Danza de Vientre
- JOIN A RECREATIONAL CLASS
When you’re not a full-time student, nor do you have a “’real” job, nor any family in the city where you live, you end up with a lot of free time on your hands – which can be perfectly utilized by learning something you’ve always wanted, but never really got a chance to do. For instance, crocheting, or Thai kickboxing. Sushi-making, or calligraphy, ventriloquism, or, better yet, magic!
That something for me right now is Middle Eastern dancing. I carry my black coin-belt around with me wherever we go, and Google down a dance class whichever city we happen to be in. Apart from the fact that I love to do it, it’s also a good way of meeting people – perhaps even a potential friend, whom you are assured of having at least one thing in common with!
So, with all this in mind, I joined a classical Egyptian dance class in Madrid, taught by a half-Egyptian, half-Paraguayan, Spanish-born woman called Yasmina, who has been dancing professionally for 20 years.
On my first day, I arrived late. I had gotten confused when exiting the metro station, and walked in the wrong direction for a good ten minutes. “Darn it,” I thought, when I realized my (usual) mistake. “There’s no point of going to the class now. There won’t be space for me anyway!”
I was envisaging, of course, the type of dance classes I had attended in Berkeley and New York; a normally tiny square-shaped room packed to the seams with a variety of serious-faced girls in intimidating-looking leotards; the teacher (whom you could barely see) hollering instructions, bootcamp-style, over the pounding music; and me in the back row, whacking my hands into the wall every time we did snake arms, or getting trampled on by Rubber Girl next to me at every grapevine turn.
But here, when I scrambled into class, huffing and puffing, with a “Lo siento-ooo!”, I’m sorry-yyy, on my lips, I was shocked to find myself in a 60 ft x 30 ft, hardwood-floored room, glistening mirrors on not one but three sides, nicely framed posters on the cool blue walls, and Yasmina the teacher with two students – dressed in comfy track pants and T-shirts – quietly doing some stretches.
“Is the class already over?? Has everybody left??” I asked, bewildered.
No, they were just about to start! “Solo nosotras,” Yasmina smiled, flicking on the music. I couldn’t believe it! What joy! What pleasure! What a wonderful feeling to sway about freely my unusually long limbs without colliding into an animate or inanimate object at every move!
There were even times when the other two students didn’t show up, and it was just me and the teacher, whom I could pester with complaints and questions to my heart’s content (“But why can’t I do the sideways shimmy? Why? Why doesn’t it look as good as yours?”) On the downside, nobody in the class, including the teacher, spoke any English, so we had to suffice in our communication with gestures, intonation and a range of facial expressions. The other girl in the class, who was my age, seemed nice, but I could not glean much about her from my limited Spanish and her non-existent English save that she worked at a pharmacy, loved leopard print and Khaled.
On the upside, one of the first things I mastered in the Spanish language were parts parts of the body – rodilla, tobillo, talón, cadera, codo, muñeca, cuello – much to my Spanish teacher’s amazement when we came to study that chapter in class. You bet, I knew them body parts like a doctor. And, generally, I became known amongst the nice ladies at the dance school as the funny “American” girl (because I spoke English) who laughed a lot, seemed genuinely excited to be in Spain (unlike the Spaniards themselves, who were desperate to leave), and who continually invented new ways to bungle their language – which they didn’t seem to mind at all!