I am approached by many people curious to know how a midwest-born, caucasian woman becomes interested in Middle Eastern dance.  When I am asked this question at 1:30 in the morning I rarely answer.  I don't like shouting over music.  So for anyone who has ever asked, this is not a sales pitch, this is my story.  And to the question of where I am “from”, I answer 50% German, 25% Greek, 25% Dutch (the eyes are German; everything else is Greek).  And no, I don't speak Arabic but I love when people assume I do. I believe my grandpa planted a seed in my mind when he mocked the art form by saying "This is where your Aunt Kay bellydances", pointing to the Bouzouki Lounge, just a block from where he used to live in Greektown.

My interest in Middle Eastern dance started with a longing just to dance, any dance.  I was spending a lot of time with the Rhythm Family, an Ann Arbor-based community of friends, which has now spawned many great drummers and dancers, and also fed other performing groups like “Like Water Drum and Dance”.  While dabbling in African dance an instructor asked “who's the bellydancer over there?”.  When nobody in the group would drop the djembe for the dunbeck I started going my separate ways, only to return 11 years later to teach at their studio and cultural arts center in Chelsea, Tree of Life.

After a few lessons one summer in California I started taking classes with Mary Weed (of Troupe Ta'amullat). I continued with Asia, joining her student troupe, Arabesque,

and performing at Espresso Royale and Leopold Brothers in Ann Arbor.  Arabesque is where I met many great women including my beloved friend and dancer, Leyali, who would be instrumental in guiding my career as a dancer and providing me with numerous resources on the culture of bellydance and the Middle East.  When Asia moved to San Francisco we started studying with Aida Al'Adawi.  My love for the dance was officially ignited.  Aida passed down years of experience and a master-level education in zills (zagats), cane, veil and rhythm. 

When I started studying with Princess Madiha I pulled from everything I learned in the last 4 years but was presented something new, the art of the Madiha shimmy.  Princess Madiha was my sole instructor for 5 years.  Everything I know about musical interpretation and phrasing of music comes from her.  Madiha guided me in a new direction; only 3 months into class, she would tell me to get a costume and start working.  For my first show I borrowed a costume from Leyali that she was borrowing from Aida.  The opportunity to work came faster than I could move to buy a costume.  Costumes had to be sent from Chicago which were shipped from Egypt.  The only compliment I got on that first performance was “I love your smile.”  For the next 5 years my smile and obvious love for the dance would keep me employed and buy me some time to keep practicing the art.  It's always a work in progress and it has taken some time.

The first steady job I got was at Pharoh's Cafe in Dearborn (Aug 2001).  Leyali sent me there because she was leaving to work at Fattoush.  That is how all of the dancers got their start; with the help of another dancer.  I went on to work as house dancer at Cleopatra's in Wayne (2002) with a full band including Hisham Mishmish on violin, soon to be one of my favorite instruments along with the oud.  Prestige (2002-present) became a regular hang out for me and my bellydance friends, with Ons on the dunbeck (tabla).  I continued my career at Al-Jennah's in Dearborn with Francis on keyboards (ringing in the 2005 and 2006 New Years and where I shared many good times with my partner-in-crime, Ana-Maria aka Nur el Massa), the ever-so-lovely Adonis in Dearborn (2005-present), and the Warren “Manner” in Hazel Park (2004-present).  But the club that has been the most dedicated to me is Oz (2003-present), my own Ann Arbor-based international hotspot.  Of course the man that has been the most dedicated to me all along is my husband, Sam (Samual), who puts up with a lot of crazy phone calls and bellydance drama.

Along with serving the Middle Eastern community I enjoy bringing the dance to a wider range of people.  I have danced for special events at Heat in Pontiac, The Magic Bag in Ferndale (bless AJ's soul), The Magic Stick in Detroit, Bleu in Detroit, Crave in Dearborn, and La Shish restaurants.  I have had the wonderful opportunities to collaborate with other local dancers and musicians. My first exciting collaboration was with Eastern Winds Ensemble and percussionist, Mark Sawasky, at the Detroit Festival of the Arts. I started working with fellow dancers, Sherihan and Azziza, and we formed Bellydance Odyssey in 2005.  Along with weddings, the three of us have entertained at the MGM casino and performed a folkloric Egyptian piece at the Detroit Opera House.

Back at home I find myself invested in Ann Arbor. I am a 3-year participant in Washtenaw Community College's “International Celebration” and Eastern Michigan University's “Colors in Harmony”. Along with a reunion of sorts with my African drum and dance friends I am also rekindling my work as a teacher, now through dance classes for all ages. After my Montessori internship in Ann Arbor 11 years ago, I will finally be teaching again.

The Middle Eastern community in Dearborn was something I had heard about growing up in Livonia but it is something I never would have expected to understand or enjoy as much as I have.  Certainly I don't see all aspects of the community.  My experience is limited by the places I go.  What I do see is diversity in lifestyles, dedication to tradition and passion for music and culture.  I see women, covered or not,  smiling at me while I dance.  I see men throwing rose petals over each others heads.  I see people dancing on tables and chairs and singing.  I also see how people see me, in whatever way they want to see me, based on where they come from and what they are told.  There are those who don't like what a bellydancer stands for; those who don't see it as art.  But when a child dances with me at a wedding or I make an elderly woman get up and dance, I know that I am serving my purpose in showing that dance comes from a love of the music and

music touches our souls. Classical Egyptian music has found a place there.  There is no other music in the world as beautiful.  And thank you to all the people who have tried to translate for me the words sung by Om Kalsoum.

Written 6.26.06