My fascination with bellydance started so young that I don’t remember what triggered it, though I suspect the costumes were largely responsible.  In any event, it was well-established by the time I was 9 or 10.  Any performance remotely resembling bellydance on the television found me glued to the screen, and I devoured literature and photos on the topic.  Ozel Turkbas’ book “The Bellydancer in You” was my guide as I tried to teach myself basic steps.   Finally, in high school, I had the opportunity (and my mother’s permission!) to take formal lessons in the American cabaret style of bellydance.  My instructor also introduced me to the delights of bellydance periodicals, such as the original “Habibi” magazine.

Pursuing a B.A. in Art History at SUNY-Binghamton followed immediately by an M.A. in Museum Studies/Historic Costumes and Textiles at the Fashion Institute of Technology became my primary focus for several years.   Getting such an in-depth and classical education also enhanced my appreciation of Middle Eastern dance as an academic subject.  Returning to the physical plane, it was during the summer of 1990 in New York City that my dance studies began in earnest. 

At no time did I aspire to be a “professional” bellydancer.  This was a fun hobby, and one via which I made some great friends.  It was enough for us to attend Bobby Farrah’s lavish galas and be dazzled as we watched our teachers perform.  Whatever professionalism I have subsequently achieved can be attributed to accident rather than design. 

Several years of once-weekly lessons went by, punctuated by annual recitals.  Deciding to stretch my wings, I began taking private lessons, and it was then that I learned how to actually perform a solo, improvised show.  Under my teacher’s wing, I was encouraged to perform locally, first at nursing homes, and then at private parties. 

If you choose to define “professional” as someone who gets paid to perform, then my career began then.  In truth however, I struggled with crippling performance anxiety.  I loved the dance, but performing made me literally sick with nervousness.  After several more years of progressing technically as a dancer, I decided it was time to either get a grip on performing, or devote my resources to a different activity.  Thanks to Stella Grey, I was able to join the rotation of dancers at Le Figaro Café, and I pushed myself to perform in public on a regular basis.  My determination paid off, as I gradually relaxed, and then became able to truly enjoy the audience. 

Shortly thereafter my “career” began to expand as more and more possibilities opened up to me.   I began dancing regularly at clubs and restaurants throughout the five boroughs of NYC, and I also began dancing to live music.   An invitation to model led to an enduring friendship with super-talented photographer Lina Jang.  Studying with Jehan Kamal has given me the opportunity to perform as part of her company in wonderful theater venues, as well as at interesting and offbeat events.   It was also in Jehan’s classes that I first became friendly with Neon.  When Neon later approached me about creating DVDs for her World Dance New York production company, another dizzying array of possibilities opened up to me. 

What type of dancer am I now?  Well, my training for the most part has been classical Arabic cabaret and classical American cabaret.   Zills, veil and cane are my favorite props.  While I perform alternative pieces and enjoy them, they are no substitute for the classics.  Considering my years of debilitating performance anxiety, I find it ironic that now I consider myself a very relaxed “party” dancer.   As a dancer I feel I have two obligations; 1) to interpret the music and 2) to make sure that my audience is having fun.  Overly enthusiastic crowds and wild parties really don’t unnerve me at all.   Performing for my peers and teachers in a theatrical setting is still occasion for a certain amount of anxiety, but these are the performances that push me to constantly grow and develop my skills as a dancer.  Dancing to live Arabic music for an Arabic crowd is my current preferred gig – it is challenging, but the euphoria after you finish a really good show is incredibly satisfying.

Really, what else is there to know about me?  Thanks to great teachers, great colleagues, and a constant dedication to this dance, I have enjoyed thus far a delightful career that I never expected to have.  From tiny basement apartments to grand theater stages, I have performed in a wide array of venues, and accumulated a lifetime worth of interesting experiences.  Thanks to the resources of this great city, I have had the opportunity to see numerous fantastic performances of bellydance, from the most traditional folkloric presentations to the most cutting-edge styles.  Best of all, I have made some very treasured friends, who will still be there when my dancing days are long gone.  Truly, I have been incredibly fortunate, and I hope that others who fall in love with this art form called bellydance will be blessed with equally happy experiences.