At The H-Art of Houston

If you feel like jazzing things up a little or are in the mood for dramatic performances in Houston, you're in luck! The Art District in Houston, The Washington Avenue, has become one of the most vibrant and recognized creative communities in Texas, featuring of sophisticated acts, classy shows and world-class performances by resident performers,…

If you feel like jazzing things up a little or are in the mood for dramatic performances in Houston, you're in luck! The Art District in Houston, The Washington Avenue, has become one of the most vibrant and recognized creative communities in Texas, featuring of sophisticated acts, classy shows and world-class performances by resident performers, bands, and comedians. It is also the largest. Old warehouses have been converted into live performance venues and welcoming bars, buildings converted into SOHOs, and within some of the buildings are hundreds of studios associated with some of the most creative groups and individuals in Houston.

Because of its unique blend of offerings and affordable opportunities, people believe that it has the highest concentration of working creative artists in the United States. The streets are also lined with restaurants, cafés, bakeries, fast food joints, and coffee outlets that have both the off-the-cuff ambiance and sleek, polished feel.

If you're ready to let your hair down and spend the day simply soaking in the vibe, the Houston charter bus is always ready to take you around to the following venues. But first, here is a quick sneak peek!

Alley Theater
615 Texas Ave, Houston, TX 77002

(713) 220-5700

Located in the heart of downtown Houston's art district, Alley Theater is a Tony-Award Winning indoor theater which houses 'The Hubbard', 9 towers and open-air terraces. Awe-stuck visitors were not hesitant to leave behind them a string of positive reviews about its castle-like ambiance and a spiraling staircase. Alley Theater is one of the oldest resident theaters in the United States and not an easy structure to sidestep because of its prominent Brutalist-style which took the world of architecture by storm. In French, it simply means 'raw concrete'. Its use has claimed in its accent look which was popular in the 1950s in countries like the UK Canada, Australia and a large part of Europe. The former humble dance studio of Nina Eloise Whittington Vance (who started the studio in 1947) also played host to renamed performances like the Pulitzer Prize award-winning Paul Zindel's 'The Effect of Gamma Rays on Man-in-the-Moon Marigolds'.

Given enthusiastic nods of approval from fervent supporters and critics alike, it is said to be the most striking theater in the United States and a successful statement, of sorts, theatrically and architecturally. Its endearing qualities were also clearly recognized and quickly rewarded by the American Institute of Architects. For those who are visiting with young children or looking for educational opportunities, check out HYPE, the Houston Young Playwrights Exchange, program which offers bridge-building opportunities for young, aspiring writers and performers age 20 and younger.

Jones Hall
615 Louisiana, Houston, TX 77002

(832) 487-7050

Jones Hall, ever since opening its doors in 1966, has been formed the building blocks for local creative Houstonians. Staying true to the original dream and vision of its founder, Jesse Holman Jones (the publisher of the Houston Chronicle) and his wife, they step up the tempo with ample stage performances and live entertainment through the year.

The hall has been attracting more than 400,000 visitors from all around the country, and the world over, with its hundreds of annual events. Today, home to the Houston Symphony and the Society for the Performing Arts, it continues to push small town boundaries and limits.

With its dominating, stunning structure made out of travertine marble facade, complete with an 8-story column and a remarkably grand entrance, the magnificent structure is anything but benign at first sight. Beyond that, the philanthropists and his wife succeeded in cultivating, motivating entire communities all around Houston and his lifelong contributions towards the common good of human beings continue to have an impact.

Hobby Center for the Performing Arts
800 Bagby St, Houston, TX 77002

(713) 315-2525

Delicious wine and food are often associated with the performances hosted by The Hobby Center. And why not? It has an amazing ambiance, hypnotizing music and singing, admirable acoustics, and a balcony overlooking the Houston downtown area. Patrons are served South American food and drinks by the on-site Artista Restaurant located on the 2nd level of the building, healthy salads, pasta and paninis by Grand Lobby Bistro, while candies and an assortment of snacks and beverages (including delicious wines and refreshing cocktails) can be purchased at the concession stands outside the venue. After opening its doors in 2002 at the fringes of the Houston Theater District, the Hobby Center's 60-foot high glass walls that offer views out toward the shimmering skyline of Houston, Tranquility Park, and the Houston City Hall, has been attracting besotted attention. They said it was the show before the show … and they're absolutely right.

The theater was named after a local businessman and former Texas Lieutenant Governor, William P. Hobby, Jr. who family family found the center. The Hobby Center replaced both the Houston Music Hall and the Sam Houston Coliseum and today, it presents residents and touring troupes with 2 main performance venues – Sarofim Hall and Zilkha Hall. The former can seat more than 2,650 patrons while the smaller Zilkha hall is actually an intimate 500-seater theater.

Wortham Theater Center
501 Texas Ave, Houston, TX 77002

(832) 487-7000

Bold and beautiful – that's how most people would describe the Wortham Theater Center along Texas Avenue. Lift your chin as you take a walk near the street and chances are, you'll see it from the escalator. As grand and iconic as it is to the people of Texas, the theater also represents the deep-seated local culture and the legacy of its wealth during the early discovery of oil in the state of Texas and its perpetuating performing arts boom during the 1980s. Slotted to be built on a budget of $ 66 million, much of which was contributed by passionate supporters, it is a true evidence of what a community can do when they put not just their heads, but also their hearts and resources, together. The venue is a testament to the fact that 'where there's a will, there's a way'.

The Helen Hayes Chandelier hangs in the Green Room after it was bought over from NYC's Fulton Theater by Houstonians Billy and Janie Lisa Price. The 'grand-scale staircase' is actually a series of illuminated compensators designed by New York sculptor, Albert Paley. When team effort is promoted, Houstonians prove that a nearly 450,000 square foot event venue CAN be built under budget and ahead of schedule. The Wortham Center is home to Houston Ballet and Houston Grand Opera, and together with the series of touring and local performances, they have managed to attract more than 8 million people to its venue … and counting.

Light-Hearted Entertainment Abound in Downtown Houston
At the end of the day, however, it is not always about size. There are also smaller, more intimate and just as entertaining places strewn across the vast expanse of Houston's landscape for you to visit to unwind in. For instance, a few short blocks away from Houston Art District, you can pop by Bayou Place for a nice drink and hang out with your friends, bringing your kids to Cathedral House Montessori for art-focused early education programs, visit the quirky watering hole called Notsuoh along S Main Street, or get your funky vibes at at an Irish pub like Shay McElroy's Pub.

The live entertainment venues were the springboards for many established local artists which includes the likes of Lyle Lovett and ZZ Top. There is the historically-significant Fitzgerald's which has more than 3 decades worth of history and their open mic nights, the nondescript live entertainment by alternative bands at Numbers, and the renovated 1920s warehouse in Houston's Eado neighborhood, Warehouse Live.

  • Bayou Place
    500 Texas Ave, Houston, TX 77204
    Only a few blocks away from Houston Art District
    (713) 228-2109
  • Cathedral House Montessori
    1112 Prairie St, Houston, TX 77002
    (713) 222-2482
  • Notsuoh
    314 S Main St, Houston, TX 77002
    (713) 409-4750
  • Shay McElroy's Pub
    909 Texas St # A, Houston, TX 77002
    (713) 223-2444
  • Fitzgerald's
    2706 White Oak Dr, Houston, TX 77007
    (713) 862-3838
  • Numbers
    300 Westheimer Rd, Houston, TX 77006
    (713) 521-1121
  • Warehouse Live
    813 St Emanuel St, Houston, TX 77003
    (713) 225-5483

The Houston art scene is huge and beyond anyone's imagination. Rewind a few decades ago, it would have only been a distant dream and yet, here we are today, with a city filled with an abundance of options. They're now bolder than imagined and more creative than ever thought possible and we think you're going to have a ball viewing all the shows!

Theatre Burlesque Group Solves Clue Board Game Mystery With Seductive Deduction

Board Game Burlesque Adaptation In a show such as Sweet Tooth Events produces with such a diversity and passionate calibration of talent among the entertainers, the best is always on stage in one perspective of sensuality or another. In this steamy saga of the 'Clue' board game, the narrator and script fueled the heated orgasmic…

Board Game Burlesque Adaptation

In a show such as Sweet Tooth Events produces with such a diversity and passionate calibration of talent among the entertainers, the best is always on stage in one perspective of sensuality or another. In this steamy saga of the 'Clue' board game, the narrator and script fueled the heated orgasmic suspicion around all the characters and spurred sassy suspense toward wicked wonder and lust quite well.

Mysterious Sexy Performers

The dinner guests were of course the 'colorful' Clue board game personas, but the snooty, uppity class demeanours were converged with the cheeky, provocative flirtatious of the burlesque artists. They welcomed the suspicions to life in a very real, albeit censored way, and hid the gilded murder weapons in places close to some other family jewels.

Between each act the unobtrusive 'Shylock' detective would step out of the shadows to scrutinize the chalk outline on the floor while calmly puffing away on her pipe. She would assume the scene and take notes on the quirky tracks of all the dinner guests, as well as the maid services in order to reveal the predominant 'who' flavor in this spicy 'whodunit'.

Aroubing Detection Questions

I have a notification on some of the questions Detective Shylock may ask herself in this fatal male travesty.

  • Was Mr Green's green beard real or was it real green glitter and does his carpet match those drapes?
  • Why did Mrs White smile so sweetly when she loved tea for the dinner guests if she secretly wanted to strangle them all?
  • Why did Miss Scarlet lie about wanting to be loved only by Mr Green when she fell head over heels for Mr Boddy and his cache of diamonds?
  • What does Professor Plum really teach and does she tutor her students on how to commit the perfect scandal murder?
  • Why was not Miss Peacock more discreet with the knife she hid in her garter that was clearly protruding a blade stained with blood red rhinestones.
  • What about the humble servant girl who was quietly dusting a lampshade and then leapt onto the dance floor with such verve that her gyrations knocked the baggy pants off old Colonel Mustard? And, was that a gun in his thong or was he just glad to see her?
  • Did she even notice when Mr Boddy sneaked in and liberated the guests of well-hidden evidence in his seductive mingling session?

Many unanswered questions abounded amid the throngs of thongs and pasties, but in the end the guilty burlesquer was talked and enacted to perform in the finale.

Manly Boylesquer

As always, the synergy in this group of artists is one that infuses the audience with its intoxicating liveliness and gaiety in such a way that it's no wonder you wake up still feeling sated in your sense of fun and enjoyment – it's fun that has staying power !

I quite enjoy the amazing symbiosis between burlesque performers and their audience in that the more you goad them on the more spirited the performance for a greater exchange of excitement.

Like when you're sitting in the front row where you can woot and wahoo at a suave siren swivelling across the stage and he will knowingly oblige you with a sexy glance and then tease the buttons on his sequined shirt until it falls to the floor only to reveal his manly rhinestone-studded pecs. Ooh la la!

LED Dance Floors – Varieties to Consider

Today's Indian weddings are complete without the wedding DJ's and to make them special, LED dance floors are a must to have so that space can be formed where guests or family members can dance freely. From mirror dance floors to plain one, one can find a viable and suitable variety of floors matching to…

Today's Indian weddings are complete without the wedding DJ's and to make them special, LED dance floors are a must to have so that space can be formed where guests or family members can dance freely. From mirror dance floors to plain one, one can find a viable and suitable variety of floors matching to the theme and decoration of the wedding venue. A wedding is not just a single day of someone's life but instead, it is a day that defines bride and groom's entire life. Therefore, to make such day as special as possible, it is very important to select the type of dance floors that can make an event like a wedding as memorable as possible. Below below are the few options or type of floors one can think of having when making the day memorable for everyone is the only aim.

White Color Flooring

If looking for an option that is soothing to eyes and yet has a very deep impact on the eyes of the guests, then this floor is a must. This white color floor has use of white LED lights that easily matches the entire interior of the venue, no matter what bright or contrasting colors are used in the background. This floor can easily catch the attention of guests and will give them a classic and royal feel while they dance on it.

Black Color Flooring

Sometimes we do not want to mess up with the beauty of the entire decoration and does not want to select floors that can highly disturb the entire look, for that situation this floor option is a suitable fit. Very finesse option for those who do not want to or do not have time to play or experiment with colors. This royal black with twinkling lights is an ultimate show stealer.

Silver Mirrored Floors

It is a very wide option for the event, where entire background or background has wide usage of shimmery and sparkling elements as a part of the decoration. When used, this installation can really make a big difference to the place and has the capacity to evoke people to come together and dance.

A wedding becomes complete only when it has all the required elements sorted. And LED dance floors are one such thing that rejoices and cherishes the moment of the guests with extreme or plethora of fun and energy. It is better to hire the types of the floor from above that perfectly matches the theme of a wedding.

The Belly Dancer Within You

What will you discover when you take belly dancing classes? Belly dancing lessons have been taken by thousands of women worldwide. If this dance provides a positive outlet of joy for you; it will become addictive. It becomes addictive because it will satisfy the pleasure centers of your being. This dance is not for every…

What will you discover when you take belly dancing classes?

Belly dancing lessons have been taken by thousands of women worldwide. If this dance provides a positive outlet of joy for you; it will become addictive. It becomes addictive because it will satisfy the pleasure centers of your being.

This dance is not for every woman, but for those who master it, it unveils their identity, strengths, and opens a world which enables confidence to pursue their dreams.

Why do women like belly dancing?

Women like belly dancing because:

  1. It makes you feel happy
  2. It satisfies your creativity
  3. It is attractive to those who study other cultures and their history
  4. It challenges the physical body, mental discipline, and emotional control
  5. It builds confidence, self-esteem and self-confidence
  6. It becomes a personal achievement
  7. Reshaping the body and losing weight
  8. Love of costumes and makeup
  9. Wearing beautiful jewelry and head pieces
  10. Weaving ethnic costuming
  11. Being comfortable with the female body
  12. Love of dance for freedom of body movement
  13. Making new friends with varied interests
  14. Performing
  15. Career

This dance is very stimulating as it allows personal growth. It is a creative outlet which leads to many activities. In addition to the dance women take interests in photography, making costumes, creating jewelry designs, and designing choreography. There are also other art and craft attractions such as painting, sculpting, doll making, and writing.

As she discovers her strengths in this dance art she feet more free and fearless of expressing her independence. Women overcome their fears, negative self-limiting thinking, and other negative thoughts which keep them from advancing into competent and self-reliant individuals.

The other students in the classroom become friends and people who share in each others' interests. The group becomes a support system which allows for feeling safe and comfortable. A good teacher is also valuable in guiding every individual to become the best person that she can be.

Not every student becomes a performer. Performers have to become strong psychological animals with confident knowledge. These hits give strength for stage survival and for non-performers strength for daily living.

Belly dancers become passionate about their art because it brings joy and happiness to their everyday living. These feelings of pleasure will override many of the challenging or negative experiences which are faced on a daily basis.

If the dancer feels that she has had a rough and tumble day, she needs only to find a quiet space and dance to her heart's content. She revives her psychological strength, physical energy, and feet refreshed to face the day.

Euripides’ Medea

This article is the first in a series of comments on the play Medea by the Athenian dramatist, Euripides (circa 480 – 404 BCE). Background. In Euripides' day the modern-day nation state of Greece did not exist. The Greek world of the 5th century BCE Consisted of hundreds of independent city states spread across the…

This article is the first in a series of comments on the play Medea by the Athenian dramatist, Euripides (circa 480 – 404 BCE).

Background.

In Euripides' day the modern-day nation state of Greece did not exist. The Greek world of the 5th century BCE Consisted of hundreds of independent city states spread across the Mediterranean region, especially in what are now known as Greece and the Greek islands, Bulgaria, western Turkey, southern Italy, Sicily and southern France. What bound these cities together was a shared culture (religion, language, origins, stories) but with distinct dialects, political forms and other local differences. Some cities were demolitions, some oligarchies and others military dictatorships. Some cities, mainly those outside modern-day Greece, were founded as colonies of other cities, and over time these colonies developed their own distinct cultures. Athens and Sparta were the most powerful cities in Euripides' day. They had cooked side by side against the Persians in the years immediately before Euripides' birth, but during the 5th century they began to form alliances with other Greek cities and gradually dominate them. Rivalry and conflict followed. Medea was first produced in 431 BCE, only a few months before the outbreak of the Peloponnesian War between Athens and Sparta, which was to last for the reminder of Euripides' life.

Athenian Theater.

The Athenians did not go to the theater all year round and they did not go purely for entertainment. They had a comedy festival in January and a tragedy festival in March or April. Both were major state events with deep religious significance. The tragicy festival was known as the City Dionysia in honor of Dionysus, the god of wine, the grape vine and agriculture and celebrated the arrival of spring and the planting of crops. For the City Dionysia three dramatists were each invited to present three tragedies and a satyr play. The latter was a kind of bawdy comedy, light relief after the tragedies. The dramatists would present their plays on successful days, with the production costs met by a wealthy patron. A panel of judges voted on the plays and awarded a prize to the winner. In 431 BCE Euripides came last. In fact, although he wrote about 90 plays (and so must have entered the City Dionysia 30 times), he only won first prize four times, and the last time was a posthumous win.

The City Dionysia took place when sailing around the Mediterranean Sea resumed after the winter storms. This meant that the Athenians could invite representatives from all the other Greek cities and show off their cultural (and military) superiority. Thus, when Medea was first performed, the theater was packed with all the Athenian citizens (the free-born males) and their guests. The only women present were a few high priestesses. The Athenians' wives and daughters would have been safely locked away at home in the women's quarters.

The Play.

Medea is set in Corinth, and Athenian tragedies were generally set outside Athens so the dramatists could comment on local politics without appearing to criticize the city directly.

One interesting aspect about Athenian drama is that although the actors were male, many of the central characters are female. That is certainly the case with Medea as once the heroine appears she dominates the stage for the rest of the play. The other female characters are the elderly Nurse who has looked after Medea since childhood and knows how her mind works and what she is capable of, and a Chorus of women. The Chorus functions as Medea's sympathizers, advisers, critics and, extremely, judges.

The main male characters are Medea's husband, Jason; Creon, the King of Corinth; and Aegeus, the King of Athens. We see Medea interacting with these three powerful men in turn as she attempts to shape her own destiny.

People have been arguing over the play's meaning for two and a half thousand years, and more recently the arguments have tended to focus on what Euripides was trying to say about women, often expressed as, “Was Euripides a feminist or a misogynist?”

The answer to that question hinges on what you make of Medea's words and actions, which we will consider in the next article.

Overcome Being Shy With Belly Dancing

Many of us are aware that we carry parts of our behavior, upbringing, and our childhood memories into adulthood. As adults we learn to control our behavior or hide behind a mask. But in truth the shyness is always there until corrected. Belly dancing is a fun remedy for overcoming shyness. Gathering knowledge and understanding…

Many of us are aware that we carry parts of our behavior, upbringing, and our childhood memories into adulthood. As adults we learn to control our behavior or hide behind a mask. But in truth the shyness is always there until corrected. Belly dancing is a fun remedy for overcoming shyness.

Gathering knowledge and understanding the causes for some of our emotional shortcomings is the express train for corrections.

Let's take some time to review our childhood and observe if we have brought our shyness into adulthood.

Do you recall one or both parents completing your sentences every time you spoke? This was done often with me and it created communication problems with other people. Whenever a person speaks and is interrupted before finishing their sentence, it makes a person feel stupid, ignored, or whatever you have to say is not important or relevant. Therefore, you stop talking to people and retreat into your private world. An attitude of “Why bother, they're not going to listen to me anyway” developments.

Learning belly dancing for self helps to build confidence. As you progress through the dance the self within sees the reflection in the mirror and acknowledges with pride in the dance skills and techniques which have been learned. Positive self-praise is good.

The discipline needed in this art form sets goals to be accomplished from the beginning to its completion. Dancing with music is teamwork to complete your sentence from its beginning to its conclusion. This is the unconscious spirit which transfers into daily life and builds self-esteem, self-worth, and self-confidence as an individual and these values ​​will transfer into social situations. Shyness is defeated.

Another factor which causes shyness is lack of praise. Parents, care takers, baby sitters, and other adults which oversee children need to praise children. The shy person experiences shock when complimented and does not know how to reply or is uncomfortable under the spotlight.

Belly dancing offers two scenarios which help with receiving praises.

One is the choice of a show name which is used in performances. This name is a mask which temporarily hides its performer. However, with time the individual recognizes that the mask and the person are the same. Praises are welcomed without feeling uneasy or not knowing how to respond. The simplest response is “Thank you”.

Secondly, the act of performing in front of one or many people brings praises. You are immediately rewarded. The dance costume, like the mask, is hiding the true individual. But, once again, the person within is the originator and master receiving praises. Props are never praised. It is not the mask or the costume; it is the individual who is receiving the accolades.

Choosing A Tap Dance Program That Works For You

Tap dancers who are experienced in the dance make it look fluid and effortless. The footwork involved in tap dancing is always not achievable overnight. It calls for lots of dedication, flexibility and drive to manage pulling off those tap routine that are all so thrilling. With experience, a dancer can create their own rhythm…

Tap dancers who are experienced in the dance make it look fluid and effortless. The footwork involved in tap dancing is always not achievable overnight. It calls for lots of dedication, flexibility and drive to manage pulling off those tap routine that are all so thrilling. With experience, a dancer can create their own rhythm using the numerous steps that feature in the dance. If you love tap dancing, then you would need to create the time to train your feet.

A tap dance program can go a long way in getting you familiar with the steps like shuffle and single buffalo among others. Most of the steps are simple but make the components in the tap choreography. A dance instructor can help you learn the dance easily, but there is also the option of choosing an online program to learn the dance when it is most convenient for you. You can find very good tap syllabus online, but how do you ensure that you have a program that will work in bringing out the very best in you?

Segmentation

Even in dance, there are different levels. You really can not go right into becoming a professional, you must begin somewhere. In the same sense, what children need to start with tap dancing is not the same as what adults require. For this reason, a good tap program should be segregated into different packages for children and adults. With this kind of packs, it becomes possible for you to start where you are bound to be most comfortable in. For instance, children of a certain age can only manage simple moves and then graduate into the next; a well-structured program makes it possible for every kind of learner to start in their rightful place.

Resources

Considering that you will be required to download a tap program online, it means that the instructor will not be physically with you to take you through the lessons and the syllabus as a large. You therefore want to choose a program that comes with all the resources you need to get you started and sharpen your tap dance skills. Apart from including a manual, a good program will also come with detailed videos to teach step by step till you perfect. Other essentials in a program are suitable music that helps you work around rhythm and to perfect those steps, corners and turns.

Pricing

Whether you need to get the whole syllabus may be to train your class or a single pack to help you learn the dance at a personal level, it all should be affordable. The complexity of the program can of course play a role in how much money you pay in the end, but it all should be at reasonable prices. It may be easier to get a complete package compared to buying a single pack at a time, but then again the latter works for those who can afford one pack at a time. Ensure you can afford the program to your desired level of tap dancing.

Romanticism Of Belly Dancing

Everyone has an opinion or definition of what makes belly dancing romantic. But then again, many people have different notions of what defines romantic. Depending on your lifestyle and experiences everyone will view this dance from their personal perspective and indoctrination. Some people have a romantic or sexy notice of belly dancing. Surprise, this dance…

Everyone has an opinion or definition of what makes belly dancing romantic. But then again, many people have different notions of what defines romantic. Depending on your lifestyle and experiences everyone will view this dance from their personal perspective and indoctrination.

Some people have a romantic or sexy notice of belly dancing. Surprise, this dance never started out in that manner; strip teasing did. But these two dances have nothing to do with each other.

Origin of belly dancing

In the classroom many of us have been told that this dance originated with its application for women in labor. Young girls started dancing at a very early age to start preparing their bodies for the birthing process. It is not known if the girls and women were aware of these exercises in the form of dance being designed for this purpose, but none the less it was done and kept so for many generations.

Bear in mind that we are talking thousands of years ago. It was said that a hole was dug in the ground and it was used during the birthing process. The mother-to-be was instructed to manipulate her abdominal muscles and to control specific muscle movements during contractions to ease the birthing process.

During labor the surrounding women supported her with chanting and dancing to assist in the delivery of a child.

Nowadays, if you invited a troupe of Middle Eastern Dancers to assist with a belly dancer having her child in a modern hospital labor room; it would never be considered. However, I have heard of belly dancers who have had their music played during the delivery process. These women admitted that taking lessons had strengthened many muscles which are used in the delivery process. They also acknowledged that listening to their music during the actual delivery made an improved difference in their labor experience.

Origination of strip teasing

Are you curious about how strip teasing started? I have been told that it originated with a housewife who wanted to entertain her husband. Wives of families with low incomes were inspired by this woman and they too also entertained their husbands by removing their under garments to music.

A man heard of this practice and using his entrepreneurial spirit advanced this idea and vaudeville was born. I can not confirm that this story is true. Costumes were used rather than everyday under garments.

Belly dancing Evolves

From the birthing process belly dancing migrated to private parties, then to public night clubs. With the passing of each generation and its introduction to other countries this performing art has evolved according to how people see it. In today's world in the United States this dance can be viewed as family entertainment or as adult entertainment.

During the 1950's in America it was introduced to the American public in a Middle Eastern restaurant by one woman. This dance in the last 50 years has branched from one style to nine different styles of interests in this country.

How To Become A Professional Belly Dancer

There is a major question to ask yourself if you want to become a professional belly dancer. Do you want to be a professional instructor or do you want to be a practicing artist of belly dancing? A professional instructor will have responsibilities for both teaching and performing. A professional belly dancing artist will focus…

There is a major question to ask yourself if you want to become a professional belly dancer. Do you want to be a professional instructor or do you want to be a practicing artist of belly dancing? A professional instructor will have responsibilities for both teaching and performing. A professional belly dancing artist will focus on being a performer.

Which came first … the chicken or the egg? First and foremost knowledge and real experiences are critical. When professionals are interviewed most of them did not intend for this form of art to be a career. They were happy taking lessons and dancing for self, but life has its surprises.

If I may, it is my opinion that the teacher has much to do with students becoming future instructors or entertainers. Through my years of teaching I know of eight or ten of my students who became instructors and three others who became professional performers. Two of these people work in the United States and one is an international performer.

It is critical that you take belly dancing lessons from a knowledgeable and experienced instructor. She has to love this dance in order for you to combat negative feedback. Take time to learn traditional ethnic, cabaret, and the newer developments in this art.

Why would you do this?

  1. Traditional ethnic will give you the foundation of history, culture, myths, folklore, and basic knowledge and inspiration for this dance. It is not uncommon for many cabaret dancers to backtrack and take ethnic lessons.
  2. Know that your instructor is truly knowledgeable and experienced. His or her resume, activities, and referrals will help you with making your decision.
  3. Attend many seminars and workshops. I am sure that you heard that electronic instructions are not the same as attending live classrooms. Much is to be gained from mingling with other students and teachers, listening to comments and opinions, being a part of conversations, observing the elements of dance and teaching styles, and watching the teacher and other performers to gain unwritten or unspoken cues for teaching and performing.
  4. Participate in shows which your instructor sets up for students. A good teacher will allow for heavy participation on your part to contribute to the show. If a teacher is the center of attention and the students are in the background; find another instructor. Realizing the amount of personal practice, hours of rehearsal, choreography input, cost of costumes, strengths and weaknesses of performing before an audience will help your decision to becoming a performer.

When you exhibit your performance people in the audience will ask if you teach or would you perform at an event. The question most asked is usually an indicator of how people see you. It then becomes your decision where your heart leads you.

If teaching is being considered, start teaching private lessons in your home or teach a small group of ladies in a community setting to experience if you have the knowledge and the abilities to contribute to a student's success or to gather many more students. If you are not able to attract more students; teaching is not for you.

Do you like being the center of attention? Performing may be for you. Are you able to take criticism? Are you willing to work irregular hours? Are you open to dancing for a variety of audiences or are you being selective? If you are being selective, can you make an income within this specific niche?

Performers work hard to develop their skills and to offer exciting performances. They also understand public relations, advertising, and marketing. Show business is the business of making money. In addition to learning about this dance you will need to refine your theater and business skills.

Things to Look Out for When Choosing the Ideal Tap Dance Syllabus

Tap dance is fun to watch and more enjoyable when you are able to perform it. There are also some health benefits that are associated with those that choose to engage in it. It increases the strength, coordination, flexibility, as well as cardiovascular condition. This is a dance that has to do with a lot…

Tap dance is fun to watch and more enjoyable when you are able to perform it. There are also some health benefits that are associated with those that choose to engage in it. It increases the strength, coordination, flexibility, as well as cardiovascular condition. This is a dance that has to do with a lot of leg and foot movement and this improves the flexibility, especially in the ankles, the hips, and the synagogues. The cognitive abilities are also improved to a great extent since it requires one to have muscle and mental memory.

Anyone engaging in this dance need to have a great sense of rhythm and timing. There is a need to incorporate the stress and the combinations as they focus on the music. This is a dance that can be done alone and without a partner and still be enjoyed. It is therefore important to choose a program that will help you start well.

The level

This dance is not only for the kids. This can be customized to suit all ages as well as fitness levels. This is to mean that all adults can also engage in the programs and enjoy the benefits. This means that when one is selecting a program, there is a need to check the age for which it is meant.

Manual

To be good, you need skills. Without guidance, one may have a hard time teaching or learning the movements. For a program to be the best, it needs to have a guide that is comprehensive and one that can be used for the steps, the rhythms, and the exercises. Having an instructional video makes it easier for the trainers and the learners to get correct combinations as they dance and also perfect them.

Music

You never complete any dance without some music. This is needed for the combinations and the steps. When you are choosing a program, it should have some tracks that accompany it. These need to be complete and have the correct tempos and styles that are suitable for the group they are designed for. Choosing music can be tricky and so it is necessary to have a program that includes everything, especially for new learners who do not know much about the strategies.

It does not really matter whether you want to learn to teach. Choosing the correct programs is very important. You need to set for a program that has all the insights that are professional so as to perfect the dance.

There are things you need to consider when choosing a studio. You need to understand that choice can make all the difference. You need to make sure that you and / or your child get the greatest enjoyment as well as experience that come with such programs. Some of the best institutions take part in dance competitions. This means that anyone taking part will be able to get a competitive advantage. However, it should not be only about competitions because you may end up focusing on a single dance but not really dancing. It is important to start with the highest quality learning before they can engage in any professional career.

Tips To Help You Hire A Magician

If you want to make your event magical, we suggest that you hire a magician. This is true wherever you are going to organize a wedding, corporate function, or kids' party. There are a lot of magicians and each of them has their own specialties and styles. Therefore, it may take some time to hire…

If you want to make your event magical, we suggest that you hire a magician. This is true wherever you are going to organize a wedding, corporate function, or kids' party. There are a lot of magicians and each of them has their own specialties and styles. Therefore, it may take some time to hire the right one. Give below are some tips that may help you.

Amateur Vs Professional

Just like other types of hobbies, magic is a hobby. In the word, there are a lot of hobbyist magicians and some of them are very good at what they do. Some of them even have their own websites.

So, if you want to make sure that everyone at the event will have a great time, we suggest that you choose a professional instead of an amateur.

Originality and Style

The type of magician you need depends upon your personal taste as well as the theme of the event. You can find magicians with good sense of humor and bright clothing. In the same way, there are some who are sophisticated, suave, mysterious or serious.

So, it's better that you decide on the type of entertainer you need. Based on what you prefer, you can go for either style or originality.

Cost

Based on the performer's experience, costs may vary. For instance, if you want to hire a popular performer, you should be ready to spend thousands of dollars on a full stage show. On the other hand, if you choose a hobbyist magician, you may manage with $ 100 or less. You can check out the websites of different magicians to get a pretty good idea of ​​the cost.

If you are going to organize a big business meeting, it's a good idea to hire a professional as you can afford the cost. For a small event of kids, you can do with an amateur as well. This may save you a good deal of money.

Ask Questions

Before hiring a magician, make sure you ask them questions about their experience, tricks, testimonials and the type of magic they are going to perform. Some professionals can be watched performing at public shows or events. You may also find that some stay at local bars or restaurants. So, you can go there to experience their performance. You can also ask them for their promotional videos.

When watching, what you need to consider is the magic tricks being performed and not the flash magic tricks that were made for the video camera. Therefore, it's a lot better to attend a magic show so that you can get a better idea of ​​what the professional can do for you if you hire them. Aside from this, at a real event, you will be able to see how people react to the tricks.

Long story short, if you are going to hire a magician for an upcoming event, we suggest that you consider the tips given above. This will help you get the best pro and save a lot of money at the same time.

Theatre Review – The Seagull – Lyric Theatre, Hammersmith London

I recently took a risk and met a total stranger to go to the Lyric, Hammersmith, to see Chekhov's The Seagull with a total stranger. After years of trying and failing to get friends to go to the theater with me I had given up as they either did not like the theater or did…

I recently took a risk and met a total stranger to go to the Lyric, Hammersmith, to see Chekhov's The Seagull with a total stranger. After years of trying and failing to get friends to go to the theater with me I had given up as they either did not like the theater or did not like the same plays. So when I saw an advert on NextDoor.com for neighbors to get in touch if they'd like to form a theater-going group, I said I was in.

My new companion Elizabeth was waiting for me outside The Lyric, where a modernized version of The Seagull was dividing critics who basically loved it but they really hated it. During the interval we discovered that it had also divided opinion between me and Elizabeth as she was not enjoying it at all and said she would have left if I had not been so clearly having a good time.

It's certainly nothing like a traditional production of a Chekhov play, which seems to be the main reason for negative criticisms. The adaptation is by Simon Stephens and brings it to the present day with very little to identify it as originally Russian. Short skirts, long Russian names cut to first name only to sound contemporary, four-letter words and slang phrases like 'what is he like?' all create a different atmosphere to the angst we know and love in this kind of play.

The Seagull is a play about professional jealousy, writers and writing, and also about the theater and acting, with unrequited love adding a more universal element. None of the characters love somebody who loves them back, while the narcissistic Irina fails to treat her only son Konstantin with love as she can only manage to love herself. His adulthood makes it harder for her to pretend she's still young, while his girlfriend Nina is an up-and-coming actor, making her more desperate to prove she is not the 'old has-been' the resident farmer Leo accuses her of being in a rare honest outburst. Most of her friends know she can not bear compliments going to anyone but her, and they humor her even when she insists she could play a 15-year-old.

Lesley Sharp is superb in the role of Irina, mostly funny, sometimes irritating, especially when she tries to steal the attention from her own son when he presents his over-written experimental play, and shockingly abusive when she loses control and destroys him with cutting criticism about his total lack of talent in her eyes. Brian Vernel is equally striking as Konstantin, ambitious to be a playwright, but aware of his own failures and the stronger effect of the simplicity of his mother's lover Boris's writing. His girlfriend Nina is also in thrall to the famous writer Boris, played by Nicholas Gleaves. At one point Konstantin stands at the front of the stage facing the audience while Nina tells him she loves Boris, not him, and his whole reaction is shown purely by facial expressions and an attempt to hold back tears.

There was some uneasy laugh as Irina persuaded Boris to leave with her and go back to the city after he asked her permission for 'just one night' with Nina. In the original play she may persuade him with some flattery, some begging, a hug or kiss and the question 'Are you coming, are not you?' but this takes on a whole new double-meaning when she undoes the belt of his trousers and gives him a very determined hand-job. If Lesley Sharp works this out well, with the poignancy of desperation combined with comedy, Nicholas Gleaves' orgasm is also quite impressively realistic. As she wipes her hands with a tissue and passes one to him to clean herself down, her manipulation of him is as symbolic as her son's overly metaphoric plays.

Adelayo Adedayo as Nina bursts onto the stage with youth and energy at the start and is convincing in her adulation of Boris, her belief that nothing could be better than the life of a writer. Although he tries to disillusion her, explaining in a striking monologue how writing is like an addiction and how he is never living through experiences without jotting them down in a notebook to use, she remains faithful to her belief in art and is not afraid off by his idea for a story when he sees a seagull shot by Konstantin. He tells her he will write about a man who meets a girl who has lived all her life by a lake, like Nina, and how he breaks her like the seagull just because he has the time and nothing better to do.

The production did a great job in bringing out the comedy in the writing, with more humor added by the superb comic performances. Lloyd Hutchinson as Leo has not been noted by the critics as he's not a major character, but he was perhaps my favorite and I looked forward to each of his anecdotes, all funny and beautifully told in his Northern Ireland accent while all of the other characters completely ignored him. He was totally immersed in his own world and unforgetable.

In fact all of the characters are in their own world in this play and the production by Sean Holmes drew attention to this fragmentation. The gaps and silences between the characters as they gather together in a rural house by a lake worked well in the first part, but after the interval it sometimes felt as if it had fallen apart, sometimes intentally. Time has passed and they have returned to the house, but they have all changed, especially Nina, the seagull of the title and of Boris's story, which he has brought to completion and completely forgotten.

The cast all deserve a mention but space is brief so it can only be a summary. Michele Austin is a very natural Pauline, married but in love with the worldly and world-weary doctor Hugo, played by Paul Higgins – nice, happy with his lot, and causing misery in the woman he will not acknowledge openly.

Cherrelle Skeete as Marcia is a troubled young woman, like a present day Hamlet, unrequitedly in love with Konstantin and an admirer of his writing while others mock his overly symbolic and experimental style. Her love means nothing to him and can not save him, as he remains devoted to Nina even though she tells him openly of her feelings for Boris. Marcia thinks she can overcome her love for Konstantin by marrying Simeon, who adores her, but while the audience appreciates him, she becomes more irritated by his affection. Raphael Sowole is completely believable in this role.

The Seagull is directed by Sean Holmes and runs until Saturday – it's well worth seeing. The Lyric is known for risk-taking and original productions and this is a prime example.

Next up I'll be seeing Young Marx at the Bridge Theater and will keep you posted.

Theatre Review – Young Marx – Bridge Theatre, London

On my second outing with the small group of theater-going companions gathered together by the intrepid Elizabeth the play was Young Marx, written by Richard Bean and Clive Coleman. It's in London's newest theater, Bridge Theater, beautifully located near Tower Bridge. I met two more members of the group with Elizabeth for coffee in the…

On my second outing with the small group of theater-going companions gathered together by the intrepid Elizabeth the play was Young Marx, written by Richard Bean and Clive Coleman. It's in London's newest theater, Bridge Theater, beautifully located near Tower Bridge. I met two more members of the group with Elizabeth for coffee in the foyer bar and free madeleines came with the tickets. A good start!

The seating design is unusual, with mainly stalls seating and narrow galleries at the higher levels. This means a clear view for all with supporting columns in the way. It feels intimate but seats up to 900 and was packed for the Sunday matinee. We were just two rows from the stage, my favorite position to see how everything is working. The sets were especially effective, all constructed in a cube that evolved to provide various street exteriors and building interiors.

The play starts with Marx selling his wife's family silver quite literally but being suspected of stealing it and running from the police. He's thinking of giving up on his political writing and taking a job at Paddington Station, which could help him pay for a doctor for his son and might save his marriage, although it's a bit working class for a woman from her wealthy background. She's packing clothes just retrieved from the pawnbroker and is about to leave him.

If this all sounds serious, that's not how it's treated. The opening scenes are farcical and there's much running around in true Keystone Cops style. Marx shins up walls, up the chimney in his home, and into a cupboard to hide from the police. He makes light of his wife's packed case with jokes that are irritating snipes rather than laugh-out-loud humor. I was not sure if I was going to like it but soon found it was an extraordinary blend of farcical humor, satire, ridiculous jokes my dad might have told, and serious scenes that could shock and be emotionally moving. Not an easy combination to pull off.

The promotional blurb describes Marx as 'emotionally illiterate' and that certainly comes across. It also says he's 'young' and 'horny', which is misleading. He's in his thirties with a wife and two children and although he has an affair with a woman who loves him, this happens in the context of a failing marriage. He has an important work behind him and his friend Engels is determined to get him writing again and to help him keep his family together.

There are parallels with the present day, with the Marx family subordinated to racist taunts for being immigrants, and also arguing for and against acts of terrorism with their fellow activists. Marx and his wife both argument that they agree with the use of violence but they believe it would turn the British working class against them, especially if an attempt is made to assassinate Queen Victoria, who is loved by her subjects.

Some anachronistic comedy works well, including Marx saying at this point that there's no need for violence to destroy capitalism in Britain as the banks will end up doing so much damage that they will leave the door wide open to change. Nobody could fail to see the irony of that belief. There are also silly anachronistic jokes, like the policeman saying he's 'done a course' when Marx thanks him for not using violence.

The humor can suddenly vanish as the scenes become serious, such as Engels describing the living conditions of the poor in Manchester. Marx has just described himself as 'brutalised', and Engels says he would not use that word for himself if he had seen Manchester. There was laughter from the audience, but then it became serious as Engels talked of the people working in the mills and living in crowded homes with mud and excrement deep outside for them to walk through. My own ancestors on my father's side moved to Salford from Dublin at about the time this play was set due to new English laws destroying the Irish textile industry so this was a striking scene for me. They were not supported by the newly formed unions as the Irish were suspected as the cause for lower pay, with rhetoric very similar to the Brexit discourse these days. This is not mentioned in the play.

Two of the most successful scenes are a duel and a funeral. I will not say too much about them so as not to ruin the plot, as the effect of the surprise on the audience is powerful. The duel absolutely started me and was stunningly realistic even though I was close enough to see how it was all done. In fact the fast moving scenes were all very well choreographed, which is impressive on the limited space of a stage. A fight breaking out in the British Museum Reading Rooms is also both funny and intricately arranged.

With the funeral the atmosphere is capturing from the moment the coffin is transported in to the moment the soil is shoveled into the grave to cover it. One of the weaknesses of the play, I felt, was a tendency to go for a cheap joke at every available opportunity, and this scene should have ended without a quip from Marx to his wife. He had finally shown some compassion and guilt and it would have been stronger to end on that note. There's another point where his lover appeals to him with a dilemma and he responds with dialogue filled with jokes that are not funny. I could have done without some of the comedy as there were so many jokes and so many types of humor that worked well that the weak lines were not needed, or the ones that under a situation that required a different response.

Richard Bean also wrote a version of the Carlo Goldoni comedy 'Servant of Two Masters', and the style of Young Marx reminded me of the more recent Italian playwright Dario Fo, which work I enjoy very much. I was left with the feeling that Young Marx would have been better without some of the trite jokes at significant moments, especially as theyave an impression of a Marx almost completely lacking in empathy. In each case it could be seen that he needed to protect his reputation and was balancing the importance of his work for the many against the needs of the few close to him.

In place of the less successful jokes it would have been good to see a style more like that of Dario Fo in Accidental Death of an Anarchist, where improvisation is allowed to let the director add jokes that are relevant to each day's news. With the current sex scandals in politics this could have added a whole new layer to the treatment of women in Young Marx. Parallels between Engels' description of Manchester, the treatment of the Irish there, and the similarity with the dialogue of Brexit could have been made. So I ended up liking the play but feeling there were opportunities missed and some jokes that could have been cut.

The acting was excellent, and the two children were particularly good. Design by Mark Thompson, direction by Nicholas Hytner and music by Grant Olding also contributed to the atmosphere and a feeling of energy and movement. Well worth seeing and the madeleines were fresh and tasty! Next up, The Ferryman at the Gielgud Theater, else Elizabeth slips an additional play in – she often does!

Bare Midriff For Belly Pops, Rolls, and Vibrations – Belly Dancing

Dancers have folded dollar bills, flipped coins, or rolled a variety of objects to demonstrate the rolling action of the abdominal muscles, or will balance objects like the sword or the cane as an attention-grabber to acquire publicity. However, not every belly dancer is interested in performing these abdominal movements. A two-piece costume needs to…

Dancers have folded dollar bills, flipped coins, or rolled a variety of objects to demonstrate the rolling action of the abdominal muscles, or will balance objects like the sword or the cane as an attention-grabber to acquire publicity.

However, not every belly dancer is interested in performing these abdominal movements. A two-piece costume needs to be worn in order for the audience to see these particular movements.

Doing belly pops, rolls, and vibrations is a lot of fun, and actually quite a challenge requiring much effort, time, and practice.

People are curious to know how to perform these movements. Men and boys are particularly good at performing these movements with ease. The reason for this is the thought that girls and women are indoctrinated to have flat abdomens and it is difficult to start expanding your abdominal area with this thinking. But all females can do these movements as well as the males. It will take more discipline, determination, patience and practice.

How To Do A Belly Roll

Doing this movement will help you to realize how disciplined and focused the dancer must be in order to accomplish this isolated movement. This is an excellent movement to exercise your intestines and tie constipation.

  1. Stand in front of a mirror and bare your abdominal area to see the movement.
  2. Warm up the abdominal area by pushing the entire abdominal area out and then pull it inward. This will be done slowly at first. As the muscles respond to your commands the pushing and pulling will get easier. Have fun with this by playing drumming music and keeping time to the beats. This movement is known as the belly pop.
  3. The belly roll itself is not really rolling; it is creating the illusion of rolling. After completing your warm-up exercises, it is time to isolate. Push out the belly or upper abdominal area while pulling in the lower abdomen or intestinal area. Then reverse by pulling in the upper abdomen, and pushing out the lower abdomen. Continue to repeat. This will take concentration, patience, practice, and time. After mastering this isolation the abdominal area will respond.

Tip: Focus by placing a finger or your hand on the belly when commanding the upper and lower abdomen. Feeling the muscle respond under your finger or hand helps to confirm that you are in the right area especially when working without a mirror.

How To Do Abdominal Vibrations:

Purse your lips slightly and pant like a puppy. Practice in short periods of time as you may become light headed. When first learning to do this cover your mouth with your hand in order to not have people see how you are doing this maneuver.

After you are able to perform this move, remove your hand from your mouth. Some people have a problem with their nostrils flaring. If this should happen to you, notice the panting breath and control it at the point where the nostrils do not flare.

Take Belly Dancing Classes

Many women take belly dancing classes for many different reasons. Some of these reasons are personal and some are public. Among those who attend church there is that question of “Is it okay to take belly dancing lessons?” Religious beliefs may or may not interfere with taking lessons. Religious Beliefs There are different beliefs or…

Many women take belly dancing classes for many different reasons. Some of these reasons are personal and some are public. Among those who attend church there is that question of “Is it okay to take belly dancing lessons?” Religious beliefs may or may not interfere with taking lessons.

Religious Beliefs

There are different beliefs or rules with different denominations. Playing cards, social dancing, covering your hair, wearing makeup, dress codes, are a few of these restrictions. If personal and religious beliefs are in conflict with taking dance then do not participate.

If the church you attend sees dancing as a sin, then any dance art will be taboo and you will be led to believe that you are sinning against a superior being. If a church ritual says you must fast for 3 days, water only; then do not eat. It is your personal choice to follow the teachings of your chosen church or not.

There are church goers who participate in square dancing, folk dancing, line dancing, waltz and tango, and many other forms of dance. The same can be said of belly dancing; folkloric and ethnic costume styles cover the body from head to toe.

How We Think

The main theme is how you think. If you think something is evil, then it is. If it is a good thing, then it is good. Just as beauty is in the eyes of the beholder, likewise, evil and good are in the eyes of the beholder. Belly dancing can be thought of in either direction depending on the thinking and presentation of the person who is considering studying this form of art.

History

Originally belly dancing was used as birthing exercises and for the birthing process. During idle times women danced for social reasons in the company of other women. This enjoyment continues in our modern world.

Historically women have danced in spiritual ceremonies and events; no thoughts of evil or offensive behaviors were ever performed for a spiritual being.

Other Motivations

If the dancer decides that she wants to be provocative, wear scanty costuming, and move her body to entice male strangers … this is another story. These women have other motivations which are not accepted by any church and their teachings.

Benefits

1. Belly dancing offers benefits designed for the female body. It offers healthy solutions for mental, physical, and spiritual needs.

2. It is a dance which helps people to experience happiness, good health, and the celebration of life.

3. This dance helps many women to appreciate and accept their female body.

4. They develop a better understanding of their mental and physical attributes, and in turn are respected.

5. Women have many issues working in a man's world and there are uncomfortable and challenging conflicts which many women struggle against. This dance offers them the opportunity to understand and cope with these difficult issues.