“I’ve never come up with a concrete definition, but I know it’s something in me, and it’s something that comes out in my dance.” Ariellah reveals. “It came out naturally in my music, my aesthetic, my own style from the goth clubs, from being part of the gothic subculture for most of my life. Gothic bellydance has a much darker aesthetic (in costume and music choices), is slower and fluid, and there’s more (for me) in the feeling of gothic music.”

I was lucky to have an opportunity to chat with Ariellah for a little bit after her New York City workshop; Zan Asha of Chovexani hosted the workshop the afternoon before the big gala, Night of 1000 Goddesses.

The workshop was packed with black-clad dancing ladies, happily chatting, drilling “The Spooky Maya”, and practicing a short choreography. How does three hours manage to fly so quickly? If only Ms. Aflalo were local, I’d happily study with her. She is a very good instructor, clearly breaking down moves and inspiring new combinations along with ample yoga stretches to warm up and cool down. Ariellah also provided us with handouts encouraging us to do “homework”.

After the studio cleared, we managed to park ourselves in the hallway at the 440 Studios for an interview.

Although Tempest and Ariellah are two big “names” in this scene, their styles are diverse. Ariellah never studied traditional cabaret, but has been dancing for most of her life. She began with ballet, and, coming from a large Moroccan family, she’s always been interested in learning the dance. Ariellah studied with folkloric teacher, Janine Ryle, and Rachel Brice. She first joined Janine’s troupe, Danse Maghreb, and was encouraged to learn from other sources and was led to Rachel in early 2002, and became a founding member of The Indigo in 2003.

Ariellah was a featured performer on the Gothic Bellydance DVD, the first performance video of its kind, which was released earlier this year. Upon seeing this DVD, it brings a lot of issues to mind. “The DVD received a lot of criticism as well as a lot of praise,” I remarked. “and there is a point where people needed to distinguish what gothic bellydance is, and that it’s not about just putting on a black costume and doing your thing.”

“Well, the DVD was produced by someone not as familiar with the gothic subculture, so while some (performances) may not be the best representation, the quality of the video is awesome and there is a lot of experimentation. In my opinion, there’s nothing wrong with the dancing, but some of it isn’t quite gothic.” Ariellah replied.

So while some folks may mistake Rachel Brice as a gothic bellydancer, Ariellah comments, “Yes, her movements are slower, but her music choices are not gothic, and the costuming isn’t there. I guess I haven’t thought about a definition because I know what is in me, this ‘gothicness’ or whatever you want to call it and it comes out in my bellydance. There’s no way it doesn’t.”

I have to whole-heartedly agree there; personality comes out in a big way in any dancer and it’s inspiring and fascinating to watch how people channel this spirit in their movement. Just watching the dancefloor at any goth club and strangely enough, a lot of the style resembles Middle Eastern dance in the flowy arms and purposeful steps.

Some traditional dancers may spout disparaging remarks regarding bellydance styles, considering the big to-do that was made as ATS and tribal fusion grew in popularity, but as Ariellah points out, “There’s such a draw to this movement, towards fusion, and I believe it’s okay to stray from Middle Eastern dance. That’s how it gets creative. It’s what Rachel did, it’s what Fat Chance Bellydance did, and they made it their own. They helped the dance evolve. I think it’s beautiful and I support that.”

“What drew you to tribal over cabaret?” I asked.

“I guess because that was what was there (in San Francisco); although I saw cabaret performers and they were beautiful, it just wasn’t for me. I started with my folkloric teacher, and the style was very earthy. Then I met Rachel and she really pushed me and she’s got some cabaret under her belt, and I picked it up from her. I believe in grounding my style in tribal, and the traditionalists can see some of the old style in my dancing.”

“I think we kind of have an ‘East Coast/West Coast’ thing.” I had to add. “Tribal hasn’t taken off as quickly here in New York; we’re home to cabaret and lots of classic Egyptian, while in San Francisco, it’s very tribal-heavy.”

“That’s true, but see, this is just why when you first asked how I’d define this, I see what’s on the online forums and I tend to refrain from commenting (about the style issue). Personally, I’d rather spend my energies supporting each other’s art than waste energy cutting others down. The dance is all evolving.”

Ariellah doesn’t currently study with anyone, but she does drill five days a week, roughly an hour a day and she teaches twice a week. “Sometimes on the weekends, if it’s before a performance or workshop, it could be three hours. I haven't taken class with anyone in a while just due to time and my job, unfortunately. If I could, I’d love to study with Suhaila Salimpour and think about getting certified. And training with Rachel would be incredible, but she’s so busy touring, she’s not regularly teaching.”

“I began teaching because I was asked for it, it wasn’t something I sought out. I may not have some new fancy technique to teach people, but I want to put it out there that anyone can be a strong dancer with drilling and practice; I like helping people learn to move in a healthy way, in order to protect their lower back from injury and strengthen their technique.”

“Anyone can dance; it just takes a level of dedication. And then adding your own personality and creativity to it.”

It was so wonderful to meet this dedicated Capricorn who clearly loves and is in love with dance. Her long term goal is to perform more often and to start up her own troupe. She finds long term touring tough because she values her stability, but we were lucky to have her on the East Coast for the weekend. Ariellah, like the dance, is evolving.