didn’t like to rehearse much, this was a very good thing!
Over time we became dear friends and, finally, at the end
of his life, we were talking on the phone almost every
day or two. Not only did Bert open doors for me on the
international scene, he was highly intelligent and world
savvy, and he gave me a lot of guidance over the years. He
was family.
How do you feel about
improvisational dance?
choreographed
versus
A: Ironically my first dance teacher, Libby Prothero, was a
ballet trained, NYC chorus line dancer who believed in only
choreographed dances. I am not sure why I didn’t follow
this path. Within a couple of years of dancing, I was totally
an improvisational dancer. Perhaps since I never had formal
dance training, the dance was more ‘organic’ for me and
more about being on the edge and being in the moment
with the music. My dance partner, Bert Balladine, also
leaned towards improvising within a general framework
of floor patterns. In my early years, there was much more
opportunity to dance to live music and that was such a high
and such a blessing. My dance is usually improvised…but
within a framework. One must know the music very well to
be able to hit the nuances while in-the-moment onstage. I
feel that being this kind of dancer makes me not only a good
dancer, but a better “performer”.
Today’s dance scene is not at all like the days of elegantly
decorated cabarets and posh Moroccan restaurants and I
miss the 40 minute shows with audience participation, floor
work, zills, etc. A true professional should be able to do both
improvisation and choreographed performances.
The professional performer would do well to become
competent in finger cymbals and props such as veils, sword
balancing, etc. The more rounded you are in your dance skills,
the longer and more rich your career. I tell my students, “Do
not become a one-trick pony!”
What are your thoughts when you are placed in judging a
dance competition position?
A: I admire dancers who put themselves out there to be
judged, yet it does go against a lot of what I teach. The
Sisterhood is not about competition but about communality
and support. I understand that today’s aspiring dancer has
much more difficulty in making a name than when I started
out. If the competing dancer is super grounded in who she/
14
The Belly Dance Chronicles
January 2016
he is; understands the capriciousness of the contest judges;
and is able to put the outcome in perspective, then go for it!
In conclusion….
A: It is a great joy of mine to find myself in the role of mentor
and guide for women. I continuously evaluate the dance
market and enjoy the new trends popping up. Through the
internet, video sales and seminar teaching, this profession
has given me much satisfaction as well as a steady income.
My ideal work has always been to be of service to others and
to support the spiritual growth of others.
As an artist, my goal is to foster creative expression. I am
first of all a performer, and I love to be acknowledged by the
audience and to make time stop for them and me by moving
to soul-inspiring music.
M: Today, Amaya produces her intimate and intensive Wise
Woman Dance Retreat in the Land of Enchantment, New
Mexico. This retreat is a gathering of like-minded dance
spirits for dancers from around the world. She is also
the proud producer of the best-selling DVD “American
Legends in Belly Dance,” honoring the first generation
of American icons that lead to the explosion of Oriental
Dance around the world.
Currently, Amaya, is working on her latest project, “Magical
Meditation for the Dancer,” keeping Amaya’s Dance
Productions busy on a daily level when she is not traveling
as a performer.