D's Blog

December 31, 2010   ♦   Comments Off on New Years Eve

Hey Everyone!



Today is my Birthday! December 31st.
How about that, I’m an old year baby! Anyways it’s always a time where I reflect on the past year and plan for the future year. What went well, what south and what do I remember the most. This year sure went fast! If you don’t know by now my entire life is always about belly dance pretty much.

We did 2 Hawaii Retreats in 2010. One with the “Neighborhood Temple Priestess” studies and the second one with Amy Sigil and Dahlia with the main focus on “ Tribal Fusion” with a little bit of Egyptian, folkloric and Power Belly thrown in. It was an amazing retreat even though it was small. The airfare remained very high last Easter Time compared with January and so we got lots of regrets. (This January the airfare is reasonable and there is still room because a yoga retreat canceled so some space opened up that we can use. There will not be a late fee changed) .
Dates January 25-30 2011 with RUBY BEH!!!

Last years Summer Solstice Parade threatened to rain but in the end we managed just fine. It was a smooth one. I had made a plan to build a float and have live music for 2011 but I have changed my mind. Because we are leading a tour to EGYPT in March/ April (still room to jump on this amazing journey see details) I think we should not take on too ambitious a project that would take time fund raising as well as building and organizing. So I’ve decided to give you the color theme for 2011 Parade the color for this years parade is RED 85% and 15% BLACK. Probably everyone has stuff in there closets. Joanne’s Fabrics is having sales right now on alot of red fabric!

We did the Power Belly Online Show for 44 weeks last year! A huge achievement but it was too expensive to keep up with. Only a few dancers ever logged on. I think dancing from your lap top isn’t here yet. It sure was a hoot to do every week! We may bring it back again but for now back episodes are up.

Our third FRI CABARET NIGHTS in our studio have been the best shows I’ve seen in my life. House of Tarab playing live with 2 different professional dancers doing full routines! OMG!, Artemisia, Khalida, Elisa Gamal, Princess Farhana, Lisa Yasmeen, Suzanna, Kitiera, Laura Rose , Ruby Beh, Zulaika, Nadira, Dahlia, Aubre, Bella Jovan, Hasani, Sabura, Tito Seif plus a concert featuring Omar Ait Vimoum and Moez M’rabat. . . So very proud to be hosting such amazing artists in an intimate setting. (we will be in Hawaii on 3rd Fri in Jan. so no show).
I was invited to be a special guest presenter at the International Belly Dance Conference of Canada in Toronto. I was representing Belly Dance Pioneer in America. I taught large classes and sat on discussion panels. It was a fabulous event put on by Yasmina Ramzy of Toronto. Erik and I hung out with Cassandra alot so when she came to Seattle to do her camp in the fall we decided to all do a show together. We had an amazing show at the South Seattle Community College with H.O.T. Cassandra and Ava Fleming and myself, Delilah. Very fond memories.
One of my favorite events to attend this year was Suzanna’s Belly Dance Off! Very fun to be a judge and an audience member. Bravo to all who participated and to Suzanna for putting it together!

For the Summer we had Amel Tafsout do a wonderful workshop on Magreb style dance. We also had Moria Chappell of the Belly Dance Super Stars in our studio. (This coming February 2011 we will have Petite Jamilia and drummer Issam in conjunction with the BDSS)

We did some “Student, Staff and Experimental” shows that were very fun and got more of our students performing. Then in the fall we had a “Zombie Belly Dance” troupe for Trolloween. This class was really challenging and thought provoking. We took regular belly dance moves and took the life out of it and created a new vocabulary. It was an amazing exercise in character development . No one was focused on being pretty. It was very cathartic!

Our dear dancing friend Helen Nicholiasen left the planet on October 20th. Bless her soul. She new her time was near. I was in New Mexico doing a dance for her in a desert labyrinth in the middle of fantastic thunderstorm on all horizons when she past. Very spiritual landscape and energy there.

Our annual Thanksgiving morning workshop was awesome! The Winter Solstice Event was really very wonderful. I wished more attended. It really is a moving thing we do every year. Don’t miss it next time!

The Neighborhood Temple Priestess group did some lovely dance labyrinths under the guidance of Christine Hamby. They also worked hard on the Golden Patrons; A Philanthropic group in support of women’s dance. We have 10 members so far. We need 21 and will be still recruiting members in January. It’s a hard thing to explain and we need to ask folks to go to our web pages and take a look so you are informed about our efforts at least. It doesn’t mean you need to become a member. It is important that our idea gets into the cosmos! The more people that are in the know about it the better! What we are trying to do is a bit different for belly dance world. We are trying to take responsibility for supporting this art form “WE” the dancers, KNOW AND LOVE. By taking responsibility we can help it grow and be understood so it continues to grow and develop. This is our big goal for the New Year 2011!!!

Thank You to the GP commitee!

Major restructuring of how we can keep the studio alive and being used by more of the community is my goal. I really want to leave something behind that will benefit community long after my dance is done. Some new teachers are coming to VDP. Tayissa Blue is introducing TRIBAL BASICS on Sunday afternoon, and a Nia class on Fridays.

I have some ideas for some experimental themes shows this year. Plus I’m doing a bit of custom garment manufacturing (details soon to be revealed.I am wearing one in the photo above.)

In the fall I sent out a few grant applications. Didn’t receive any but it was a very good exercise in visualization. So today I am thinking about this question as I walk to the nearest Lottery stand. I hear Mega Millions is over 200 million!

“If I won the lottery what would I do for belly dance world ?
1. I would launch an ad campaign across the nation and beyond of the physical, emotional, spiritual and psychological benefits this dance has for women of all ages. I would even aim this intent at Middle Eastern countries that often do not know what a jew this dance form is for women. If young girls and women universally learned early and practiced it regularly like many of us do, then belly dance would truly be a benefit for things like pregnancy, birth, bone density and staying fit for a life time! Not only that but it gives women a sense of personal control of their own body and person. It provides a means for creativity and expression for wordless things. Tomorrows future depends on women that are whole body, mind and hearts.
2. I would build a bigger studio with fountains, statues and gardens, an indoor and out door theater and a belly dance museum!
3. I would build a belly dance retreat in Hawaii that was all year long and featured different teachers from all over the world of all styles and had scholarships.
4. I would build a Middle Eastern music school.
5. I would put together a Belly Dance Tour group that was diverse in age, weight and style that was fantastic and served to educate the public as well as entertain.
6. I would build an retirement facility for aged belly dancers and musicians that would be funded by another enterprise so it would be free.
7. I would build a school for beaded costume design.
8. I would have a large belly dance grant foundation.
9. I would have the Billion Belly March gather in Washington DC and make  political humanitarian demands for clean air, water, food, education, health care and corporate reform!
10. I would create a magazine that featured my picture on the cover each month in a different color costume  and call it  OPA ! . . . . LOL, well?

Ok I’ll keep dreaming and buying lottery tickets. Mean while a reminder
Tomorrow, New Years Day
We are doing a Zar. See our calendar for info.Come join us!
Get off your computer and come belly dance
Wednesday and Fridays! Noon to 1:15



November 15, 2010   ♦   Comments Off on Internship/Intensive Study.

I have been getting alot of phone calls lately about our Internship so I thought I should blog about it a little more.

A traditional internship is where a student gain experience in an intensive sort of way working along side of professionals. When a dancer signs up to come take part in our offering she will be experiencing this in many ways. However it is not a paid or works exchange situation. We are not seeking interns for any particular project. We are offering our expertise. We cannot guarantee that you will get to perform on a stage somewhere in our concerts. We do our best to create positive situations. Most likely you would if that is your goal but there are standards and situations that apply of course.

What we offer is an opportunity to retreat and study with top professional dancers, masters and musicians.

Thus we should really call it INTENSIVE STUDY however it also has INTERN aspects.


Our programs are where dancers either residents of Seattle or come to Seattle for a while to under go intensive study with us; private or group dance classes, drum, costuming, music appreciation. These are not free or done as work exchanges but are some times sponsored by family, friends, patrons and institutions that recognize the intrinsic value belly dance gives to women or all ages. They could be high school students, college students, writers, professors on sabbatical, dance instructors, or women using this art for therapy as they need to re discover themselves, recover from abuse or other.

This dance teaches them to be involved with their own bodies as expressive instruments. It increases physical awareness for healing, calming and future maternity. It teaches independence because belly dance does not rely on a partner. There is so many skills to challenge and accomplish, With this brings satisfaction, pride and self confidence. It connects women with other women creating lasting friendships and building community. It’s creative and culturally enriching. All this equals a healthy self esteem. We offer our expertise and take you under our wing. We take this very to heart. This is a very valuable opportunity for girls and women of any age.


Averill Obee did some great writing on her experience.

Averill’s Blog

Averills Article in Gilded Serpent

Nichol started dancing with our studio at age 15. her parents were very supportive. She came to 2-3 classes a week and now dances in San Fransisco while attending Mills College. She spent 1 year in Egypt studying business and language.

Lulu lives in Seattle and did a local project for Seattle Academy. She had belly danced with us since her 7th Birthday.

Ramza Ali is a belly dance teacher, mother and performer. She came for 3 week from Londrina Brazil and that was an amazing experience.

Usually when dancers are coming from far away for just a week they hook up with one of our retreats or Tours.

We have had dancers from Korea, Japan, Columbia, Mexico, Sweden, Equator, Italy, Chili, Argentina, South Africa, England,. . . Seattle options are usually thought of as longer projects. However we are open to just about anything.

Each situation is a personally designed contract. The cost depends on budget and other factors like length of study, time of year, live in or out, goals, hours, events that apply . . . . We try to be reasonable and make our exchange very worthy. We have a house across the street with many bedrooms and it makes for a very nice arrangement. There is not always a room available, it takes arranging and it depends on how long you will stay.

If you are interested or want to send someone to us, here are the pages you will want to look at;

Retreats/ Seattle Intensive Study and Internship/ Egypt Tours

Intern Introduction

Accommodation in Seattle

Instructors at VDP STUDIO

• List of Events through out the year to help you plan.

• There of course are more up dates on our VDP Calendar Schedule page

Sample Custom Intern Itinerary

Course Study Offering:

Classic Arab American Techniques

Power Belly and Teachers Training

NTP Ritual and Dance. (Neighborhood Temple Priestess)

Modern Egyptian


Fusion and Folkloric

Veil Dance

Performers Edge


Learn to play Arabic hand drum.

Drummer and a dancer Solo work.

Parade Dance

Dancing in Nature

Beginning Ney

September 28, 2010   ♦   Comments Off on #2 Zombie Belly Dance; Training Manual

Note: This is not my usual kind of blog entry; We are getting geared up to be in character so we are getting a little over the top. It’s meant to be dark humor. Do not read the following while eating.



Zombies are dead. A virus has entered their brains and reanimated the primal operating systems so they vaguely remember being a live. They eat flesh, but don’t need to eat since they are dead. Apparently they are on auto pilot. Given this, I realize that they also hold some vague memories of the belly dancing they did every day when they were alive. This is why they can zombies belly dance .

Zombies can not talk, laugh or cry.

Delilah on Zombie Walk

Delilah on Zombie Walk

They groan and grunt. However body language (dance) is a primal means of communication pre speech . It is heavily wired into body and brain. Some neural pathways remember belly dance like the way a zombie can remember how to walk, grab you and eat you brains . . . and belly dance.


They lack juiciness as everything is coagulating, drying and rotting. So all the juicy and curvy moves found in living belly dance are out. Curves are transformed into angles. Textures like shimmy, swivels and locks, become twitches and jerks. Gasses are occasionally expelled that create popping sounds and movement releases.  Shaking occurs because of decay and short circuiting. It is more convulsive in appearance.

Arms dangle, flop and fall to the sides. If the torso jerks to one side, they may swing out by syntrifical force. When in pursuit of food or in the proximity of certain rhythm patterns they may lift arms in a pattern known as Exotic Zombie Arms. Watch out though, they bite.

Control to turn and look a different direction is minimal. Thus head and torso move as one and can unexpectedly jerk around and fall at the waist. Perhaps they miss belly dancing like they miss eating and that’s why they persist.

There is no self composer in a belly dance zombie. The torso is often bloated and so the chest and thorax pitch forward. Head lacks control and never has an inkling of thought.

Face and eyes remain blank to grimacing, depending on the circumstances of their demise or damage done when they were being eaten.

Hands are open and fingers extend stiffly like a 4 pronged dinner fork (handy),. . . while thumbs fold in to the palm in the classic death pose position.


Destroy the brain. Or wait 2-3 years for them to corrode enough that they stop dancing and there is nothing left to feast on. Watch zombie movies for extermination inspiration. The messier the kill method the more zombie belly dancers you may attract.

In general just remember folks, kill the brain and no more belly dancing.

  ♦   Comments Off on #1 Zombie Belly Dance Project


Zombie Belly Dance Project



I live in the Fremont neighborhood of Seattle Washington. We have Zombie walks  a few time a year. It’s a bit weird. They just mop around in alleys back yards, on street corners, in front of businesses, and in parks. The folks around here are are way into zombies and it doesn’t even need to be Halloween. In Fremont we call it “Trolloween” after our famous giant troll statue who lives under the Aurora bridge and every once in a while eats Volts Wagon bugs for breakfast. On Trolloween there will be some sort of happening we will take part in with our Zombie Belly Dance.

A couple weekends a go a hand full of members of our studio were sitting around a table brain storming projects for VDP Dance Studio to take on and all of a sudden I exclaimed Eureka. “Lets be Zombies and create a new fusion belly dance vocabulary for it,  and thus a performance group. We can do all sorts of events;  Zombie Walks, Trolloween and ZomBcon coming to Seattle at the end of October.! “ OMG! We all started laughing and getting charges up!



I thought about it that evening, I realized this maybe a perfect class to relive the tension of the days we are currently living in. It may well be the answer for many of our dancers working on performance issues right now. For the past few months we have been emphasizing more performance classes, shows and opportunities for dancers to grow as performers. We have been coaching students lately on character development and stage presence.  I’ve been carefully observing and pondering all dancers efforts, successes and failures. If I could bottle what I know I would give it to them. It struck me that one thing that may be getting in the way for some dancers is the issue women face deep inside, is in regard to their personal beauty image. This is different from a performance stage image.

Anerie plays dead

Anerie plays dead

A zombie is a character that does not care about pretty.

When I watch a dancer who needs help with stage presence this is what I often see; a smile, then a hesitation, then another smile, and then the shopping list of steps in the back of their mind, then a smile, followed by blinking, another hesitation and smile. This scenario lacks a feeling of self confidence. It also lacks any character dimension or dynamics. Dance performance is both physical movement and drama.  As a member of the audience all I want to do is get on board with them and ride the wave of their dance. I don’t care if their nose is crooked. I probably don’t even notice. The dancers job is to be a living bridge between me the audience and the music. Can you see if the baggage isn’t there taking up space, how much freer and clearer the bridge is. leave your personal stuff in the dressing room and devote full attention to the music and being the bridge.

I thought about the best comment I ever had from a dance I did, “Not pretty Delilah”. The dance I did was called “Calling up the Oracle for Peace” and it involved a zahr ritual. It was theater style dance. When I heard the comment I knew what he meant. The beauty issue was not in the way. I also knew that it never was even if I was doing a cheese cake sort of dance. “ I”  was not the object. It was my dance character that I have crafted and developed that took responsibility.

So my thinking is this Zombie Belly Dance idea as a dance and character exercise could be not only a kick in the carcass, but also a great lesson in practicing and developing a dance persona (that is as long as it’s a temporary dance character). No one has to think about being pretty. Wow, thats kind of liberating, isn’t it?

And I bet all the twitching and tension will be great cross training for Power Belly!

On Sunday right after the wonderful celebration of life at Veronika’s baby shower I spent some time coming up with the new fusion dance vocabulary for the living dead.

(talk about juxtaposition).


I put on some slow repetitive rhythms and drone music. I figure zombie musicians probably can’t play anything lively or happy. The music needs to come from the void.  They are going to have to be in character as well. Erik and I frequent Zombie walks. We are both amazed at how people can get all dressed up that way and not be in character. “What’s the deal with that” he scoffs? I

Most people are timid unless they have been given absolute permission. You would think the mire attendance at a Zombie walk would give them permission, but . . . Then it’s just not easy . It does take energy and some people don’t grok how much effort is involved in acting. They think when they see someone do it well then it’s effortless and comes with the territory. It doesn’t. It’s a skill and a craft.

Erik is a very scary Zombie, so watch out.


We need dead beat drummers and musicians and we need them to be in serious character as much as the dancers. So if any drummers are reading this, get your dead ass carcass over to Erik on Monday nights at 6:40. He will direct, teach the rhythms and you all will practice the character while playing the rhythms as well. Cost? He is doing it on a sliding scale please pay what you can, the studio needs support and Erik is the director. We want your participation and we want to hold on to our studio.

More the deadlier!


Thorax Shimmy Walk

Dead Pan Turn

Mummy Walk

Death Spiral Turn with Bob and Twitch

Dead Zombie Stuffed with Fire Crackers

Regurgitating Body Locks

Crazy Eights

My heart, my heart

Cobra of the Living Dead

Decapitation Head Slides

Zombie Arms

Zombie Cha Cha

Hip Twitch with Dead Arms

3/4 Zombie

Zombie Lunge

Zombie Pyramid Step

Three Twitch Turn

Eat Your Heart Step

Belly Dance Intesta-vine Step

Rib Cage Zombie Box



Ominous Masmuti

Eat You Ayub

Tasty Turk 9/8


First nights class;

To get in the mood, I brought black grease paint for our faces.

I introduced the original living belly dance moves and then introduced the adapted dead versions. It was hard to keep from laughing. Lots of wise cracks. (It’s interesting but in this sort of backward way, I bet that dancers learn the original moves better as a side effect of this project.”

First Zombie Belly Dance Class

First Zombie Belly Dance Class


“How you doing there Diana?”, “ Stiff”  “That a girl!”

“Elizabeth, you look horrific! “, “Thank You!”

“ I think I’ll pass on the make up tonight Delilah.”, “Ok , but that means we will have to eat you!”

“ Oh I get it, so this is the class for dancers who have no rhythm and and are stiff?”

“ Come on now, NO JUICINESS!”

“Hey what do you know? Dead Can Dance!”

Join us next week.


In reality the dead moves were hard to maintain and really made us appreciate the living belly dance. We just did 1 hour of twitching and jerking around and we are going to be sore tomorrow I can tell. Regular belly dance celebrates life and in reverse we are definitely hating being dead. Yeowie!

  ♦   Comments Off on Belly Dance Baby Shower



Today the NTP  hosted a baby shower at Visionary Dance Studio. (The NTP is short for your friendly Neighborhood Temple Priestess)

We have developed a line of specialty dances for different occasions. Which ones we do depends on who in our group is available. The other members set up and serve different aspects of the event. This is just one of the things  we mean when we talk about  belly dance as community service. Our intention is not just to entertain, but to facilitate in making moments in peoples lives deeply meaningful.

Our expectant Mother today was Veronika. This was the second shower we have hosted for her. Her first son is almost two years old and, surprise! Here comes baby number two. The first shower we hosted for her meant so much to her that she wanted another us to help celebrate this baby too. Of course! However this shower was very different.

Daddy, baby and friends with their kids were present and Veronika danced for us first! VERONIKA’S DANCE: She danced to 3 songs and changed costumes in between! fantastic! She was so relaxed and expressive! Every dance was sharing a different stage of the story of her family. It was so special. There were 6 NTP present and we stood in the back dressed in our soft white belly dance bedlah and teared up. No, actually we sobbed and huddled together arm and arm. We were so moved! I wish all women could have seen this today.

Then three of the NTP took turns like three good fairies gifting Veronika with short dances. Kalaura did an ARTEMIS BLESSING DANCE with bear ears (Artemis is the Goddess of Easy Delivery) Roxy did a very sweet and joyous SISTER DANCE that Veronika had requested. I (Delilah ) did a ROSE DANCE with a rose print veil and essential rose oil . Then it was time for everyone to dance with the children. Fun ! We shared food and did a body painting with the children on Veronika’s belly.

So beautiful. I just love doing these events. It gives life meaning to us as well as the guests.

*** More about Belly Dance and Pregnancy

We have pregnant women in our belly dance classes all the time. It enriches everyones belly dance class experience to dance with pregnant women next to them. We have tried to have BELLY DANCE especially aimed for PREGNANT women. But it’s impossible to get a gang of them together at the same night it seems. Plus they go through phases of varying energy. I have a beautiful class plan where each Mother would create her very own birth dance in her last trimester for her family friends and fellow dancers. I supposed if we advertised with a Women’s medicine clinic near by we would have more success, but I’ve never been sure how to do that. We would need the support of a birth care providers endorsement to help point pregnant women in our direction. So far non have stepped forward even though they think it’s cool they probably feel it’s not a professional mix and worry about liability issues. So what we do instead is just incorporate them into our regular class and give extra guidance.

Any of our students that participate in classes while they are pregnant get to have us gift them with a special baby shower by the NTP if they like. We do baby showers for women who are not belly dancers as well. Our service are sliding $150-$200 (in our studio) and these fees go towards supporting our beautiful dance space. When we charge a fee I or another at least one professional dancer is guaranteed to be present as a performer and then the different levels of NTP dancers donate their time and learning how to facilitate events and fill in with side line dances. Each shower is custom designed to the wishes of each honored Mother.

Veronika has been doing Power Belly in our studio for 4 years or so along with other kinds of exercise during the week. She is very accustomed to doing Power Belly so it was not a new exercise regime and she is very conscious of her bodies needs and limits. Every women is different. However the participation in a belly dance class during this time in a woman’s life can be very empowering. Of course they abbreviate the dance to fit comfort and ease. That’s what is so cool about belly dance is it can be folded into individual capabilities. If some one has never belly danced before and they just became pregnant we are not going to suggest they do alot of strenuous endurance training but the softer approach of belly dance will bring a women’s awareness into her body so she becomes more aware of her bodies changes and can truly be present with this special time in her life. We encourage the story line in dance like veronika demonstrated today. This makes it a rite of passage and a vivification of life experience and our connections we share to each other. Dance is story. My  “Dance to the Great Mother” performance I did in my last trimester with my second daughter is available on DVD in our studio shop and online.  I choose to use an Ancient Egyptian Theme and personify ISIS the GREAT MOTHER. As a professional dancer I was able to perform my birth dance publicly on many theatrical stages during my entire pregnancy and it was an incredibly powerful position to occupy in my life and in our culture. Every women should feel the presence of the goddess within her at this special time in her life..

Alex is another of my students who just did a birth dance while in labor and put it on You Tube the other day. Makes me so proud that this is happening in our world today.


Mirayah Delamar  DIVINE MOTHER 1992

mirayah DelamarPG_4

More articles


Morocco’s Story


August 14, 2010   ♦   1 Comment »

Delilah in early years featured in the "Harem Caravan Review" 1975

Delilah in early years featured in the "Harem Caravan Review" 1975

I wrote this piece a few weeks ago and shared it with one of my yahoo groups. it has been requested to be reprinted in various news letters and e-zines and blogs. Yes it needs editing I hope they do it I am dyslexic so I can’t do it. I’m still writing it and on my compute it’s actually getting alot bigger but here is todays medium version.


My early days were spent in San Diego and Hollywood. I danced with George Kayat at the Ali Baba Club, Maroon Saba at the Fez, Aziz Katra, John Bilezikjian at the Apadonna in New Port Beach, Raja Zahr in LA and Las Vegas, Harry Saroyan various places, Antwoine Hage at Haji Baba, , the Greek Chicago bands at Athens West in La Jolla, and the Harem Caravan* Review at the Ramada Inn.

I moved to Seattle in 1977.  I dance with who ever was playing at the Lebanon Restaurant and over 10 years with Takis Doties at The Grecian Corner followed by The MB Orchestra at George’s Bar & Grill and David Said at Kolbeh’s Persian. I toured and danced with all sorts of bands across the country during my career; Brothers of the Baladi, Transarabian Sound, Ibraheim Turman, Oasis, Doug Adams of Light Rain, Steven Flynn . . . Then in 1992 I began a very close relationship with Sirocco from Santa Cruise. They came to 15 of my Hawaii Retreats and we made many DVD’s together.  Currently I perform mostly with the full 6 piece music arabian music ensemble called House of Tarab. Last night I enjoyed dancing to Naseem Band!


Wow, that was fun to recall all that history!


Delilah at the High Dive 2008

Delilah at the High Dive 2008

Un Choreographed:

The way I learned to perform the old fashion belly dance, was not by rote of choreography. It was be experiencing it LIVE in-the-moment, in a cabaret environment. The belly dance performance was a anticipated ritual in the night club every night. It was composed of 5-7 distinct parts; the introduction, the veil dance, a fast more technical part, a floor-work gymnastic section made of slow cheftitelli and taxseems, followed by another short fast section, into the drum solo, ending with a merry fast section, taking bows , accepting applause and saying good bye, but promising to return. The sections were like a map. The party atmosphere made things come up spontaneously that rendered choreography not very realistic. Sometimes the dance would stay on the stage and other times it was someone’s birthday and the dance moved around the room. Audience members made song requests and sometimes would sing low yearning poems into the microphones during my dance. Either about love or often about people in the audience.  The audience loved when the dancer came out into the audience and interacted with them. Collecting tips, wrapping scarves into turbins around the heads of members of the audience and  saying “Good Evening”

Most of the parties and restaurants I danced in hosted families and little kids were encouraged to put tips in my waist band. Many performances were sacred sacraments of divine grace under a mirror ball and some down right rowdy and profane with Greek sailors showering dancers with hundreds of dollar bills. The Greeks also broke dinner plates. It was a ritual of releasing the attachment to possessions and embracing LIFE in-the-moment!  In the 70s I danced for 45 minutes per show. There was not one hair on my head that was not soaked in sweat. My stamina was incredible and I felt like a cosmic astronaut rocketing into out of this world trance spaces.

I deffinetly enter zones and trance states when I perform. In ancient, tribal and current society the trance is a big part to the dance. The trance state is a means of communion from the beginning of time. The average Arab knows ” tarab” as the divine ecstasy the listener gets into as part of the experience of focused listening to the music. The dancer is a vessel; a container of the human interface.  In the Haitian/African  Voudoun religion the trance state is a means of divine contact and interaction. In the Turkish (Mid Eastern) dervishes ecstatic spin she/he stands on the threshold between worlds; the mundane and greater whole. The zar as practiced in Egypt and parts of the Mid East is a similar cathartic experience and is often used in belly dance routines. The Guedra  of North Africa uses repetitive hand gestures and chanting to attain trance states. Am I praying or worshipping? Not in my mind. I am more of an explorer.

This being-in-the-moment with your physical dance experience is valuable and transfers something vital and essential to our souls. You, your body, your emotions, the cosmic vibrations of music, time, space, spirit and accelerate rise in body heat and blood flow. It’s healing for the body. It’s especially important to us in these days where we are leaving the body behind more and more. Todays technical world is sadly lacking these opportunities as we sit daily addicted to our physically passive computer screens. However, we do become  unwittingly vulnerable to internet trance states where the influences are not divine links but rather mediums for commercial gods and goddesses to commune with us.

As I dance I create my dance in the moment. I have seen dancers do this effectively with only knowing 5 moves. Knowing 5 moves or 500 moves does not necessarily make the dancer better.  It’s all about what you do with what you know.  I feel this wildness and openness of spirit is something exceptional belly dance avails to us. It should berevered and held on high. Not that it negates choreography. It is just that at this point in society we have many dances that are contained and choreographed . We have fewer options that are un choreographed and free. Improvisational dance holds essential skills that benefit our life experience in important ways. Do you live a choreographed life day to day? Maybe so. I don’t.

Improvisational dance does not mean you do not study rhythms, music, learn moves, develop your skill set, practice combos, condition the body and work to increase flexibility and endurance. It does not mean you do not have an intended destination either. You just navigate differently. Your moves become your paints. When we watch an improvisational belly dance, we are witnessing the painter painting. The dancer shares the live, active creative process with you. She listens carefully to the music and opens her heart and soul to be like a tuning fork and resonate with the vibrations in the air using time and space. With each breath she is inspired to unfold the next movement in time. The spirit provided the force behind the motion. We call this dynamics. We all are individuals and this is an opportunity for individuality to shine. The challenge is to be relaxed enough to allow the exhibitionist to step forward. There lies the hitch. We are told at an early age not to show off. Do not indulge your self. This comes from our old puritan roots. However, all artists are indulging the stuff that makes up their lives. We call this expression. Teachers tell their students, never do this or that. The “ don’t touch your own body”  policy is just a stupid lack of appreciation for the marvelous gift of life you have been given. Hello! It’s your body touch it if you want to! So check to see if that is in the back of your brain and get rid of that pilgrim it if you want to really dance. Whether you are dancing for your self or for an audience or both, you must be open, know your body and accessible to your emotions. Available, vulnerable and shameless.

I often think about the stewardess directives to put the oxygen mask on yourself first before the child next to her. This is because if Mom dose not take care of her self first she will not be any use to that child that is dependent on the adult. If we do not invest in our internal life experience and take care of ourselves first, we will not have much to say. I cannot share any of my cookies with you if I have not baked any.  An authentic dance comes from an authentic life. I think this is one of the best kernels this dance has to offer all of us. It is the metaphor that life is one long dance from birth to death. To choreograph or to live in the moment is worth thought. Who choreographs your life? You, your mother, father, brother, husband, church . . .?

The fear of not having anything to say is what often drives us to want a choreography. The fear that what we have to offer is not any good. The notion that yours is better than mine, so teach me your dance. So sad when self esteem is so poor that we would rather do the dance of someone else. Or that we could only have one idea and we cling to it and keep using it over and over again in repetition instead of taking a risk and trying something new. The new is our growth.

Some of us can dream up dances and have others implement them. I think the desire to save dances as original choreographies is a kin to video taping them. The memorization that goes into a paint by number dance is very left brained. The right brain synthesizes things. The left brain sequences things. The left brain judges (and leads to self criticisms) and the right brain is metaphoric and sees likeness. To make a choreography work it must move from analytical left brain to the right. Some humans are skilled at this others can quickly synthesize intuitively. Often we have learned to feel more secure when things are organized and set. I say learned because children do not usually mind disorganization. It is adults that require and maintain order. If we learn skills for being comfortable in chaos we have a skill for life. The universe supports chaos, if not more, than organization. Organization comes out of chaos. (I studied with Gabriel Roth and she taught me about chaos). If everything is tightly organized there is little room for creativity. I don’t mean for it to be a contest here. I am only trying to illuminate some factors that may limit our personal growth.

If you liked your self and the picture you create with your beautiful box of crayons, then you carry a sense of pride. We recognize a child’s sweet sense of accomplishment and pride about creating his/her picture.  That experience of drawing, is full of lines, color, space, time, rhythm, design, breath and heart beats. We come away from these experiences liking our selves and our lives (or well we should). I think to ignore, devalue, not see the merit of your own creative process is a contributing factor to all the depression and loneliness people feel these days. Pride coupled with compassion leads to strength and greatness. The lack of pride leads to not even finding compassion for ones self.

Choreography teaches us about process and transition. It allows us to put our best tricks forward in the shortest amount of time I suppose. In a sound bite. Since we are all so busy and there are so many of us now a days, that a sound bite is all we have time for it seems. However sound bites leave out plateaus and thresholds to new zones of physical and psychic trance expression only attained though longer durations of time. Real breath, real heart beats and body heat are necessary ingredients. This is where dance crosses over and can become prayer or communion with ones maker of some sort, and this is what has some religious folks scared. I do not what they are so afraid of, but I think it boils down to putting the clergy out of a job if people realized they can contact god all by them selves without the need of a clergy man/woman.

I tell my students when their shoulders are locked to think of something they love to do. The shoulders are about passion and our sensibility. I direct them to practice rolling their shoulders while eating a chocolate dove bar or relaxing in a hot tub. When you learn that that story is in those body parts the stories begin to unfold.

I often say to a new performer that if you step on stage you are accepting a responsibility to perform. A contract. The only way you let that responsibility down is by not understanding and accepting the rules of the contract by performing. You must be an exhibitionist. Some dancers appear to have stepped on stage and left themselves at home. It is really simple; tell me a story. In the case of dance, it is with your body language this story unfolds. There are millions of stories that can be told with the accompanying music. Our bodies can express more than spoken words. It not linear. It is multilayered, way more complicated than spoken or written words. If we are comfortable with the human body, we know it innately because we share the experience of being human. We know it with out a translator.

So what story do you need, desire to share? Do tell it with out a choreography sometimes?


* WHOse WHO in  Harim Caravan Photo at the top;

?, Dave Dhillon, Delilah, Richard Barham, Deseree, Tony Karasak




June 20, 2010   ♦   Comments Off on VDP Studio; Now that the Parade has Finished. . .
Dahlia with her mouth full!

Dahlia with her mouth full!

Dear Dancers,

We have just enjoyed a most successful Summer Solstice Parade! THis marks our 20th year of participation! I am so proud of everyone. We have a fun party coming up this Saturday night!

I need everyone’s focused attention right now!

We have been a studio on Fremont for 6 years and are entering our 7th year. Since we are a belly dance exclusive studio we deal with the cycles of women’s lives. We have have busy times and less busy times. Kind of like our blood moon cycles. However the studio’s over head is still very concrete in the world of bill paying cycles. We want to make sure the studio survives so we are available to women during the  full flowing times in the year. You feel me? We need support 12 months out of the year or. . .

SOOO Right now I need dancers to help.

The summer months are a harder time for the studio because of summer schedules and vacations. However the summer atmosphere is a great times to belly dance. We have more fun and are not hindered by snow and cold. heat is a rear thing here and evenings are very comfortable. If you have to miss a class and need a make up class come to a POWER BELLY on me. We do not want your schedules to get in the way. Lets stay in shape and belly dance!

Delilah in Fremont Solstice Parade 2010 (this costume is for SALE)

Delilah in Fremont Solstice Parade 2010 (this costume is for SALE)

We are adding day time classes and work outs and weekend classes, and student and staff performance dates. Fun Fun!

Please check them out and do your best to plug in to support us.

Please RECRUIT  YOUR FRIENDS TO  start belly dancing this summer.

VDP Belly Dance Class Calendar here:

It’s so fun. You can come for free if you need to hold their hand. Sometimes thats all it takes and you can change some ones life.

I just talked to someone who discovered the world of belly dance because by chance they were drug to a show by a friend. Ha! Lots of people are living simple lives and belly dance is enchanting. It can bring such energy and vitality. When I see all your smiling faces in the parade. OMG what beauty!


we have some interesting plans out side all the regular classes.

Lorraine Lafata of Boston is coming to do a Belly dance Workshop for working with as well as being an Abuse Survivor. Looks like second week in August TBA.

Fri Aug 2oth

August 20th; Amel Tafsout from Algeria is being featured in H.O.T. Concert with Special Guest Musician Ishmeal. (I play his music in 70 % of my classes). This will be at a special theater . Hopefully she does a workshop too. TBA

oxox Delilah

206 632-2353

May 20, 2010   ♦   Comments Off on REGARDING “LIVE MUSIC”

I have 3 future events in this post;

Sallah Plays Delilah

Sallah Plays Delilah

Friday Cabaret at VDP Studio 4128 Fremont Ave N:  May 21

with HOT Elisa Gamal and Khalida from Germany.


Brothers of the Baladi in Seattle June 11

Hawaii Belly Dance Retreat . .  . Early Bird registration is open now.

(Help me BRING STEPHEN ELAIMY in 2011)

• This article is about “LIVE MUSIC”.

Many of you have been to our 3rd Friday Cabarets at VDP. When it comes to dance most of you know I am a dedicated supporter of LIVE MUSIC. As feathers in my cap, I boast the honor of hosting bands such as Sirocco, Brothers of the Baledi, John Bilizikijian, Solace, and House of Tarab on my retreats to Hawaii, California and in concerts in Seattle.

Having live music is not the easy way to go.

It requires a lot of planning, energy, love, money and support.

House of Tarab:

I became a proud supporter of House of Tarab and helped them start playing as the H.O.T. band. It’s been 4 years now. I helped produce their first CD. I suggested they dress up in tuxedos and fez and I took them to Las Vegas for the IBDC. They went on to produce a second CD called “Baladi”. They added Andy and became a 6 piece band. They are one of the few ensembles dedicated to playing traditional belly dance music in the entire United States; oud, violin, ney, zorna, riq, dumbek, base, table baladi. They practice many dedicated hours to keep this genre of music alive. We are all lucky to live in Seattle with such a rich dance and music scene.

Our Dance Art:

Traditional Belly Dance becomes so much more integral and supported when there is interaction between the dancer and the musicians actually playing the music. The voicing of the ney, the vibration of strings of the oud and violin tenderly implore the delicate shimmy and emotive quiver in limb and loin. The music is alive, the dancer is alive, the audience is alive, and they all are sharing in the astounding present moment! You get a real taste for what I’m talking about at our Friday shows.

I take my art form and career seriously. As a teacher and leader in the art of belly dance, I feel it is my duty to provide dancers with the opportunity to learn by the experience of dancing to live music. Thus, I am always striving to produce collaborative and “worth your while” events for dancers to enjoy.

NOW, I need your support on the next project.

Hawaii in January 2011.

While it seems a ways off, it’s not. Things that are worth while take time and support to plan and make happen.

RUBY is my featured guest instructor this coming year!

Details are on here


I need 15 truly interested dancers to register NOW for the next Hawaii Retreat in 2011. (deposit only, with BIG early bird discounts)

Your commitment now to come to this fantastic event (in the cold of winter) will allow me to put oud player Steven Elaimy on our staff so we have integral live music at our retreat.

The Hawaii Retreat:

Many dancers have dreamed of coming to one of my retreats. Each year we host different guest instructors and music combined with themes of dance exploration.

This coming retreat is very inexpensive.

It’s 6 DAYS, and 5 NIGHTS in paradise.

I have been holding these retreats since 1991. Give your self a gift! These retreats have changed lives. Yes they are about learning to dance but, more importantly, they allow everyone to stop the clock for a time and enjoy being in the present and reviewing life. The combination of life review and dance is magical.  Ask any teacher or person who has been on one of my retreats. Dancers come from all over the world, and often return for another trip. We are dedicated to presenting these life transforming retreats.

• Hawaii Retreat is Jan 25-30 2011 Registration is open Now

Couples welcome.


• MAY 21 Friday Night Cabaret at VDP staring Elisa Gamal and Kahlida from Germany. Workshops and lectures this weekend see calendar page

Call for reserved seats

206 632-2353

PS ALSO I will be performing with Brothers of the Baladi up from Portland Or, at the King Cat Club (Down Town)

10 PM on June 11


May 17, 2010   ♦   Comments Off on IBCC International Belly Dance Conference of Canada/overview

Delilah & Erik, Yasmina and Sema

Delilah & Erik, Yasmina and Sema

Overview from IBCC


Overview of the event.

It was a great privilege to be an invited guest artist at the International Bellydance Conference in Canada IBCC 2010. They chose me as a representative of pioneering Bellydance in America. This honor meant a lot to me. I have influenced and inspired so many of the top dancers in the world today, and though this may not be known to many dancers who are new to the art, it makes me very proud.

Hats off to Yasmina!

The conference was conceived by Yasmina Ramsey, owner of Arabesque Studios in Toronto. This was her third year of hosting this major event. She was inspired by the International Bellydance Conference that was held at OCC College in California in 1997. The California Conference unfortunately did not continue as an annual event. Yasmina decided to pick up the ball and run with it. She does an amazing job on such a huge project. She is a great organizer and business woman and has a big heart. The next one will be in 2012 and she is already taking reservations!

A conference is more than a typical weekend bellydance festival. There is vending, four 100 minute long classes each day, the performances are mostly at night instead of all day non stop. By having lectures, films and power point presentations the conference has an added academic element. Dancers get to meet each other and be recognized for their contributions to their art. A conference offers the opportunity to speak and exchange ideas by holding panel discussions with professional dancers, musicians, business owners, scholars and the audience of dancers and the similar ilk. These panels were stimulating and thought provoking. They were real, live, in-the-moment, and personal interactions. It was rich and refreshing. We have gotten used to our dose of mind walks in bellydance through magazines, blogs, articles and internet group chatter where we cannot see each others faces and dynamics of expressions. On the internet we can ramble on paragraph after paragraph with out the benefit of others input.The conference has inspired lots of writing across the nation no doubt, but to actually be there is most important! I hope we have more of these kinds of events.

The conference began with a gala opening show on Wednesday Night. All day Thursday through Sunday there were workshops, panel discussions, presentations, and films.  There was never more than 2 scheduled events over lapping and of course individual personal necessities like shopping, food, conversations, and rest. The classes were really big. Over 150 dancers in most workshops. The room was big too with a slanted floor and a elevated stage for the teacher, so it worked out well. Another 40 to 50 dancers would be at the presentations up stairs. There was a small lunchroom, and studios available for private lessons and magazine interviews.

The vending was open during the day only. This gave venders opportunity to rest and enjoy shows every evening. The performances were all over the map with styles, groups, troupes and soloists from all over the world. All the performers submit their dances and are juried before hand. This is important! This prevented the show from becoming boring. It clipped along at an exciting pace. It did not exhaust the audience as so many festivals tend to do. Each nights show was about 90 minutes, with a short intermission. The second half of the show was devoted to the Arabesque Ensemble. It was held at the Ryerson Theater and open to the general public.

The unfortunate thing at this conference was that the Icelandic volcano prevented the major international stars, Mamoud Reda and the Gawazi dancer Khairiyya Mazin from Luxor Egypt from attending. There was no one at fault, just Mother Nature doing her thing. Cassandra from Minneapolis was called in at the last minute to take their place. A fabulous choice. She was a delight. This years conferences head liners included: Sema Yildez from Turkey, Jillina of the Bellydance Superstars, Hadia of BC, Sera Solstice of NY, Amel Tafsout of Algeria, Delilah of WA/HI USA , Zikrayat of NY, Yasmina and the Arabesque Dance Company and Orchestra of Toronto.

Then there were many other performers, presenters and panelists featured in the printed program from all over the world. I will name just a few. Many from Canada; Serina Kerbes Alberta, Rosanna Mc Quire, Rula Said, Mayada, Laura Selenzi, all from Ontario, Monique Ryan Nova Scotia, Maki Natori and Lynette Harper from British Columbia, Brigid Kelly from New Zealand, Caitland Mc Donald from the UK, Dahad of Nevada, Andrea Deagon North Carolina, Candace Brodelon Texas, Tamalyn Dahlal Washington, Shira Iowa, Tasmin from Argentina, Sahar Skinner from NY, Edony Quils from Wa D.C., Meiver de la Cruz from Massachusetts, Michelle Marinho from Brazil, . There were large troupes like the Habeeba Hobeika Egyptian Dance Ensemble from Ontario Canada who performed Mamoud Redas choreography, The Righteous Rogues all male dance group were a highlight, The Sultanettes, Shades of Araby, Mirage, all from Ontario, Ranya Renee and Company from NY. Raqs Sahara from Wa D.C. There were duos like Sofie and Chanti from Quebec, and mother and daughter Iona and Hafia from Ontario.

Musicians George Sewa, Sami Abu Shumays, and Suleiman Warwar and of course drummer Erik Brown played for my class. Lynette Harris from Gilded Serpent E magazine was intent on the presentations and panels.

So many wonderful conversations and new friendships were made. It was one of the best events I have ever been to and I will definitely be back in 2012.


March 26, 2010   ♦   Comments Off on Neighborhood Temple Priestess / Not a religion

In the past year the Neighborhood Temple Priestesses have done a ton of good work. I want to share below, but first an introduction.

This is an excerpt from Ruth St Denis Poem called “ Entertainment for the Beloved “ , I glean my life long inspiration from this and a few other poems. An autographed copy of this poem was given to me as a girl by my grandmother and I have used in my dances on many occasions.

“I dreamed of dancers

long since dead

asleep in the tombs of kings, and queens.

I dreamed that they

rose from their shrouds

and once again assembled

the scattered liniments

of their long lithe bodies,

they move to effortless measures

to the  drum beats and the lingering melodies of the harp.

Those dancers of an ancient past

slowly they moved among the long tables,

laden with fruits and wines,

trained in the rhythms of the east

and made wise in the rhythms of love it’s self.

In the sweet scented nights

under the low hanging stars

I saw you in my dreams,

dear dancers of the long since dead

and I wondered if if it might not be

that in this eternal now (which includes this hour)

that you might not still be moving

in the shadow of the temple aisles,

still weaving patterns of immemorial loveliness

as you did of old

and that kings and princes

bent upon you

eyes of desire

and raise you from your low obeisance

to find joy and honor in their arms in the passing of the scented nights.


Ruth St Denis


Neighborhood Temple Priestesses are called NTP for short.


Our dancers are from all different walks of life. We are a dance collective.

However, we do view belly dance as food for the soul and supremely value it in our lives. We see belly dance as older and drawing from roots deeper than todays modern cultures . This gives us much freedom and artistic license.

We take our name from these inspirations:

NEIGHBORHOOD. . . a greater community than just ourselves but that surrounds us and we are a conscious and participating member of.

TEMPLE. . . Our body is a temple. Our dance feeds our soul, Our studio space a house for the dance we hold high. The space that allows us to do the good work in community. The temple gives us physical and metaphysical foundation.

PRIESTESS . . . A women who leads rituals. In America belly dance has always drawn inspirations from ancient times. This female station makes us think back to a time when women danced in temples as priestesses, stewards, mentors, healers, councilors and leaders in community. In ancient times “dance” held more importance to everyones life than than just gym class of stage performance. This word priestess denotes a high place women once occupied more vividly. We feel belly dance needs a lift in status and ego identification. We know it’s value in our lives as well as how it touches those around us. Priestess sounds more serious and I suppose we take our dance more seriously than the unaquainted with belly dance would guess. The word “Performer” sounds less personal, like a circus act and while we have fun we bring beauty and sensitivity to the things we do. Our work effects us as much as it does those around us.

All belly dancers dance for everyday rituals like birthdays, anniversaries and weddings showers. Do they realize the importance rituals play in our lives? Or do we all get so busy and used to things that we loose the significant meaning ritual plays in our lives. Instead of taking a passive performance role we aim to step up and facilitate the significance of these gatherings a bit more directly. We do birthdays and the like, as well as take it a step further than most and do wakes, memorials, house blessings, ground breaking, healing support gatherings, coming of age. We create new rituals, build public and private art installations utilizing belly dance. Examples;  dance labyrinths, shadow plays,  solstice feasts, luminaria walks, parades, nature dances. . . we use creative and intuitive energy to bring us all closer to the present moment in our lives. As a dance group we aim to share these acts of grace with those around us. The work we do feeds our hearts and rewards our soul. We leave them crying often. In a good way.

We feel that the average Joe on the street has lost a connection of original dance. Dance in ancient times was not for show so much as it was a way for each individual to participate in direct commune with powers that are bigger and more beautiful than can be comprehended. The first dances were around camp fires,  joining hands and dancing in circle, and dancing from house to house and village to village in celebration of the cycles of nature and the gift that is life. In it’s basic form the drums immitatie our heart beats. As it quickens it intensifies our energy and compel us to jump, turn, shake, stomp, skip and reach levels of ecstatic movement. These occurrences are unspeakable for there are no words that capture that feeling. In ancient times dance was something everyone did because it was as essential to life as food,  water, shelter and air.

Today we have a very distant association of what dance is. So many people do not know what I’m really talking about. Dance has become something you need a partner to do. Only for certain talented people or something studied and learned instead of a basic necessity. Our traditional dance academies teach people not to dance more than too dance. We are brain washed to think of dance as for the young skinny children. How many men in our culture say ” sorry I don’t dance”? We are dedicated to dissolving that myth.

The NTP is all ages and walks of life and levels of dance experience. We are not limited to just dancers. We have artists and other supporters who have joined.

We do traditional belly dance, creative dance, ritual dance, trance dance, pharaonic dance and dancing in nature. What defines the dance for us in not one ethnic culture but the culture of women. Women hear the call to belly dance and associated expressions that come from our feminine being. We feel the would needs more of this.

Basically 3 kinds of members

1. Active Core Members

2. Auxiliary   Members who are very busy and get called in when we need them or they have time and interest.

3. Members from inside and out side the Seattle area that belong to our yahoogroup. Online we share the progress of our creative projects in hopes to educate and inspire like action as well as learn from our mistakes. We read books together, hold good thoughts for each other, and other positive acts. Membership is always open.



We have a Honolulu Chapter that has just started up and similar interest evolving, in Alabama a couple other places have expressed mild  interest. We have members from other countries too.


In Seattle we hold three kinds of get togethers. Meetings, Workshops and combinations. Workshops are where skills are shared projects or developed. Meetings are about planning new projects, scheduling and taking care of business. NTP is not suppose to take the place of ones sole dance instruction but add to it. Fees are flexible. No one is turned away. Call and come to a meeting. They are listed on the VDP Calendar.

The way the group works is simple. Not a lot of rules. No dancer has to do anything she’s not interested in. If a member has an idea and a project she wants to move forward with there is nothing we can’t do if there are members interest and available in the group. In 2009 we have done many fund raisers, baby and wedding showers and other women’s gathering in the past year in addition to these larger community projects listed below.

This past year.

2010 January; Kalani Hanua Non Profit Arts Retreat, Hawaii. Installation of a 48 foot wide dance labyrinth using 650 electric candles and flowers. This was set under a full moon for participating dancers as well as the local community, and was followed the next day by a smaller, spiral-style, organic dance labyrinth made of bamboo leaves.

2009 December; Open House Winter Solstice celebration, VDP Studios. 22 foot wide indoor dance labyrinth with 400 electric candles. out takes are on one of the Power belly Show episodes.

2009 December; Pathway of Lights, Greenlake Park. Moving dance installation with both dancers and musicians.

2009 October; Trolloween, Fremont Arts Council. Outdoor 3-D shadow dance performance and installation.

2009 October; Autumn Meditation, Greenlake Park. 800 Candle Dance Labyrinth

2009 September; Arts-A-Glow Outdoor Festival, Burien City Parks. Performed a 3-D Shadow Dance

2009 August; A Dance for Celeste, Luther Burbank Park, Mercer Island. Neighborhood Temple Priestesses outdoor dance memorial celebration held at dusk. Used 300 electric candles along with white veils.

2009 January; Mommy Muse, Hugo House. Featured dance performances in conjunction with a presentation by Christy Cuellar-Wentz, MA on postpartum depression.

2009-08 July; Annual Mediterranean Fantasy Festival, Seattle Parks & Recreation,

We have a yahoo group you can join and follow along with our work. dancers belong in all different cities. Neighborhood-Temple-Priestess Yahoogroup

We have some workshops coming up.

The fee is by donation upon ability. See our calendar page.

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