• For current info on shows, see Performances
  
• Student performing group: PRISM
  
• Past performing groups: the Troupes page has information on previous Fredericksburg groups (Diva Dancers, Tribe Odyssey, Pearls of Rhythm)

How our "Tribal Odyssey" began...

  After viewing FatChance's videos and studying their "Improv & Choreography" video, I attended Kajira Djoumahna's workshops on American Tribal Style bellydance - "ATS" (sponsored by Artemis in Maryland). ATS is now referred to as group or tribal improvisation bellydance.

  I learned a lot from Kajira's workshop. I let the information percolate for a while, then asked my dance friend Miramar, in Winchester VA, if she wanted to start working up a common repertoire that we could both teach to our students.  That was in late 2000. Now I teach Tribal Odyssey (our version of group improv bellydance) in every class in addition to the curriculum I've always taught: technique, finger cymbals, props, and various folkloric styles of Mideastern Dance.

  I find Tribal Odyssey an additional tool that's valuable in teaching graceful transitions, finger cymbals, focus and awareness, rhythm and music and more. It seems to improve a performer's awareness and level of concentration.  A dancer who is performing a solo Oriental Dance, whether she's improvising or following choreography, can let her attention wander pretty much at will. Even when dancing as part of a group choreography, each dancer can be in her own little world.
  But when performing group improv bellydance, all the dancers are focusing and concentrating on "staying on the lead lap" (to borrow a racing term) - they can't let their attention wander or they may miss a cue and be noticably out of sync with the others. Tribal Improv dancers have to be "in the Here and Now".

  Since we began working with this "group improvisation" format in late 2000, we've enjoyed it immensely and look forward to dancing often with our sister tribe! A home practise DVD for Tribal Odyssey Level one is available for students; see Moving to the Muse - student news online.

But why call it "tribal" when it's a modern American invention?
 My dictionary defines tribe as follows:
"(3). A group of persons with a common occupation, interest, or habit."
 Our shared interest in Mid- and Near-eastern Dance is a common interest, but our shared repertoire of dance steps and group movement further differentiates us even within the bellydance community.

Where do your costumes come from? 
 Some items we make ourselves, and some we buy ready-made. They're inspired by 
various world cultures rather than one specific tribe.
 I think handcrafting your own pieces connects you with your tribe and your inner creativity on a deep communal level.
 American Tribal Style bellydance is like any other "folkdance" - it's more fun to do than it is to watch - so our elaborate and colorful costumes add to the audience's visual interest.

  A dancer who is performing a solo Oriental Dance, whether she's improvising or following choreography, can let her attention wander pretty much at will.

  Even when dancing as part of a group choreography, each dancer can be in her own little world.

  But when performing Tribal Improv bellydance, all the dancers are focusing and concentrating on "staying on the lead lap" (to borrow a racing term) - they can't let their attention wander or they may miss a cue and be noticably out of sync with the others.

  She further defines applications within ethnic dance, and to me ATS seems to fall into the category of the "creative neoclassic or renaissance" or even "creative departures".

  Of the former she writes, "...the scope is broader and more difficult to define. The artist may take liberties with costume, music, and form. Only techniques remain constant. The creative artist stays within tradition in style and motivation."
  The latter category is much the same, only "certain liberties are taken. Techniques remain traditional but may be mixed as to school or handled more freely. The music may be completely alien, but the general aura of motivation is kept intact."

  That seems to cover ATS handily. Thanks, La Meri, for having the foresight to envision how future generations might experience and adapt the dance of their mothers!