Willow Chang

1. Why did you start Raqs Sharqi?

To me, Raqs Sharqi is a beautiful and natural way to integrate all the elements of life that I find of importance:

• Ritual and tradition
• To be a conduit to connect the past with the now and influence/inspire the future
• To connect, express and celebrate the feminine divine
• The chance to experience ‘tarab’ or divine ecstasy
• The mindful meeting of a mind/spirit/soul and body connection
• The opportunity to feel comfortable in one’s skin
• To BECOME the music
• To flow and being in the now of improvisational dance
• To create costumes that is beautiful
• To express the wide spectrums of emotion
• And of course to SHARE, give and communicate with others.

This, is why I started studying Raqs Sharqi (and also probably a means to retain/understand f my time spent in the Middle East)- because it is a reflection of life and recipe for living.

2. What is the most important thing to do when we dance in public?

In my opinion, there are 3 things of great importance:

• Is that we must be protectors, guardians and educators about our dance and insure we take care of it and treat it and other dancers with respect- so others will follow. Our dance has collectively been mired for years and generations with misunderstandings, falsehood and erroneous impressions that will take continued efforts and time to address. It’s not whether you want to- we have to! It’s a calling. This could be dancing and dressing appropriately for events or programs or simply educating people about in innate beauty of this Art form.

• Sharing is the most rewarding way to approach this dance- whether you are a teacher, student or performer, we are all in the position to share, hopefully with a generous heart. We can share resources or time, ideas or feedback or simply approaching your practice with the intention of “This is my gift and I want to share this with you”. I really believe in the power of intention, and it’s great to put into practice the ritual and act of sharing, which I think aids in combating ego, competition and other petty, Human traits that are so easy to fall into. When I strive to be my best self, it’s not driven by being better than someone else, but the reality that everyone collectively benefits when we aspire for good, excellence, with focused and honest efforts- which in turn manifest into positive results and actions.

• Being genuine is something that one can benefit from as people and as artists. Finding one’s personal truth and negotiating and navigating that with the culture, traditions and creativity this dance allows for is why I believe it can take a lifetime of daily practice to master and be real. It can be citing resources, giving credit, listening to the state of our body daily and respecting our instrument, being true to the music and traditions of our dance, or even allowing yourself the freedom and honesty to express and feel what you are feeling when you hear the music and dance.

We can ultimately only be ourselves, and if we advance ourselves at another’

s expense or in turn ‘trash’ our dance, there is a karmic debt that is simply not what we call in Hawaii ‘pono’ – just, right or appropriate. I am not here to judge- I am simply stating for myself, a spiritual compass guided by respect, gratitude and humility helps me put things into perspective and helps me grow as a person and as an artist. The easiest way to achieve this to also respect the lineage and teachers, gurus,kumus, masters and mentors with whom you have studied. They are entrusting us as students, dancers, teachers…to take care of this dance and ourselves.

3. Could you tell about your Raqs Sharqi style?

Well, there are so many styles of Raqs Sharqi as your readers are aware of.

Sometimes, the labels help, other times it can further the confusion. Fred Astaire, Paula Abdul and Martha Graham are all American dancers, but it seems odd to say they are “American Style “ dancers.

I am one of those (rare?) people who genuinely enjoy ALL kinds of belly dance and Raqs Sharqi, from folkloric to traditional, Sharqi to Turkish, Lebanese, Egyptian, American Tribal Style, Tribal Fusion and theatrical dance.

I can certainly appreciate innovation but I also respect upholding traditional dance styles. I believe there is a balance that is fluid in these matters and often belief the right classification can assist in alleviating confusion. For example, I am undoubtedly influenced by Middle Eastern and related dance forms- especially since I have spent the 17 years actively involved in this dance. But for me, when I perform Theatrical or Contemporary dance, I simply call it that, not belly dance. It’s what I feel is most accurate to the mood, feel and dance.

My style is 99% generally dictated by my music choice. If I choose something by singer Fatme Serhan or some Turkish Rom music, each dance will clearly be different. If it isn’t fusion, I try to keep styles, movements, music and costuming consistent so it’s not too convoluted in presentation. I guess I’m know for what I personally appreciate and admire- traditional femininity expressed in movement, a wide array of emotions, repetition of moves to build the groove (which is what the Golden Era dancers did), a valuing of fluidity in a seamless flow, expressive musicality, grace, elegance and maintaining the dignity of the dance and dancer.

I’m not too keen on ‘vulgar’ approached to belly dance- and I understand that in it is often subjective. Let’s simply say I steer clear of “exotic dancer/ stripper moves” and I keep it family friendly. I appreciate the sass, moxie, attitude, delicious divas like Mona Said or Dina, bit I don’t want to take part in assisting the false ideas/stereotypes about our dance, if this makes sense. People have to decide for themselves what this may be. For example, I’d never do a ‘lap dance’ cause it’s not me- but more importantly, I feel it hurts the image of our dance. There are always those who can push the envelope, but I would rather be valued for what I can bring to the dance than take away from it.

Perhaps what’s most important to know about me is I want to always respect the dance and I almost exclusively work improvisational way- like a perpetual state of taksim to stay focused, in the moment and true to the ‘origins’ of belly dance. My music choice is always my starting point. I make my own costumes, which deepens my creative input and feeling of individuality. I frequently think of all the dancers who have inspired me and continue to do so, when I dance or brain storm. I am also very interested in ways of creating a safe place to feel, express and return the dance to some origins of a sacred nature. Dance is ritual and it’s important to remember we can hold a great power to communicate- and it’s something I take seriously- to open, clear and non- manipulative in sharing the dance.

4. Could you tell about the relationship between Raqs Sharqi and your background?

The dance backgrounds that I come from are steeped in history and tradition. Prior to Oriental belly dance, I studied Hawaiian Hula, first as a halau (show) for 10 years, and later performing Hula and Polynesian dances in Egypt, where I fell in love with what we call “belly dance”. In addition to Hula, I have studied Tahitian, Argentine Tango, Flamenco, Kuchipudi and Odissi (Indian dance), Salsa, Samba, Khaleegy, Northern African dances (Algerian, Tunisian and Moroccan), Balinese Legong, Modern, Belly dance (Egyptian, Lebanese, American, Turkish, Tribal Fusion, Theatrical belly dance) and Ballet to name a few.

I believe it’s important to understand what components create a form of style of dance. These elements include, but are not limited to: the culture and people that have created the dance(s), the stories and myths, musical forms, the rhythms, poetry, beliefs, costuming, taboos, history and recognition of the leaders that have contributed to the dance. Clearly an understanding and awareness- and appreciation of these things take time, not to just learn and know them, but to LIVE and EMBODY them.

When you have an understanding of the classics, traditions and basics of an art- whether it be music, dance, painting, poetry etc., you are then in a richer place to CREATE, RESPOND and CONTRIBUTE in response to what has come become. In turn, when you FUSE, you are ultimately marrying 2 or more influences together. Ideally, something can be seamless, respectful and provocative to elicit both FEELING of something GENUINE.

Being of a bi-racial background (Chinese, German, English, American Indian) and growing up in multicultural Hawaii has certainly shaped the lenses through which I view things. I believe belly dance is really the first ‘fusion’ or multicultural dance form. It resonates with so many people worldwide for so many reasons- because there it literally something for EVERYONE to relate and respond to. It never seemed odd, strange or off the wall to be attracted to this dance. It is as natural as life itself. I am committed to sharing this dance, because I know dance and the processes it can incite are healing.

5. Could you give some advices for Raqs Sharqi dancers?

Wow- so much to share…in no particular order:

• Be kind to yourself. With your spirit, your body and feelings.
• Allow yourself time to embody the movements, to become the music& understand how they have a relationship.
• Don’t be afraid to feel and express emotion. SMILE!
• Don’t be afraid of taksim (improvisation).
• Beware to teachers/individuals who actively try to limit you as a dancer, student or person.
• Don’t let other people’s hang ups become yours.
• Find your favorite song (s) that will always make you want to dance.
• Dance without emotion is exercise.
• Repetition is our friend.
• Be yourself.
• Ask questions.
• Bring your dance habits into the ‘real world’- like posture, eye contact and extension of your movements.
• Cross training is good for you! (Swimming, ballet, yoga, strength training, samba etc)
• Drink water. Frequently.
• When you can, travel, read, dream, share.
• Learn basic sewing.
• Listen to your music everyday- on the bus, cleaning house, in the car.

It will be less ‘foreign’ and be more familiar- making everything belly dance easier.

• Find a regular teacher/class to assist in maintaining a regular dance practice.
• Dance to live music sooner than later.
• Film yourself and watch it to see what self-corrections can be addressed.
• Visit other dance communities.
• Study with the masters- in music and dance.
• Get involved J

6. Who is your ideal dancer? Why do you like the dancer?

An ideal dancer? One who feels the music, is the music and make me feel!

They don’t have to be famous or well known, or even the ‘best’. They have to have joy that is tangible. And, I greatly appreciate people who grow as artists, who are kind and 100% committed to their dance!

In no particular order dancers who I adore would include my first belly dance teacher, Glo Ayson, Mona Said, Tahia Careoka, Dina, Amani, Samia Gamal, Nadia Gamal, Dani Boutros…including Diana Tarkan, Tito Seif, Nath Keo, Leila Haddad, Tarik Sultan, Ava Fleming, Aisha Ali, Rachel Brice, Mardi Love, Dalia Carella, Asena, Elena Lentini, Cassandra, Ansuya, Bert Balladine…newer to me would include Sal Vanegas, Lebanese Simon, Dusty Paik…friends and fellow dancers Meissoun, Aisha of Greece, Anasma, Colleena Shakti constantly raise the bar as well! Seriously, there’s NO SHORTAGE of gifted, skilled amazing dancers who inspire me and this is something I also love about this dance!!!

7. What is your future plans with Raqs Sharqi?

Well, to continue the path I am on- teaching, performing, creating and sharing both locally and internationally. A career in dance isn’t easy, as you know, and every parent who says it’s hard is right! There’s a lot of work that isn’t ‘paid’ for, your promotions, emails, web maintenance, YouTube channels, sewing, rehearsing etc… and you essentially have to carve out your own path. I wish there was a handbook! I simply follow through, keep learning and stay true.

I am very grateful to have traveled every year internationally since 2005 to share dance and music, and also study with others, and it’s an invaluable experience that really feeds the soul. Meeting other dancers and kindred spirits is something that can never be replaced and it keeps me engaged and in love with this dance!

Being an event producer is something that is a lot of work, but worth every moment to ensure the message stays on target. Founded in 2008, my annual PUJA International Dance Concert is in its 4^thyear, and features dance from all different genres. I like to artistically match make and provide opportunities for other artists to perform, create and communicate.

I am hoping that I will be able to complete several DVD projects that are in the basic planning phases, which would include instructional dance, performance and collaborative creative compilations of other artists featured in PUJA.

8. What is the most important thing to create choreography?

My first inclination is to say you must absolutely LOVE LOVE LOVE the music that you are dancing, or it will always be a stranger and a struggle. The next thing I’d say is to never forget what you want to share and say. Lastly, I’d say allow yourself to FEEL, because a choreography without feeling is only exercise. And of course you want to have fun/enjoy dancing, otherwise, why dance?

9. How and/or with whom do you train?

When I fist started, I had a regular class and instructor that I went to religiously. Since I started belly dancing, I’ve studied with nearly 100 teachers, many of them multiple times and from each I have learned something awesome.

I do a lot of self-practice and work as a dance instructor. There are pluses to teaching dance as a profession. The upswing that that you have movement and dance worked into your schedule. However, you need to also find ways to challenge and stimulate your own skill set and interest, especially if you have new, beginning or constantly revolving students in attendance.

I find several approaches helpful. One is to use different music and mix it up. Revisit old tunes; look for new stuff and even work with stuff you aren’t as familiar with. You will literally be ‘on your toes”. I think listening daily to music- while at home, the computer, cleaning, in the car and with EARPHONES really helps. Translating your music and practicing with zills also helps. I believe in cross training. Flamenco, Argentine Tango, yoga, and even Bon Dance- all are arts I practice and keep me in awe of different ways to move the body, dance /movement vocabulary and exposed to new ideas. I encourage people to WATCH a lot of dance- shows at restaurants. Theater shows, musicals, dance TV shows- ever America’s Best Dance Crew shows new and fresh approaches to dance.

I also DO NOT watch dance excessively that I don’t like- it’s too easy pick up weird ticks/habits with things you don’t like, them have to unlearn it! I also advocate JUST DANCING. No choreography or set moves. The other approach- is to set a goal and consciously practicing.

10. As a dancer, what special methods, or daily routines (beauty products, massage, etc.) do you use to preserve your beauty?

Every time I start class, we start with a mediation to sync the body with the spirit. I believe this is very beneficial. You cannot underestimate the quality of breathing and how it affects EVERYTHING we do!

I also have studied voice weekly for over 20 years - so I find the strength of dance applies to my singing as well. To find one’s voice, literally and figuratively is so important for an individual. I am interested in the HOLLISTIC and INTEGRATE approach to the body, art and the creative process. So I am always striving to understand how it all works together.

I believe in a lot of laughter for health, too.

I watch my diet and add healthy elements-water, fresh vegetables, nuts, healthy snacks, lots of ginger, garlic, onions etc to clean the body! I don’t drink or smoke and do all I can to protect my knees and back. I rotate the height of my heels and shoes. I am a big stickler for body alignment, and am always interested in SAFE ways to move the body.

I do yoga, stretches at home- especially my calves and arches of my feet. I do drills for stamina, take the stairs when I can and use common sense. I like hot showers for my muscles, steam bath/hammam when available and appreciate that sweating is good and healthy!

I see a cranial sacral/therapist for alignment and a massage therapist monthly for maintenance of my body to ensure I am taking care of myself.

I always listen to my body- am I stiff? Tired? Alert? Tense? What can I do with my body, today?

I also wear sunscreen and moisture my body daily, to ensure the skin is safe and protected. Sometimes I take supplements- vitamin B, Fish Oil, kelp tablets. I like eating seaweed and nori as it’s both tasty and good for the body. It’s a great responsibility to take care and understand how the body works, and I do what I can to help it in any healthy way possible!

Lastly- kindness, practicing loving kindness-metta is so essential and also cuddling, hugs and touch from those you love is really health insurance. At all costs, avoid people who are negative or harmful to you in anyway, as it will rob you of your joy, love and ability to stay open and in awe of the dance, the art and life itself!

11. (Raqs Sharqi is said to be more relaxing and stress-free than other dances) which part of Raqs Sharqi is most relaxing for you?

Without a doubt, the slow, sustained flow of taskim, the improvisational, serpentine, dance. There is grace and beauty in this- if you are open to let it in.