Q: What needs to happen that makes you satisfied with a performance ?
Feeling truly satisfied with my own performance these days is a rare occurrence! For me it is when the music, the dance and the audience feel as one - and of course that doesn't happen every time. I always feel good on some level knowing that I gave my best performance given the circumstances. If the audience was unenthusiastic, or I was performing something less familiar to me, or the music wasn't loud enough, or I was not feeling as connected to my body for whatever reason, I have at least come to know myself well enough as a performer to know when I am doing my personal best. As long as I know that I can feel satisfied.
Q: Do you have a special ritual before a performance ?
Before I perform, I stretch my hips, back, neck and shoulders. Then I get quiet with myself and gather my energy and envision being in my center and projecting my energy to the back of the room (I like to stand on the stage and in the audience to gain both perspectives whenever I can before a show). Finally I use a yogi visualization of breathing deeply while envisioning a bright blue light in the center of my heart, a white light in the center of my head, and a red light essence in the center of the pelvic bowl. Once I step onstage I know the performance will be chaos in motion and I give in to the moment as best I can!
Q: How do you think the relationship between a dancer and a troupe? Is it better for a dancer to join one rather than alone?
Whether to it is best to dance alone or with a troupe depends on so many things. I am thinking that it is important to have the freedom to take from as many teachers as you would like, and to be able to dance with other people you enjoy being around, who inspire you to make art. Whether you do that with a local troupe, or make it happen on your own is secondary.
Q: What was your favorite teaching experience ? What happened that made this one special ?
The first time I taught in Europe was really rewarding. Arriving someplace unfamiliar and immediately getting to share dance with people I had never met was energizing. The students were really excited to learn what I had to teach, and were very appreciative and welcoming.
Q: How does a Professional dancer different from a hobbyist ? What must she do to make this transition to Professional ?
The only difference between a professional dancer and a hobbyist is the choice of which you wish to be. One of my greatest teachers was actually a hobbyist by choice. She liked having a regular income, a predictable schedule, and to dance simply because she loved it not because she needed dance for financial support. Meanwhile she fostered some of the big names on the circuit today including myself, Mira Betz, and Zoe Jakes.
In order to become a professional, my best advice is to first search yourself and ask yourself why you want it. That will strengthen your resolve as you go through uncertain times while pursuing dance as a profession. Then take the leap. How you go about paving your path is sure to be a unique experience to you. Be fair minded and remember that there IS enough success to go around (even if it really feels like there isn't!). This will make your path MUCH smoother and your rise to success quicker.
Q: Is there something about the dance industry that you Don't like ?
The belly dance industry is a world apart from what I think of as the "dance industry" and our little community is growing larger and evolving all the time. As for the belly dance industry, I don't like the fact that producers are able to capitalize on so much competition around a limited number of opportunities. For example, dancers will perform on a DVD for next to nothing and no royalties, then pay to buy those DVDs to sell, making even more money for the producer of that DVD while the dancer might only break even, or worse, spend more than she made.
We can think more like savvy business people, and think more like a union, remembering that standing up for reasonable pay and respectful treatment is better for everyone. It is beneficial, too, to be imaginative and create new and different opportunities to make money as dancers.
Q: What is the next challenge you would like to try?
I am really excited to release my first instructional DVD "Turkish Roman Dance with Elizabeth Strong". I am producing it myself, so that has been quite a challenge! Beyond that, I am developing choreography to music written by my boyfriend, Dan Cantrell, for a show in January with Samantha Emanuel and Zoe Jakes. I am really excited about that!
About Elizabeth Strong
Elizabeth Strong is a life long dancer, raised in the folk communities of California, where she was exposed to music and dance of the Balkans and Middle East from a young age. In addition to over a decade of study in the Bay Area, She has traveled and studied dance ethnology in Turkey and Egypt, the first student of Reyhan Tuzsuz in Istanbul, and student of Sahra Saeeda in Egyptian dance and culture.
Elizabeth is former primary member of Aywah! Ethnic Dance Company, a troupe devoted to regional dances and music of North Africa, the Balkans and the Middle East. She was a collaborative member of “The Pogonometric Revue” with the Toids, Rachel Brice and Mardi Love, and a choreographer and collaborator for the last Undulation performed by Ultra Gypsy. Elizabeth performed with the Bellydance Superstars in 2008 and 2009, and is currently a part of Jillina Carlano’s new production, Belly Dance Evolution, as well as Zoe Jakes’ dance company for Beats Antique.
