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When
Kajira Djoumahna walked onto the stage of the Raleigh Shrine Club
last month to begin an American Tribal Style workshop sponsored
by Belly Revelations, the energy level of the entire room surged.
It was as if her joy and spirit were transformed into an electric
current, charging not only the atmosphere, but the very participants
in the workshop. Kajira's demeanor was earthy, connected, pleasant,
approachable- not the least bit diva-like such as one might expect
from someone of her stature in the belly dance world. This former
student of FatChanceBellyDance, founder of United We Dance, and
author of The Tribal Bible was funny, warm, gracious and sweet;
unafraid to be fallible, even laughing at her foibles when they
occurred. Kajira truly connected with the workshop participants,
demonstrating her enthusiastic nature and passion for American Style
Tribal belly dance, showcasing it for all it can be to an East Coast
audience thirsty for instruction in this genre.
Throughout
her life, Kajira had studied a variety of dance forms including
hula, modern, ballet and flamenco ("the feet were too hard!") before
discovering belly dance. Taking a course at age 30 through her local
park and rec department, Kajira felt that "belly dance was it. It
felt like home." After studying classic middle eastern dance for
a while, she went to see a FatChanceBelly Dance performance and
was hooked. Kajira was enchanted by its power, strength and unity,
so much so that she made a commute of over 90 minutes, one or two
times a week for eight years in order to take lessons with Carolena
Nericcio, the founder of FatChanceBellyDance. In the interim, she
was teaching classical belly dance, trying to incorporate elements
of tribal style into those lessons, but never to her complete satisfaction.
Kajira finally made the decision to switch completely to tribal
in the group classes she taught because "it just felt right, and
no one else in my area was teaching it, and people wanted to learn
the style." Once she committed to ATS, her life fell into place,
and she since has become involved in a multitude of related endeavors.
Kajira teaches, performs, writes, travels to sponsor workshops,
vends, heads United We Dance (an ATS dance troupe whose name and
existence well proceeded 9/11 and which is not affiliated with any
political organization), and manages the BlackSheep BellyDance website
and business. She is also a certified massage therapist (although,
given her current schedule, she doesn't have much time to devote
to this practice) and a Reiki Master Teacher. She finds Reiki, along
with teaching, the most inherently satisfying of her many roles.
"Teaching opens my heart and brings me great joy. I have a natural
affinity for it... Reiki has influenced my dance (and my life) profoundly
... it facilitates my dance and my ability to communicate with others."
Kajira also believes that dance can be a tool for healing, consciously
or not. For example, she has done workshops whose specific focus
was woman-to-woman interactions, the participants of which were
there to heal emotionally and psychically. But she feels that merely
participating in an ATS workshop can be healing in and of itself,
allowing those involved to connect with others and themselves on
an expanded level through the joy and unity inherent in the experience.
Joy
is a recurrent theme in Kajira's life, work and sensibilities. She
emphasizes in her words and deeds that having fun is what life (and
therefore dance) is all about. One of the reasons she was drawn
to middle eastern dance is because it is "all-encompassing - a "dance
of life" that is incredibly rich, diverse... involving whole families...
combining (the) fun and (the) sacred" all at once. Kajira's favorite
music is that which "hasn't been synthesized, that is organic (with
some exceptions)... gutsy, ballsy, middle eastern rock and roll."
Kajira feels that Americans have in the past been ignorant about
middle eastern culture and dance, and that this has tended to affect
them adversely as an audience. There are "too many misconceptions"
about this dance genre, but she is optimistic that through books,
videos and the Internet that we will move away from stereotypical
views toward ones that are more educated, and therefore more appreciative
of this beautiful dance form. In particular, Kajira is passionate
that Americans in general, and the belly dance community in particular,
acknowledge and address their attitudes toward the Rom culture.
"The image of the happy dancing Gypsy is a disservice to a race
of people" who themselves are richly diverse and accomplished. She
feels that the fantasy, terminology and images that many Americans
have regarding the Rom are not only disrespectful, but intolerable;
she has endeavored to educate and change these racist attitudes
through her life and works.
Great
people are influenced and inspired by the greatness of others, and
Kajira is no exception. She cites her husband Chuck as one of those
influences, as well as the practice of Reiki, plants, and animals
("especially cats and horses. I have a real affinity for and connection
to horses in particular, and the way they move.") She acknowledges
Delilah, Suhaila, Artemis Mourat, Shani Rifati (President of Voice
of Roma), Dalia Carella, Morocco, and Carolena Nericcio as the teachers
who have had profound influences on her life. While her relationship
with Carolena is one of mutual respect and admiration, Kajira admits
that part of the reason she named her business and website BlackSheep
BellyDance (other than the fact that her own name is hard for some
people to remember and spell, and that she wanted a name separate
from that of her troupe) is because she felt somewhat like Carolena's
black sheep. Kajira wanted to create on her own, to take the basic
ATS moves she learned with FCBD and expand on them - moving to the
right, and not always to the left, for example. In doing so, she
has expanded the library of dance moves from which a tribal dancer
can borrow. Kajira encourages others to take these moves and "make
them your own." She feels that this is one of the exciting aspects
of teaching workshops all over the country; seeing people take the
basics and expand on them. One thing Kajira is adamant about, however,
is terminology. She feels it is imperative that dancers be "clear
on labels. I don't care if you want to swing naked from a chandelier,
just don't call it American Tribal Style!" ATS implies improvisation
between two or more people, both of which aspects are crucial. A
dance is not truly ATS if it is completely choreographed, nor is
it so if done by a solo dancer. The improvisational interplay between
or among 2 or more dancers is the keynote of this fusionary style;
it's not just putting on a turban and a tassel belt that defines
this dance form. Kajira acknowledges that many other world fusion
type styles are evolving from ATS, and enjoys seeing them performed
as long as they are clearly defined as such and not as American
Tribal Style.
When
asked about whether she still gets nervous before a performance,
her answer is a resounding, "No! I have too much fun!", but acknowledges
excitement instead. She did, however, have some very sound advice
for those of us who do still experience performance anxiety. One
key, she says, is to make sure to eat something a few hours before
performing - a practice that many people avoid because of the fear
of becoming nauseous. In reality, having something in your stomach
not only calms you down, but also provides much-needed fuel to carry
you through your performance. There is also a specific breathing
exercise that she recommends: put the tip of your tongue on the
palate of your mouth (you should feel the ridge of tissue on the
roof of your mouth right behind the tooth-gum intersection.) Close
your mouth softly. Breathe in through your nose for 4 counts; hold
your breath for 7 counts, and then blow the air out of your mouth,
kepping your tongue in place, for 8 counts. Close your lips and
repeat. While doing the breathing technique, touch your ring finger
to your thumb on each hand. Try to remain as grounded as possible;
to do so, Kajira even suggests taking a few seconds to touch the
ground before you go on. And try to have fun! Mistakes aren't the
end of the world, and if you're having fun, chances are everyone
else will as well.
Among
her many accomplishments, Kajira has authored The Tribal Bible,
the final edition of which should be out sometime this year. The
original manuscript started out as a "giant handout for the Mendicino
Middle East Music and Dance Camp ... (to help) inform traditionalists
about ATS dance." Kajira wrote it in six weeks and, at first, printed
100 copies at a time. It was so well-received that she was inundated
with requests to publish it for general purchase. Once again, Carolena
Nericcio influenced Kajira by telling her that she was capable of
much more than what she had already done with the book. "Carolena
can push people to excel or to drop out," and Kajira chose to excel.
It has taken her over two years to improve and expand the book,
but she expects to be finished with the final edition by May, 2002.
In addition to her book's publication, Kajira has received numerous
awards. The one she deems most meaningful to her was the International
Academy of Middle Eastern Dance Award for Best Instructor (of 2001).
"I was flabbergasted! (There were) so many other people who were
completely deserving in my category, who have profoundly influenced
middle eastern dance... and they chose me!" It comes as no surprise
to me, however, that she was so honored, especially after participating
in her workshop and experiencing how genuinely she connects to those
around her, regardless of their status or dance background. One
of her true gifts lies in her ability to make each individual feel
important, respected and worthy of her undivided attention.
Because
of her vast and varied experience, any advice Kajira has for students
of belly dance is noteworthy. She encourages students to take classes
whenever they can, listen to a variety of music, go to festivals
and workshops, watch dance performances (not just belly dance, but
all genres, be it live or on television or movies) and see how performers
present themselves and use the stage, find a supportive teacher
who encourages her/his students to progress to the next level, perform
in student haflas and festivals, get experience being on stage,
watch how audiences react in different settings and to different
people including yourself, dance whenever possible, and "take the
plunge" if you want to go to the next level, be it from student
to performer or performer to professional. Most of all, never stop
learning; "it is through experience that (you) will find your niche",
and therefore the joy that is the cornerstone of life.
It
is obvious that, not only is Kajira a student of life, but that
she lives it fully with every breath she takes. When asked to name
something about herself that would surprise most people if they
knew it, she answered that she "used to play in an all-girl punk
rock band in San Francisco. I started out on a trap drum set - with
Zildjian high-hat cymbals, no less!, and graduated to bass guitar."
But I wasn't surprised; it fits perfectly with the persona of someone
who seizes the day and makes it her own- joyfully and profoundly.
To Kajira Djoumahna, all of life is a dance; we just have to listen
to its music and let ourselves sway to its profoundly beautiful
rhythms.
About
the author: Sashi Êis a member of Blue
Moon Belly Dance, and lives in Apex, NC with her wonderfully
supportive and loving family: husband Brian, daughters Sara and
Emily, and her dog Casey. Sashi has been studying belly dance for
two years, but wishes it had been two decades instead.
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