Photo: Chuck Lehnhard, c. 2002
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 (aka Patti Beaman) is a member of Blue Moon Belly Dance, and lives
in Apex 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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