American Tribal Style® Belly Dance (ATS®) is a modern style of dance created by FatChanceBellyDance® director, Carolena Nericcio.
In 1974, Carolena began dancing with Masha Archer and the San Francisco Classic Dance Troupe. Masha’s style was an eclectic blend of classic Egyptian, Folkloric, and any other influence that she found enticing. Masha, a trained painter and sculptor, taught her dancers to create art through dance. In 1987, after the SF Classic Dance Troupe disbanded, Carolena began teaching in a small studio in the Noe Valley Ministry. Her only goal was to teach people to dance so she could have dance partners.
Being young and tattooed, Carolena attracted other young people living alternative lifestyles. The Modern Primitives movement was also underway. Tattoos and primitive styles of body adornment were the vogue. Carolena and her students performed at tattoo shows and conventions and became well known in the City by the Bay.
When the need for a name for the dance troupe arose, a friend suggested the playful rhyme FatChanceBellyDance, based on the silly question dancers often get from onlookers who think that beautiful, feminine belly dance is merely an exotic entertainment for their personal pleasure. In other words, the answer is, “Fat chance you can have a private show.”
As Carolena and FatChanceBellyDance® expanded horizons they received a mixed response. Some people loved the new style; others abhorred its departure from tradition. Finally, the style was named “American Tribal Style® Belly Dance,” a name that distanced ATS® from classical beledi styles. The word “American” made it clear that ATS® was distinctly an American invention, not a traditional dance style. “Tribal Style” described the dancers working together as a group with a “tribal” look.
Back at the studio, a system was evolving. Because of the casual nature of FCBD®’s performance opportunities, the dance was largely improvisational. There simply wasn’t a way, or a need, to choreograph because the dance space often changed at the last minute, and the dancers had to perform without rehearsal or any information about the performance space.
Cues and formations are the brilliance of ATS®. Often unnoticed because of the elaborate costumes, fancy steps, exciting music, and sheer beauty of women dancing together, formations and cues are the anchor of improvisational choreography. Even occasional formal choreography is created around the logic of the formations and cues.
Duets, trios, and quartets worked in set formations. If the stage was two-sided, or if the dance space was in the round, the dancers could flip the lead by facing the opposite direction. In other words, as long as the dancers stayed in formation, the group could face any direction and the lead could change, depending on the audience’s location. Carolena developed cues for each step or combination, usually an arm or head movement that could easily be seen. She found that because all steps began with a gesture to the right, dancers tended to angle to the left. This angle allowed following dancers to clearly see the lead dancer.
The core concept remains in place: leader to the left, followers to the right. Watch for interaction among the dancers, who always have their attention trained on the lead position, looking for the cue for the next step. When the dancers face each other and make eye contact, the lead is neutral, falling to the dancer who presents the next cue. But don’t think too hard! Allow yourself to see the whole picture: women working together in cooperation; a group focused on presenting the dance as one entity.
Heidi T. Capps-Hayden
Heidi fell in love with Belly Dance late in life in 2004, she was 33. It wasn't but a few months into her classes that she saw the Belly Dance Super Stars and fell in love with Rachel Brice and Tribal Fusion, which lead her to American Tribal Style® and FatChanceBellyDance®. The freedom of improv coupled with the focus on technical skill and format (not to mention the delicious rich costuming and jewelry) spoke to her core. She knew that she wanted to take this to the heights and share this art form with many! After many years of dedicated meticulous study and practice, and moving to a state where ATS® barely existed, she decided to teach and share her passion with Kentucky.
In Feb 2012 she was inspired with a goose-bump filled idea to create the worlds first ATS® Word Wide Flash Mob and set a date for October 13, 2012. To her surprise, hundreds of dancers from all over the world joined in and danced. Her idea was One Song. One Dance. One World United. And it happened. And it was a beautiful thing! (see facebook.com/ATSFMWW) This is now going to be an annual event being held around the world on the Second Saturday in October!! She is currently collaborating with Carolena Nericcio and Phil Thornton to create a documentary and super clip of this most awesome event. She is both humbled and moved beyond words.
Her favorite part of ATS® is the bond that is created between dancers. It is not about being an individual, but an entity, working together to create a beautiful moment.
She loves dancing with swords and playing zils and has recently fell in love with learning and playing the Ukulele.