford it. If you can’t pay on time, discuss it with your teacher. If you are unsure whether you can pay at all, it’s better not to come.

 

If any of these apply to you, you may be making excuses. If you find yourself making these excuses week after week, it might be time to put the belt down and have a serious think whether this is for you or not. There is no shame in stopping if you feel you have outgrown the studio, outgrown belly dance or found another hobby. If you are wanting to come to dance again, there is always a place for you.

 

 

Thank you to Jeanne and Samantha for their input on this one! 😉 

 

Dear Student,

So this is the delayed part 2 of my “Dear Teacher” blog post from much earlier this year. I have been teaching dance since about 2010 – beginners classes at first (I LOVE teaching beginners!) and now I occasionally teach our intermediate and advanced classes. In this time, I’ve learned a lot about being a good student and being a good teacher. It takes more than just knowing the material to be either. I can obviously write an entire long list on how to be a better student, but I think that would come out as a bit condescending and maybe a bit mean – so I think this is a gentler approach.

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Dear Students,

I love having you in my class! Thank you for coming and being a part of my little dance world!

First, I just want to say that having you in my class is a big deal for me, so when you don’t come it really is frustrating. I totally understand work commitments (sometimes I can’t make class either and need to get a substitute teacher in), sometimes it’s impossible to find a babysitter and other issues come up that prevent you from coming to class. I have had students come to class who work shifts and can only be there every second week, so I am flexible when it comes to missing class. However, missing class because “it’s cold” feels like a lack of commitment. Trust me, when it’s raining and storming outside, I don’t want to leave my house either! 🙂 And on that note…

I can only put you in a choreography if you attend class. I know you pick things up quickly – and that’s awesome for you! – but that doesn’t mean you don’t need practice. Working as a unit takes time and it is very obvious when a student doesn’t come regularly and tries to slot into a choreography.

There are soooo many reasons for being chosen for a choreography. I would love to put everybody in, every single time, but it’s not always possible. Sometimes we have to pay to perform and our studio happily carries that cost, but we can’t carry the cost every time for 15 students to be in a dance, sometimes we need to work on stage space and sometimes it’s just about aesthetics! But often times it comes down to: Who attends class, who has the costuming, who is doing the dance well, who is doing it ON TIME with the music, and (for me at least) it’s also about giving equal opportunity to perform. You may have been dancing for years and are really good, but if I am always putting you in every dance, it means one less spot for somebody who may also be really good, but with less experience. Everybody needs performance opportunities and sometimes it means cutting the more experienced dancers out of a dance to give less experienced dancers a chance to perform. 🙂 (If you are unsure how your teacher chooses people for choreography – just ask! 🙂 )

Want to dance more? Do a solo or choose a dance sister to do a duet with! I am thrilled if students want to do their own thing! You are an individual dancer as well as a group dancer, nurture your individuality by dancing alone! I am happy to help you with a choreography/solo/duet piece if you’d like help or want feedback. Dancers doing choreography without me makes me proud!

Please listen when I talk in class. Goodness knows I do a lot of talking, but it’s because I have so much information to share that everything I say is useful. If you can’t use it, discard it and keep dancing. On top of that, listening in class means you don’t miss important information – about performances, payment info, holiday breaks, etc. I really do say it all in class!

Ask me to repeat myself – I love getting feedback like that! I can easily barrel right through an entire exercise in a few minutes, but it doesn’t help I speed things along if you’re not getting the first part of the exercise, so just ask. (please!)

I know that sometimes it’s been a particularly shitty week and you’re not absorbing anything in class, so don’t worry – I do understand! Even with teaching, I sometimes have days where I need to check my notes 20 million times in a lesson to check that I know what I’m doing! (I am sure all my students can attest to that!) You’re allowed an “off” day – what’s more important is that on these “off” days, you’re still in class!

Turn your cellphones off/on silent and don’t check them during water breaks. It’s a huge distraction for you (I don’t really get bothered) when your phone is always going off. You’re always wondering who is on the other end and it just keeps your mind off the dancing.

Lastly, be on time! It’s such a simple one, but often overlooked. If class starts at 18:30, don’t be there at 18:29. Aim to be there 10 minutes before class starts, that way if you do run late or get stuck in traffic, you’re at least not late for class. Arriving early means you can have a chat, say hello to your classmates, settle your account with the teacher and generally just settle in. If you are late, just warm up at the back and join in as soon as you’re warmed up.

 

I love having all of my students in class, I love their input, I love their dedication and their crazy ideas. I want to keep up that level of closeness, but I need help sometimes to make class awesome. 🙂

Keep on dancing and keep on being inspired!

Love,

Your overly-enthusiastic teacher.

Racism in Belly Dance

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RACISM IN BELLY DANCE

*warning: this post contains my opinion. If you don’t like it, stop reading and go and look at photos of puppies and kittens* This is also a wordy post with no photos.

*If you would like to get riled up; read this: http://www.salon.com/2014/03/04/why_i_cant_stand_white_belly_dancers/ *

Wait, what?! This blog is supposed to be about all the light and fluffy stuff, right? And RACISM in BELLY DANCE?! How on Earth do those two go together? (This is what I imagine you all to be thinking, when in reality I’m sure you’re just a bit nosey 😉 )

 

So a few weeks ago, one of the top belly dancers in South Africa was tagged in a video on Facebook of her dancing at a workshop, alongside a drummer. A comment was made on this video that said: “How about giving other cultures a chance too.” Followed by this, when asked to elaborate:  “There are many unique lovely cultures here but belly dancing belongs to easterners and westerners. We don’t dance with our bums out instead of in. Brutal but true.”  (Spelling errors fixed, but otherwise copied-and-pasted)

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The dancer in the video was a black woman. Now, why didn’t I mention it at the start of the story? Well, because it simply. doesn’t. matter.

The statement made by the dancer shocked everybody in South Africa, to the point of her being banned from performing at some events all over the country. Dancers all over rose to offer words of support to the dancer who was attacked and it does make me quite proud of our community – to see that we are not tolerating those who think like that. Not only are there incredibly inaccuracies in the statement/insult, but it’s just plain racist.

But this whole incident got me thinking about who is “allowed” to belly dance and who isn’t. What makes it more acceptable for one person, and not another? Mere skin tone? Because if that is the case, as a pale white African, there is probably a lot I shouldn’t be doing! (Like calling myself African? 😉 )

Cultural Appropriation

So cultural appropriation is a topic allll on its own, and if I were to go into a lot of detail here, I think I’d end up with pages and pages of info. Basically, cultural appropriation is when one culture adopts elements of another culture. I believe that this isn’t inherently bad, but it can be a slippery slope. This has been done (especially in art) for thousands of years.

How does this tie into belly dance? Well, there is a school of thought that belly dance should only be performed by those of Middle Eastern blood. Now this will exclude a lot of people in the world (there are 1.3 billion people in China who “aren’t allowed” to belly dance by that logic) and quite frankly I think it’s a bit ridiculous. Belly dance has a notoriously dodgy history and I have never read a single article that can pinpoint its exact country of origin. There are assumptions, yes, but there is no proof.

This whole thought of belly dance not having a specific country of origin (Turkey? Egypt? Morocco? *insert country here*?) has an appeal to it, in that it is a dance form that allows for everybody. We often hear “anybody can belly dance” preached from the rooftops by dance teachers as well as statements like “belly dance at any age!” and “size and weight irrelevant!” and I think that is part of the appeal for a lot of people.

I think the key to doing it correctly is honouring and understanding the cultures it comes from. Although I believe there is no clear indicator as to which is the country of origin, we do have a general idea of where it comes from. And let’s face it – if you’re performing Egyptian style belly dance, then you should understand and appreciate the culture of Egypt. Even more so if you are performing folkloric styles that feed entirely off the cultures they come from.

This ties into race because a lot of people believe that it shouldn’t be performed by people who simply aren’t of Middle Eastern descent. They also tend to view it as an insult when non-middle easterners perform belly dance. (we are “stealing their cultural heritage”) I totally disagree with that.

I think belly dance has made the shift from being a cultural dance (originally) to being art. I think that this changes how it should be viewed. Women in the USA performing cabaret belly dance are not doing the “cultural” side of it, but I think rather the “art” side of it. So I think it’s evolved past the point where it is just for one culture or country.

I think that people who believe that it is insulting for a non-Middle Easterner to belly dance are trying to hold onto the art form and essentially not allow it to grow. Art is something that grows, changes and shifts into different directions. Wanting to keep it “pure” just holds it back and I think actually hurts the art form far more than it helps.

I don’t think that just because somebody else is doing it, that it takes away from what you are doing and why you are doing it. If you allow it to bother you that somebody out there is doing something that you love to do and that you associate with “you” or “your culture” or “your family” – I believe there are deeper problems than just “That’s mine! You’re not allowed to do that!”

In essence, belly dance is a SOCIAL dance and from all the history we’ve seen, it’s always been that way. I have never heard of it being a spiritual dance (historically, that is) and I was always told that it was performed in social settings.

I don’t see why this can’t transcend cultures and be a “world dance” rather than belonging to X or Y or Z.

What we get out of dance is universal.

We get body acceptance, a sisterhood, a feeling of unity, fitness, confidence, focus, memory, creativity and coordination. These are things that transcend race and culture.

Belly dance is a universal dance form that belongs to all of us. I think as long as we treat it with respect, don’t go out of our way to insult the cultures it comes from, it will continue to grow and belong to us all.

 

*warning again: this post contains my opinion. If you didn’t like it, go and look at photos of puppies and kittens* 🙂

 

(as a side note: is it “bellydance” or “belly dance”?)

 

Bellydance Bra: A How To Tutorial

First post of 2014! One I promised to do nearly 5 months ago… oopsy!

Life got in the way a bit in 2013, but I’ve promised myself that I’ll write blog posts more often. I need to get into it for my photography site as well, so it’ll be a year of blogging!

So this post is a bit of a tutorial on how to make a bellydance bra. I don’t promise that this is perfect or the only way to do it. If you do something differently to the way I do – let me know in the comments below so I can try out your methods! As they say, there’s more than one way to skin a cat. (ew.)

First, you need to find a bra to work on. This means doing a bit of shopping. Try on different shaped bras to see what suits you best. I find that this “sweetheart” styled bra fits me quite well and makes me feel very secure, which is really important since you’re going to be (hopefully) flinging yourself around in it.

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Check that the back of the bra isn’t riding up. That is a sure sign that it doesn’t fit properly! A good bra should sit relatively low in the back (as this lifts the girls up in the front), the straps shouldn’t dig into you & you should be able to do the “arm test” (scroll down to see that)

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When I try on bras, I do this silly looking test that I call the “arm test”. I lift my arms in front of me (as illustrated below) and I see if the bra gapes. If the bra gapes, then I usually don’t buy it. Simply because if I am in the middle of a choreography and want to lift my arms in front of me, I won’t be able to do so without flashing the audience. (Not sexy)

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Like I said, silly looking. 🙂

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I encourage you to always buy bras that are “multi way”. This is because if you want to make halter straps, the bra is already designed to be able to move that way. If you buy a bra that doesn’t have the multi-way function, and you make a halter neck, it will distort the bra and make it gape.

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I recently bought bra cups at our fabric shop. I still want to try them, but stuck with what I knew for this tutorial.

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What you will need:

* Fabric of choice

* Scissors

*Thread (in the same colour as the fabric, unlike me. Don’t do as I do…)

*Pins

*Needles

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And optional: A sewing machine.
This was the first bra I have ever sewed using my machine. I just used it for the straps, as other parts of the bra are too thick to sew through and I didn’t have the right needles.

It just means it goes faster and is slightly neater.

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Not optional: Delicious snacks to get you through the process.

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* Interfacing

Below I have a photo of a bunch of different types of interfacing. From top to bottom:

* A reasonably thick vilene. Doesn’t bend when it’s folded & is not the iron-on stuff.

* Buckram. Very hard & difficult to sew through. Best used for reinforcement.

* A thin vilene. Thin like tissue paper. Not ideal for building straps.

* Thin buckram. Flimsy & soft. Not ideal for building straps, but useful for extra reinforcement.

* Denim (not pictured) I used this for AGES for building my bras & belts. Soft, long lasting & easy to work with.

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STEP 1:
I cover my bra. I usually take a corner of the fabric and try pinning it in different ways before cutting it. Cutting is very final. Buy extra fabric if you’re worried about it.

I first pin the top and then the bottom. The top will always be pinned the same way, but at the bottom you can either use a dart (folds sewn into the fabric to give it a 3-dimensional shape) or ruching (gathers of fabric used to form ruffles.)

I spent a good 2 hours pinning my bra. I wanted to show you how a dart would look, as well as ruching (which is what I went with in the end)

Pinned at the top:

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A very messy dart:

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Ruching Pinned: (lots of pins!)

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Ruching sewn.

With ruching, I just sew at the bottom of it. I don’t sew further up the cup because I don’t want stitching on the cup as it will be visible. I don’t know if this is the correct way to do it, but it is the way I do it.

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STEP 2:

Cut out straps. I used the first Vilene mentioned above to make my straps. I had a pattern from straps already lying around that I had cut out of the thin buckram.

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Placed the pattern on the Vilene. I folded it to end sooner because I wouldn’t be making straps that connect in the back. This is up to you. I

I folded my vilene in half and drew one pattern. I then cut through the 2 layers so that they would be perfectly equal. It also saves time.

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I used this handy little pen to draw on my vilene. It fades in 48 hours or so, so it’s perfect for mapping out your pattern on fabric.

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I place my strap onto my bra to see if it fits. I made a mark with the pen to show where I would need to cut it.

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Before making a commitment to making the straps, I check out my stash of loops & rings that I’ll be using for the straps.

With this, you want to make sure that your loops aren’t much bigger that your straps. If they are, they tend to move around and can end up not fitting quite right.

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I added grosgrain ribbon to my straps for extra reinforcement. This is a new thing I am testing out. Seems to work well!

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Now, take a break and eat one of your snacks. Hmmmm. Chocolate.

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This is the bra with the straps covered & one of them pinned onto the bra. Covering the straps is as simple as putting the fabric over it, pinning & sewing. Nothing fancy or difficult there.

Note that the original bra straps are still on.

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The backs of my bras are always insanely messy. I have started lining my bras (you will see why in a bit) but that can only be done once it is totally decorated.

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One half of the bra has a top decoration on it. This is just a silver lace I bought, and folded over the top of this bra.

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The inside again.

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I used my loops on the back straps of the bra, and pin in place. I hand sewed this because my machine can’t get close enough to the loops. (I tried & broke a needle in the process)

At this point, you can cut off your side straps. You can see in the picture above where I cut mine off. Usually where there is a bit of boning in the strap.

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Next, make your top straps. Using vilene (or your base of choice) and grosgrain ribbon, sew them together & cover them in your fabric. Pin to the bra & sew in place. (Again, I did this by hand)

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Ta-da! You now have straps!

NOT PICTURED:

Adding the loops to the top straps & sewing in place.

Then go outside and take some photos in your fabulous new bra!

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Below you can see the reason why lining is so important. the tiny bits of fabric will sneak out of the bottom of your bra and show. (I have no idea how to line stuff – I just make it up as I go along!)

Harem Pants & Necklace: Also by me! 😉

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Back of the bra:

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You can see that it is still very rough, but I am fine with that, as I will be covering all those seams.

I know some of you like to pin my stuff, so I’ve done this picture below that you can use as the pinned picture:

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If you cant seem to pin it, find my pin here (click click) and feel free to share! 🙂

If you have any questions or suggestions, let me know in the comments below! I love to hear from you!

xx

New Costume

In the last week, I decided to make a new dance bra. My older ones don’t fit as well as they should and I felt like they weren’t very adjustable. We have a performance coming up in October and I wanted something that I at least felt comfortable in.

So I went to the fabric shop, saw awesome fabric and bought it. I then realised I needed faux suede to go with my new fabric and bought some the next day. I spent my evenings making and embellishing this bra, and finished it in a couple of days!

Here is the bra I have been working on:

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This is also the first time I’ve ever lined a bra!

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I realised half-way through that my last bra “how-to” got pinned on Pinterest a couple of times and it had brought lots of people to my blog. Since I was half way through and hadn’t taken any photos of said bra, I decided once the work craziness has died down a bit (October-ish) I will do a tutorial for my blog. With prettier pictures and proper step-by-step instructions. (After all, prettier pictures means getting Pinned more often!)

In this upcoming tutorial, what would you like to see discussed? 

I also have some cool ideas for blog posts, so hopefully after the tutorial and work-craziness I’ll be able to post some more. 🙂

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