Shimmy in Hawaii

The Hawaii Belly Dance Convention attracts dancers and teachers from around the globe.

Dancers at the Hawaii Belly Dance Convention

Briefly clad dancers with hips swaying under the palms are iconic images entwined in the history of the Hawaiian Islands. While hula may be the heartbeat of the Hawaiian people, another feminine artform takes center stage when Middle Eastern practitioners from around the world gather in Honolulu this month for the 10th annual Hawaii Belly Dance Convention.

The convention is a labor of love and brainchild of dancer and producer Malia Delapenia. Born and raised in the islands studying everything from ballet, hula and martial arts, she found that a belly dance class with mentor Shakti Sundae Merrick stole her heart. “It was so woman-empowering,” says Delapenia. “I fell in love.”

She has traversed the world teaching her particular style—“Malia Delapenia,” a mix of the Saidi, Ghawazee, folkloric, American cabaret, Egyptian, tribal and fusion styles she has studied. Her impetus to create the belly dance convention was to bring the various practitioners she’d encountered to the islands to teach, and to expose Hawaii to the artform. By introducing one ancient culture to another, Delapenia is doing her part as cultural ambassador. “It is one big crazy celebration,” she says. “The whole thing feels like putting on a wedding each year.”

Begun as a one-day event, the convention is now five days of classes, with performances, showcases, lectures, a pop-up marketplace, social gatherings and plenty of opportunities to admire the natural beauty of the islands and taste local flavors. The “Belly Dancers Gone Bad” catamaran cruise off Waikiki and hike to Maunawili Falls are highlights. Delapenia curates opening night “Shimmy Showcases,” which take place at the Doris Duke Theatre at the Honolulu Academy of Arts, stringing together many styles and choreographies geared toward entertaining and educating her audiences. “This year we have decided to produce a two-show format, so performers and audience have the space to explore both sides of the artform,” she says. “Essence will showcase traditional movements, and The Unveiling will be a more modern and sensual exploration of the dance.”

On day two of the convention, hundreds of students will participate in “Shimmy with Aloha” workshops and lectures, held at the Neal S. Blaisdell Convention center. Classes titled “Tight Locks and Luscious Layers,” “Fingers Cymbals the Ambidextrous Method!” and “Egyptian Spice” are taught by Ashley Lopez, Shahrzad, Amira and the convention’s first male teacher, a pioneer of tribal fusion belly dance, Frank Farinaro.

The convention takes place October 10–14. DT

For more: hawaiibellydanceconvention.com

Rachel Berman is a former dancer with the Paul Taylor Dance Company and an educator, manager, fundraiser and freelance writer.

Photo courtesy of Hawaii Belly Dance Convention; map ©Thinkstock

Music
Mary Malleney, courtesy Osato

In most classes, dancers are encouraged to count the music, and dance with it—emphasizing accents and letting the rhythm of a song guide them.

But Marissa Osato likes to give her students an unexpected challenge: to resist hitting the beats.

In her contemporary class at EDGE Performing Arts Center in Los Angeles (which is now closed, until they find a new space), she would often play heavy trap music. She'd encourage her students to find the contrast by moving in slow, fluid, circular patterns, daring them to explore the unobvious interpretation of the steady rhythms.


"I like to give dancers a phrase of music and choreography and have them reinterpret it," she says, "to be thinkers and creators and not just replicators."

Osato learned this approach—avoiding the natural temptation of the music always being the leader—while earning her MFA in choreography at California Institute of the Arts. "When I was collaborating with a composer for my thesis, he mentioned, 'You always count in eights. Why?'"

This forced Osato out of her creative comfort zone. "The choices I made, my use of music, and its correlation to the movement were put under a microscope," she says. "I learned to not always make the music the driving motive of my work," a habit she attributes to her competition studio training as a young dancer.

While an undergraduate at the University of California, Irvine, Osato first encountered modern dance. That discovery, along with her experience dancing in Boogiezone Inc.'s off-campus hip-hop company, BREED, co-founded by Elm Pizarro, inspired her own, blended style, combining modern and hip hop with jazz. While still in college, she began working with fellow UCI student Will Johnston, and co-founded the Boogiezone Contemporary Class with Pizarro, an affordable series of classes that brought top choreographers from Los Angeles to Orange County.

"We were trying to bring the hip-hop and contemporary communities together and keep creating work for our friends," says Osato, who has taught for West Coast Dance Explosion and choreographed for studios across the country.

In 2009, Osato, Johnston and Pizarro launched Entity Contemporary Dance, which she and Johnston direct. The company, now based in Los Angeles, won the 2017 Capezio A.C.E. Awards, and, in 2019, Osato was chosen for two choreographic residencies (Joffrey Ballet's Winning Works and the USC Kaufman New Movement Residency), and became a full-time associate professor of dance at Santa Monica College.

At SMC, Osato challenges her students—and herself—by incorporating a live percussionist, a luxury that's been on pause during the pandemic. She finds that live music brings a heightened sense of awareness to the room. "I didn't realize what I didn't have until I had it," Osato says. "Live music helps dancers embody weight and heaviness, being grounded into the floor." Instead of the music dictating the movement, they're a part of it.

Osato uses the musician as a collaborator who helps stir her creativity, in real time. "I'll say 'Give me something that's airy and ambient,' and the sounds inspire me," says Osato. She loves playing with tension and release dynamics, fall and recovery, and how those can enhance and digress from the sound.

"I can't wait to get back to the studio and have that again," she says.

Osato made Dance Teacher a Spotify playlist with some of her favorite songs for class—and told us about why she loves some of them.

"Get It Together," by India.Arie

"Her voice and lyrics hit my soul and ground me every time. Dream artist. My go-to recorded music in class is soul R&B. There's simplicity about it that I really connect with."

"Turn Your Lights Down Low," by Bob Marley + The Wailers, Lauryn Hill

"A classic. This song embodies that all-encompassing love and gets the whole room groovin'."

"Diamonds," by Johnnyswim

"This song's uplifting energy and drive is infectious! So much vulnerability, honesty and joy in their voices and instrumentation."

"There Will Be Time," by Mumford & Sons, Baaba Maal

"Mumford & Sons' music has always struck a deep chord within me. Their songs are simultaneously stripped-down and complex and feel transcendent."

"With The Love In My Heart," by Jacob Collier, Metropole Orkest, Jules Buckley

"Other than it being insanely energizing and cinematic, I love how challenging the irregular meter is!"

For Parents

Darrell Grand Moultrie teaches at a past Jacob's Pillow summer intensive. Photo Christopher Duggan, courtesy Jacob's Pillow

In the past 10 months, we've grown accustomed to helping our dancers navigate virtual school, classes and performances. And while brighter, more in-person days may be around the corner—or at least on the horizon—parents may be facing yet another hurdle to help our dancers through: virtual summer-intensive auditions.

In 2020, we learned that there are some unique advantages of virtual summer programs: the lack of travel (and therefore the reduced cost) and the increased access to classes led by top artists and teachers among them. And while summer 2021 may end up looking more familiar with in-person intensives, audition season will likely remain remote and over Zoom.

Of course, summer 2021 may not be back to in-person, and that uncertainty can be a hard pill to swallow. Here, Kate Linsley, a mom and academy principal of Nashville Ballet, as well as "J.R." Glover, The Dan & Carole Burack Director of The School at Jacob's Pillow, share their advice for this complicated process.

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Teachers Trending

From left: Anthony Crickmay, Courtesy Dance Theatre of Harlem Archives; Courtesy Ballethnic

It is the urgency of going in a week or two before opening night that Lydia Abarca Mitchell loves most about coaching. But in her role as Ballethnic Dance Company's rehearsal director, she's not just getting the troupe ready for the stage. Abarca Mitchell—no relation to Arthur Mitchell—was Mitchell's first prima ballerina when he founded Dance Theatre of Harlem with Karel Shook; through her coaching, Abarca Mitchell works to pass her mentor's legacy to the next generation.

"She has the same sensibility" as Arthur Mitchell, says Ballethnic co-artistic director Nena Gilreath. "She's very direct, all about the mission and the excellence, but very caring."

Ballethnic is based in East Point, a suburban city bordering Atlanta. In a metropolitan area with a history of racism and where funding is hard-won, it is crucial for the Black-led ballet company to present polished, professional productions. "Ms. Lydia" provides the "hard last eye" before the curtain opens in front of an audience.

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