Artist Spotlight: Skrillex

Destruction, explosions, carnage, and robots…these are just some of the images that are conjured up when listening to any Skrillex track. Whether you want to call it dubstep, brostep, glitch, or simply noise, his indefinable genre of music can only be labeled as Skrillex. Fresh off Zen Arts’ recent performance with Skrillex at LA Live on Sat Jan 29th, we take a deeper look at this popular musical innovator.

Born Sonny Moore on January 15th 1988, Moore has had a fascination with music since a very young age. Influenced heavily by electronic groups such as Prodigy and Aphex Twin, Moore has been mixing and experimenting with music since he was 14 years old.

In 2004 Moore became the lead singer of hardcore rock band From First to Last, eventually recording two albums with the band. After three years of touring at several high-profile venues and festivals such as the Vans Warped Tour, Moore left the group to start a solo career, releasing several lesser-known tracks under his own name.

It was not until 2008 when Moore, an LA native, began producing and performing at various LA clubs and venues under the name Skrillex. He released his first EP My Name is Skrillex for free on his Myspace page on June 7, 2010, resulting in record-breaking downloads. After touring with mega dj Deadmau5 in 2010, Skrillex signed on with Deadmau5’s record label Mau5trap to release his second EP Scary Monsters and Nice Sprites. The album was an instant success with the title track hitting #1 on Beatport, becoming the first ever dubstep track to do that on the electronic dance music site.

In 2011 Skrillex started the year off with his Project Blue Book Tour, touring the country with other notable up and coming djs like Porter Robinson, and unveiling new tracks such as First of the Year (Equinox), one of Skrillex’s most popular tracks to date from his third EP More Monsters and Sprites. A popular music video for the track was also created featuring a child molester getting his ass kicked by a little girl with telekinetic abilities.

Throughout 2011 Skrillex’s popularity continued to rise with notable events such as his April 2011 Coachella performance with Korn, remixes of artists such as Black Eyed Peas and Lady Gaga, and being named MTV’s EDM (electronic dance music) artist of the year. Skrillex finished out the year with the release of his fourth album Bangarang on his own label OWSLA as well as five Grammy nominations including Best New Artist, Best Dance Recording (Scary Monsters and Nice Sprites), Best Dance/Electronic Album (Scary Monsters and Nice Sprites), and Best Remixed Recording (Benny Benassi – Cinema (Skrillex Remix)). Be sure to tune in to the 54th Grammy Awards on February 12th to see which awards Skrillex will take home.

Although often seen as the leader in bringing the EDM genre of dubstep to mainstream popularity, many hardcore purists debate whether Skrillex’s concoctions constitute as real dubstep. Skrillex himself doesn’t like to define his music as a specific genre, self-proclaiming it as “a mix of dubstep, electro, and glitch all thrown together.”

Conceived in the UK, traditional dubstep is the cousin of drum n bass, featuring a wobbly and reverberant bass, looped samples, rewinds, sudden drops, and a 2-step beat pattern. The genre began gaining popularity in the early 00s, spreading from the UK throughout Europe as well as overseas to America. Skrillex’s music has been said to be a more rough, aggressive, and sped-up version of dubstep often called brostep or Americanized dubstep. Rough, scratchy, and robotic, this subgenre is recognized as the heavy metal equivalent of the EDM scene. While still harboring much of the same characteristics of dubstep (e.g. wobbly bass), brostep accentuates the middle register and puts emphasis on distorted sub-bass.

Around since the 80s, electro is an EDM genre that is very drum machine heavy, with large synthesizer elements as well as distorted voice (usually with a vocoder). Glitch came about in the mid 90s and focused on beats made up of what’s typically unwanted musical sounds, such as digital and analog distortions, feedback, scratches, cuts, and clicks.

Somehow Skrillex has managed to combine elements of all these genres to create a brand new musical experience. And somehow…it works! Some call it static…others call it art! No matter what you like to call it, it’s not going away anytime soon. Skrillex shows sell out faster than his beats, making him one of the most sought after dj acts of our time.

To see what all the fuss is about be sure and check out Skrillex’s newest release Bangarang on Beatport, iTunes, or Amazon.

Whoops There Goes My Top: The Beauty of Burlesque

If all dance performance were like an ice cream sundae, burlesque would surely be the chocolate syrup, a silky slow-pour of sinful, decadent, and naughty sweetness that playfully covers the top, revealing sections of the coveted cool cream underneath. As opposed to strippers, whose sole goal is to unload their garments and dance in the nude, the charm of the burlesque dancer lies in the striptease itself, a sensual, seductive, and slow removal of clothing piece by piece, taunting onlookers into a fervid frenzy. But believe it or not, burlesque wasn’t always this way. In fact the art of burlesque started out more as an SNL skit rather than a Las Vegas revue.

The style of burlesque was born in the European cabarets of the 19th century, specifically in France with the inception of the can-can at the Moulin Rouge, and in England with performers like Lydia Thompson and her troupe of British Blondes. However the bawdiness of burlesque was not its initial defining characteristic.

The term burlesque is thought to be of Italian origin, coming from the word burla meaning joke or mockery. That’s because originally burlesque was intended to make people laugh, as opposed to its modern purpose of turning them on. In the beginning, music halls in 19th century England began showcasing satirical theater entertainment geared towards the poor and middle classes, poking fun at the habits and lifestyle of the upper class, acting as a form of social commentary. Shows would even parody popular theatrical pieces, operas, and Shakespearean plays.

By the 1860s, burlesque acts started to include underdressed women in order to maintain audience interest, a big contrast to the strict Victorian dress of the time which involved women being very covered up in girdles, hoops, and bustles. The lengths to which these curvaceous and voluptuous women (probably considered fat by today’s standards) would go were relatively tame compared to the later place burlesque would eventually end up, revealing mainly legs in tights.

By the late 1860s, Lydia Thompson and her British Blondes had moved their show to New York City, introducing burlesque to 19th century America. Their first show Ixiom featured underdressed women playing men’s roles and was an instant success. Soon burlesque acts began popping up all across the entire nation. By the late 1800s, the American burlesque format consisted of comic sketches, acrobats, magicians, singers, a play, and a finale of an exotic dancer.

In the 1920s burlesque had evolved from a song and dance variety show into full striptease and burlesque performers started to become famous for their not-so-hidden assets. G-strings and pasties were all that was left for those burlesque performers who opted out of full nudity. The comedy aspect of burlesque was completely gone by this period, the audience now mainly constituted of men coming to watch performers like Gypsy Rose Lee take it all off.

In the 1930s and 1940s American government began cracking down on burlesque clubs, implementing stricter rules and outlawing burlesque in certain states. In New York Mayor Fiorello LaGuardia had burlesque outlawed by the 1940s, putting it virtually out of business in the Big Apple. However around this time period, the birth of the pin-up model in dirty magazines helped keep burlesque alive amid heavy censorship and government crackdown, with models featured in magazines performing special engagements at burlesque clubs to help attract audiences.

By the 1950s other forms of entertainment such as television and film had taken the nation hostage, and the steady decline of burlesque had begun. The popularity of the hourglass woman, such as Marilyn Monroe, Jayne Mansfield, and the underground Bettie Page, began capturing the attention of men. And by the 1960s full-fledged hardcore porn is easily available, virtually killing the entire art of burlesque. Although its remnants survive in the forms of go-go dancing and the Las Vegas showgirl, burlesque does not make a full return until the mid 1990s.

By that time, a new generation initiated a resurgence in burlesque art, aspiring to replicate the glamour of the old ages, and in resistance to the omnipresence of the hypersexuality of pornography. New clubs started opening in major cities featuring performers like the very popular Dita Von Teese, bringing the heyday of burlesque to a new audience, albeit in a slenderized, tattooed, and pierced version. By the late 1990s burlesque had started to poke back into the mainstream public eye with dance-ensemble-turned-pop-group The Pussycat Dolls doing shows at famed Los Angeles nightclubs The Viper Room and The Roxy. Even though today burlesque continues its journey back to the spotlight with feature films like Burlesque and performance troupes like yours truly, it will never quite return to the popularity levels of the Roaring 20s.

At its heart the objective of modern burlesque is to turn people on by slowly exposing skin or undergarments in suggestive and provocative dance moves. The allure of burlesque is in the tease and not the full strip. Burlesque performers need to be sensual, playful, and cheeky all at the same time. Expressions such as gasping, winking, smiling, and laughing all add to the appeal of the burlesque striptease, perpetuating the notion that the viewer is witnessing something that should not be seen, something taboo. Finally burlesque routines usually align with a specific type of music, the 1940s big band show music focused on a heavy and slow bass drum beat, allowing the performer to take her time in disrobing.

If there’s anyone who’s got a handle on the delicate art of burlesque, its Zen Arts. For a first-hand look at the fun of modern burlesque, call 855-ZEN-ARTS or email to info@zenartsla.com to inquire about Zen Arts burlesque dancer bookings.

Walking, Breathing, Living Art

“If God had meant for us to be naked, we’d have been born that way.” –Mark Twain. When it comes to nudity and censorship we don’t think anyone could have said it better. What’s the point of clothes anyway? The human body is a work of art that should be on display, especially if it’s undergone some kick-ass body painting!

As opposed to the term body art, which is usually associated with tattooing, body painting is the temporary version and has been around since the dawn of man. At the moment cavemen learned to paint on walls, they learned to paint on themselves too (just go rent Encino Man…buuuuddy). Body painting has been one of our defining behaviors as a species, whether it be to camouflage, intimidate, distinguish, celebrate, or entertain.

Back in the day we didn’t have much, just sticks, dirt, and stones, so most body painting was done with natural pigments like clay and charcoal. In fact some tribes around the world still use these natural elements in their body painting rituals. Today of course we have dyes, paints, and other synthetics for dramatic other-worldly effects, things our ancestors would’ve never dreamed of.

Aside from Halloween, why do people paint themselves today? For some it’s cultural tradition. In India brides-to-be get intricate patters of henna dye painted on their hands and body to signify the special occasion, a practice known as Mehndi.

For others it’s a way of getting attention. Many political protest groups such as PETA picket in the nude with various animal-like characteristics painted on their skin to capture people’s attention and send the message that animals are people too.

Alternatively for some it’s a way of showing devotion. After all how many times have you turned on the Super Bowl to see passionately painted fans enduring bitterly cold temperatures just to support the team of their choice?

Today body painting is even used for personal aesthetics to enhance certain features of the body, or even completely add features that are absent. I mean isn’t spray tanning a form of body painting also (painted on abs! yay!)?

Probably a primary reason for modern body painting is for the sake of art itself. Whether it be in commercials, magazines, billboards, movies, television shows, or even art galleries, advances in technology have allowed body painting to reach unprecedented levels and permeate every aspect of the artistic dimension.

The cover of the August 1992 issue of Vanity Fair, featuring a nude yet fully painted Demi Moore, is considered by many to be the introduction of the new age of body painting. Artist Joanne Gair who was responsible for the suit scene on Moore’s post-childbirth recently toned G.I. Jane body, instantly became a pop culture icon, joining the ranks of her colleague on the project, famed photographer Annie Leibovitz, with whom Moore had worked with a year prior for her More Demi Moore nude and pregnant controversial cover of the same magazine.

In the motion picture industry body painting has become especially popular in the genres of science fiction and fantasy such as 2000’s X-Men, which featured actress Rebecca Romijn as the shape-shifting mutant “Mystique,” whose blue-skinned appearance took over nine hours to apply, with 110 prostheses covering 60% of her body, and latex paint covering nearly her entire body. Romijn was even instructed by makeup artists not to drink or use lotions before filming for fear of affecting her body chemistry and making the prostheses fall off. However on the last day of filming she brought a bottle of tequila to the set to celebrate with the cast and crew, only to culminate in throwing up blue vomit by the end of the night.

Body painting has even taken hold of live performance art, with popular acts such as the Blue Man Group performing dozens of shows worldwide. The Blue Man show consists of a trio of curious and clueless mimes who experiment musically and comically with various industrial equipment turned makeshift instruments (e.g. PVC pipes). All three performers are coated in the same shade of blue latex paint and wear the same all-black ensemble, remaining completely mute throughout the entire performance.

In the U.S., water-based body paints must go through strict testing to ensure safety before hitting the market, meaning most body paints are non-toxic and non-allergenic. However since everyone reacts differently to paints, it’s always best to test a small area out and remove immediately if any signs of allergic reaction become apparent. Body paints are best applied with sponges, brushes, hands, or airbrush, and usually wash off fairly easily.

Latex paints differ significantly in their content, application, and effect. Latex paints have the consistency of normal house paint and are typically made up of 1/3 latex, 2/3 water, and a dash of ammonia for preservation. Due to the ammonia, latex paints should not be applied near the eyes. However latex itself is all natural, coming from the sap of the rubber tree and naturally clear in its liquid form. Since latex allergy is quite common among the population, latex paints should be tested out just as other paints before full application. Popular latex paint brands on the market include Maximum Impact and Liquid Latex.

Unlike regular paint, latex dries slightly rubbery and shrinks about 3% when completely dry. This is what gives latex paint that tightened and thick appearance, almost like a piece of tight clothing. Once dry latex paint becomes very tacky, meaning it will stick to anything it touches, especially if it comes into contact with other latex-painted skin. Due to this tackiness, some people like to affix extra accoutrement to the paint that will be held in place once completely dried. But to avoid tears and rips most people apply slick sprays on top of the paint to get rid of the stick and allow normal body movement. Common sprays on the market include STP Son of a Gun, Black Beauty, and Liquid Latex Ultra-Shine. Powders can also be used for metallic or glittery effects (such as Deviant Liquid Latex Stardust Powder).

Liquid latex body paint is often used to cover nude parts of the body, either to create the illusion of clothing or for an entirely different effect altogether. It is best applied with foam brushes, with single continual strokes producing the most homogeneous results, as opposed to short little strokes. Application should not be excessive or runny, but multiple coats will create the best effect, with proper drying time between coats. Additionally each coat should be painted in a different direction for a durable and smooth finish.

Since liquid latex does inhibit perspiration, it’s crucial to be careful of dehydration and overheating. During application the paint feels cold and wet, but once dry it feels warm and tight against the skin.

Latex paint is removed by peeling not washing, meaning one should be mindful of hairs when applying because the removal process can act much as a salon waxing, pulling hairs out by the root. Long thick hairs should be shaved or removed prior to application to avoid the pain of removal when peeling. Also a very thin layer of body lotion can be applied to the hair prior to painting to prevent hair-pulling.

From caveman to Blue Man it’s evident that body painting has come a long way, evolving from simple markings to completely alien skin appearances. Whether you’re looking for a troupe of animalistic contortionists, acrobatic pixies, or stilt-walking Martians, Zen Arts body painting artists have the skills you need to match any theme. For inquiries on body painting please call 855-ZEN-ARTS or email to info@zenartsla.com.

Modern Mermaids: From Tales to Tails

From Daryl Hannah shattering TV sets of the Bloomingdale’s electronics department…to little Ariel using a fork to comb her hair…to whatever the heck this is on the Real Housewives of Beverly Hills…mermaids have permeated media and popular culture for decades. Dating back to ancient mythology, the idea of merfolk, a species of magical underwater people with the head and torso of a human and tail of a fish, has been around almost as long as man himself. Today the idea of mermaids has come so far as the performing arts, with professional mermaids hired out to perform at special events, swim in aquariums and pools, and be photographed alongside real marine life.

The term mermaid originated back in the 1300s from the French word for ocean mer, and maid referring to a girl or young woman. The terms merman and merfolk are also commonly used to refer to the male version of the creature as well the species as a whole. Ancient depictions of mermaids usually display a topless female figure with a human head and human arms, but the torso and legs of a fish. Historically mermaids have always been topless, but with the advent of censorship within the last hundred years, modern versions are commonly clothed in bikini tops, bras constructed of seashells, or covered by their long hair.

While the abilities of mermaids vary from culture to culture, most abide by these commonalities: mermaids live and breathe underwater, they sing beautiful hypnotic songs that can entrance and distract, and they can provide aide or cause destruction depending on their mood. Many depictions describe mermaids as malevolent creatures trying to lure men to their demise, either by singing them into a hypnotic trance causing them to shipwreck, pummeling their ships with massive waves, or luring them into the water with their sweet song, only to then squeeze the life out of them or drown them. Other portrayals present mermaids as helpful yet absent-minded beings, trying to rescue sailors who have fallen overboard, but mistakenly drowning them due to their obliviousness of the human need for oxygen.

Evidence of mer-folklore can be found throughout every civilization in the history of mankind. In the Ancient Greek epic The Odyssey, the brave Odysseus has his men tie him to the mast of his ship so as to resist the luring song of the Sirens, mythical creatures whose depictions are often in mermaid form. In China fishermen attempted to catch mermaids because myth had it that not only did their tears turn into pearls, but they also possessed the ability to create beautiful translucent materials. Legend had it that if a fisherman listened to the songs of a mermaid, he could be hypnotized into a coma for the rest of his life.

In Africa, the water spirit Mami Wata was often illustrated in mermaid form, and could heal and bring good luck to her followers when she was in a good mood, but cause illness and drown people when she was in a bad mood. In the Caribbean a similar spirit known as Lasirèn who was always drawn holding a mirror with which she could admire her own beauty, could also help people in affairs of money, love, work, or health, especially if her spirit was invoked in the practices of Voodoo. Other mermaid legends from around the world include the Scottish Ceasg, the Irish Merrow, and the Indian Suvannamaccha.

No matter the culture, mermaids have always symbolized the animalism of humanity; the fact that humans, being a large part of the animal kingdom, display some of the same types of behaviors and characteristics of animals. The mermaid is simply a physical representation of that idea, an image of the inner animal within us all.

That being said, today a handful of individuals on our planet have chosen a career not often explored: professional mermaid. These individuals, mostly women, dress in mermaid tails and other mermaid regalia and perform special routines at private parties, swimming engagements, and modeling photo shoots. Seeing as a giant tail can be quite cumbersome and anchoring, most mer-performance entails holding various poses, flapping, singing, and swimming.

Mermaid performance has been growing so fast in recent years that on August 12th and 13th of 2011, over 200 professional mermaids gathered at the Silverton Hotel in Las Vegas for the first ever annual mermaid convention: Mer-Con. Mermaids in all age ranges from toddlers to adults, came from around the globe to meet, mingle, and mer-out in all things mermaid. The event features a mermaid pageant where mermen, mermaids, and merbabies all compete for crowns in several categories including Best YouTube video, Youngest, and Most Environmental. Although pageant contestants often require the help of strong men to pick them up and carry them onto stage, that doesn’t stop them from displaying their many mer-talents in displays of flexibility, dance, and costume. The mermaids pull out all the stops showcasing their finest and most extravagant tails, made of shimmering sequins, scales, and other iridescent fabrics, all for a chance to win the coveted Miss International Mermaid.

The event ended with the World Mermaid Awards and pool party, in which all attendees jumped into the Silverton swimming pool, breaking the record for the most merfolk swimming together in one place. Other highlights of the 2-day event include books and readings about mermaids, mermaid art, post-pageant Q&A’s, autograph signings, and photos. For a video highlight reel of the event head here.

Also in attendance at Mer-Con was Zen Arts resident mermaid Hannah Fraser, world-renown for her efforts in marine environmental protection. Having a fascination with mermaids since a young age, Hannah made her first mermaid tail when she was 9 years old. As an adult Hannah got into modeling and eventually transformed her career into becoming a professional mermaid, traveling the world to perform and be photographed as a mermaid. Throughout her career Hannah has swam with and been photographed with dolphins, whales, sharks, sea lions, sea turtles, and sting rays.

Flapping her self-made luminous rainbow tail, Hannah unveiled her newest venture at Mer-Con, a 3D underwater film of herself swimming with sharks off a shipwreck in the Bahamas, where she frequently works at the Atlantis Resort. To shoot the scene Hannah went down 40 feet into a shark farm without a cage, taking gulps of air from a nearby air tank. One of the curious sharks even tried to take a bite off her tail fin, but quickly released his jaws after the taste of bland plastic. To catch a snippet of the thrilling shoot head here.

The convention culminated in a mesmerizing fire performance by Hannah, who then dove into the pool inviting all the other mermaids to join in. Hannah is probably the most multi-talented mermaid on the planet, skilled in acrobatics, fire arts, and dance, all in her mermaid persona. Hannah is also a premiere mermaid activist, working with Surfers for Cetaceans, The Whaleman Foundation, and other various anti-whaling charities to put an end to the slaughter of innocent wild whales and dolphins. Together with her husband, Hannah organized a surfer’s paddle out in the dolphin killing bay of Taiji in Japan to put an end to the heartless killing of these beautiful creatures, contributing to the Oscar-winning documentary The Cove. It’s no wonder that at last year’s Mer-Con, Hannah won awards for World’s Greatest Environmental Mermaid, a Lifetime Achievement Award, as well as World’s Greatest Environmental Mermaid Film. Hannah continues to be an inspiration to other mermaid activist with a passion for all life under the sea.

In honor of Hannah, the epitome of a real life mermaid, we’ve compiled a list of the top ten qualities we believe constitute a great professional mermaid:

 

1. Able to Hold Breath – Since most professional mermaids are required at some point or another to take underwater photos or perform underwater acts, they must learn to hold their breath for long periods of time, ranging anywhere from 2 to 4 minutes.

2. Underwater Acting – There’s more to being a mermaid than simply wearing a tail and being pretty. Since they are underwater, mermaids must also learn to express emotions without the ability of speech. They must look magical, compassionate, and joyous, not like a puffer fish struggling to hold air in.

3. Tall – Although height is not necessary to be a mermaid, it just makes things easier. Tails are heavy and difficult to maneuver. Having a tall figure gives a mermaid more leverage to work with the tail, both in and out of the water.

4. Athletic – Obviously since mermaids are typically described as beautiful angelic creatures, and a large part of being a professional mermaid involves photos and modeling, so a great figure can go a long way for booking mermaid gigs. But aside from simple aesthetics, mermaids usually require strong legs and a strong core to be able to swim with their tails in underwater performances.

5. Flexible – Posing and flapping a heavy plastic tail takes a lot of intricate bending, so flexibility is also key in mer-performance.

6. Versatile – A lot of mermaid acts will require the performer to jump into water, then back onto land, then back into water. Professional mermaids must be versatile in their abilities and attire, to be able to look pretty and believable, both wet and dry.

7. Passion for the Sea – Any professional mermaid with a dislike for the ocean and marine life is clearly in the wrong profession. Mermaids should feel comfortable swimming with fish, turtles, dolphins, and various other marine life, as well as actively contribute to charitable marine organizations.

8. Great Singing Voice – Throughout our exploration of mermaid folklore, it’s evident that many cultures around the world believe mermaids to have enchanting voices, able to captivate and confuse with their spellbinding songs. With the modern invention of lip-syncing, it’s not always necessary to have a great singing voice, but if ever called upon for a singing gig, clearly it doesn’t hurt.

9. Great Smile – The modern mermaid is gentle, friendly, and kind, so most professionals would agree that when performing a smile needs to be plastered on.

10. Great Tail – There are cheap tails and there are expensive tails, but no matter the price a tail must simply look believable. Scales, shine, and iridescence are all qualities found in real-life fish that should be present in a good tail. Many professional mermaids choose to construct their own tails for a truly unique look.

 

The mermaid has come a long way, from mythological monster to potential career choice. Fifty years ago no one could have ever guessed we’d be having actual mermaid conventions. And fifty years from now, who knows where the professional mermaid business will be. One thing’s for sure…the hunt for the elusive creature is still on. In recent years sightings of a mermaid off the coast of Israel has resulted in a one million dollar reward for anyone who can prove its existence. And if discovered…the career of the mermaid professional could soon be obsolete.

To book a mermaid for your next event, call 855-ZEN-ARTS or email at info@zenartsla.com.

* All Mer-Con photos provided courtesy of the Las Vegas Sun. For more photos of Mer-Con 2011 head here and here.*

 

The Dance of Smiles

With Mardi Gras less than one month away, it’s time to dig up your bedazzled glittery bikini, 5-foot high headdress, and 4-inch heels! More commonly known as Carnival, this once-a-year celebration is marked with week-long street parades, masquerades, parties, costumes, dancing, and music. But no Carnival is ever complete without the dance that started it all: the samba!

Samba is a type of music and dance originating in Brazil in the early 20th century. It is recognized worldwide as a symbol of Brazilian culture. The beginnings of samba music arose in Bahia in the late 19th century by the African rhythms of ex-slaves. But it wasn’t until these individuals migrated from Bahia to the city of Rio de Janeiro and mixed their African styles with other Brazilian musical genres such as maxixe and lundu, as well as the European polka, that samba was born. The basics of samba music include a quick tempo-ed 2/4 time signature, meaning there are two beats in each measure and the quarter note gets a full beat.

Although the origins of the word samba remain unclear, it is believed by many to stem from African roots. Throughout Brazil samba is seen as the pure musical expression of urban Rio de Janeiro. It relies heavily on a loud and explosive drum beat, various stringed instruments like the cavaquinho, percussion instruments such as the tamborim, and other big band instruments like trumpets, trombones, and flutes. What results is a lively, vibrant, and happy form of music with enough energy to carry its very own dance.

What is considered to be the first recorded true samba song is “Pelo Telephone” (By Telephone) by a band of musicians organized by one named Donga in the year 1917. From there the genre spread throughout Brazil and the rest of the world. Samba was introduced to America in the 1930s, and made very popular by the 1940s thanks to the help of the so-called “Brazilian Bombshell” singer and dancer Carmen Miranda and her famous fruit hat.

If you’ve ever watched Dancing with the Stars you’ll know that the samba is one of the main dances all the contestants are required to perform…and one of the most difficult. That type of samba is known as ballroom samba or samba gafieiro, and usually involves dancing with a partner. That is just one of many variations the samba is performed in, but the type of samba we are exploring is the kind used in the Carnival celebration: samba no pé.

Samba no pé is a solo dance, usually performed either completely alone, in chorus lines, or among large groups, but never with a partner. Dancers stand tall and straight and alternate bending their knees, shifting their weight between the hips for a gyrating motion. The feet also move by lifting the heel of the bent knee and tapping the toes to the floor in a small step forward. The dancer repeats this motion one time on each leg and on the third step bends the knee, lifts the leg completely off the ground, bends the leg outward to show the inner thigh towards the front, and then places it down to start again with the opposite leg. So although samba music follows a 2/4 rhythm, the dance follows 3 steps per measure.

The samba is danced by both men and women, with slight variations between the sexes. Firstly women usually dance samba on the balls of their feet, seeing as they perform in high heels or boots, whereas men make complete contact with their feet to the ground. Secondly women usually focus on projecting their sexuality and femininity in a samba, twisting their heels and shaking their butts, where men tend to focus on performing acrobatic feats with their feet. Even though the samba is a very sexual dance, when males and females dance together they usually do not touch. It is common however for the men to dance around the women, spinning, jumping, and skipping their samba around them. Regardless of gender, the samba is always about hips, hips, hips!

Aside from the legs, the upper body is very much involved in samba as well. Dancers usually allow their arms to swing from side to side, creating elaborate arcs, and alternating reaching the hips with the shoulders. Arm movement is a crucial part to the dance, but much more improvised and based on creative free will rather than a set routine.

Samba steps can also vary depending on regions of Brazil. For example a Bahian samba usually has the legs tilted outward more throughout the dance, whereas in a Rio de Janeiro samba the knees are kept close together. However the Bahian variation is the one more popularly performed and seen at carnivals worldwide.

The last part of a samba may be the most important element: a smile. The samba is meant to be an energetic, happy, flirtatious, and exuberant dance. It is a celebration of joy and life, so sambistas (samba dancers) must always try to express as much happiness throughout the dance as possible. Smiling, laughing, cheering, and singing are all behaviors a great sambista must adopt. And the reason for stressing this element lies in the time of year the samba is most frequent.

The samba is a staple of the Carnival festival, a colorful and crazy celebration held 46 days before Easter. Street parades, outrageous costumes, loud music, and overindulgence of the senses are all characteristics of Carnival, which precedes the holy month of Lent. In Christianity, Lent is the period of 6 weeks before Easter in which followers must partake in pious practices and abstain from worldly pleasures like sex and rich foods. But in order to see the real reason for Carnival, and thus the samba itself, we must delve deeper into the season of Lent.

Historically speaking, Lent used to be a period of strict fasting, in which followers didn’t eat anything until sundown, and even then items such as meat, dairy, eggs, vegetables, or alcohol were not allowed. (Today most of those practicing choose to give up a single vice or guilty pleasure as opposed to days of complete fast.) The Lenten ban on celebrations and rich foods meant people had to rid of all their food and drink prior to the start of the season. What better way to empty the fridge than to have a great big block party! And thus Carnival was born.

The first recordings of Carnival came from medieval Italy, where the practice spread throughout the Catholic regions of Europe, and was carried to Latin America and around the world via Portuguese and Spanish explorers. The exact origins of the term Carnival remain a mystery, but some folk historians believe it to stem from the ridding of meat prior to the Lent season (carne vale is Latin for “farewell to meat”).

Carnival in Brazil began in Rio de Janeiro in 1641, imported by the Portuguese who were inspired by the masquerade balls of Paris. It evolved to its current state through assimilation of African and Latin elements. Rio Carnival is verifiably the biggest and most famous party in the world, Guiness-recorded and all. Nearly 70% of Brazil’s annual visitors come for Carnival, in 2011 accounting for 400,000 foreigners partaking in the festivities with over 4.9 million revelers in total. Carnival celebrations are held in dozens of countries throughout the world, most notably the countries of Europe, the islands of the Caribbean, and the countries comprising Latin America. Some of the biggest parties are held in cities like Venice and New Orleans, where Carnival is traditionally referred to as Mardi Gras. However the Rio Carnival is the biggest party of its kind, an extravagant production that stops nearly the entire country.

The Rio Carnival that we see today did not develop unil the late 19th century, around the inception of the samba, when pageant groups called cordões began parading through the cities during the holiday, dancing, singing, and representing their neighborhood in colorful costumes. Today these groups are called blocos and each one consists of sambistas, musicians, and groups of loyal party people. Each neighborhood bloco has its own special street, bar, or area near the beach where they will settle down and perform for the entire week of Carnival. This tradition of blocos has even evolved into an official samba competition held in the cities of Rio de Janeiro and Bahia.

In Rio, the samba schools prepare all year long for Carnival, for a chance to compete in a four-night competition at the Sambadrome, a 700 meter stretch of street converted to a parade area with permanent bleachers built on either side. Over 100,000 people fill the Sambadrome to watch the masses of samba schools make their way along the parade route. And each year one school is chosen as the winner, picked based on costume, flow, theme, music, and performance.

At its heart Carnival is a celebration of transformation, where the old become young, the poor become rich, and the plain become extraordinary. And for many the samba is to thank for this metamorphosis, a chance to get up in front of the world, to dance, to cheer, and to be noticed.

To inquire about booking a Zen Arts samba dancer for your upcoming Mardi Gras event, call 855-ZEN-ARTS or email us at info@zenartsla.com.

The Trick that is Truly Tough as Nails

When it comes to freaky sideshow acts, no other trick seems to furrow brows and turn stomachs as effectively as the human blockhead. Even the name itself can seem quite jarring: the human blockhead? But what else would you call someone who hammers nails into their skull? Obviously this does not sound like something a smart person would do.

As stated, the human blockhead trick entails the pushing or hammering of long objects into the nose. Long nails are the most commonly used, but other insert-able items include corkscrews, awls, drills, and knives.

Although it may appear to be an illusion, the act involves no sort of trickery. The nails really are being driven into the head. The only part of the act that is an illusion is caused by the ignorance of human anatomy. Since our noses lie vertically upon our faces, there is a common misconception among people that the nasal cavity goes up, when in reality it goes straight back. It is this misconception that makes it appear as though the nails are going straight through bone (or skull), when in actuality they are being pushed carefully through the nasal cavity.

The trick is said to be invented in the 1920s by Coney Island magician and sideshow performer Melvin Burkhart. A professional sword-swallower, fire-eater, knife-thrower, and lightweight boxer, Burkhart came up with the idea of the blockhead after breaking his nose in a boxing tournament. While being treated by doctors, Burkhart became fascinated by the scalpels, picks, and other medical instruments doctors had inserted into his nose to remove the broken bone fragments. Burkhart’s epiphany came when he realized if the doctors could put those instruments into his nose, then he could probably put other things into his nose too.

Once recovered Burkhart quit boxing and immediately incorporated the blockhead trick into his sideshow master of ceremonies gig. Burkhart soon rose to fame and eventually worked with notable circuses and troupes such as Ringling Bros. Barnum & Bailey and Ripley’s Believe it or Not. When asked by spectators how the trick is performed, Burkhart often jokingly replied with the ambiguous, “I use a false nose.” Since coming up with the trick, Burkhart has taught it to hundreds of others throughout his lifetime of performing, touring from the early 1930s until retirement in 1989. Unfortunately in November of 2001 Burkhart died of a stroke.

Even though it may look bizarre, the human blockhead trick makes perfect sense once you know the basics of the anatomy of the head. The human skull is comprised of 22 bones that are sutured together, and contains several holes and spaces throughout, such as the eye sockets and sinuses. The nose is made of mostly cartilage and connective tissue, with skin on the outside, and a mucous and hair layer on the inside, to detect, trap, and protect the body from inhaling irritants such as dirt, dust, dander, viruses, and any other foreign invaders.

The nasal cavity itself is a lot larger than it seems. Rather than traveling upward as it appears from the outside, the cavity actually extends straight back. The dimensions of the cavity lie with its ceiling just below where the nose meets the eyes, and its floor approximately level with the openings for the nostrils. The walls of the nasal cavity undulate producing grooves called conchae, which provide extra surface area to help hold in moisture. When a blockhead performer pushes a nail straight back into the nasal cavity, they usually apply a slight downward pressure onto the nail to drag it against the cavity floor, in an effort to ensure an easy pass through to the back of the throat, and avoid getting caught on any conchae. The area where the nail ends is a hollow space that widens at the back of the nose and hits the throat, and is known as the nasopharynx.

Obviously since none of us have the exact same appearance or anatomy, some performers may have to alter their approach when it comes to performing blockhead. Performers with a low nose may have to move the nasal tip out of the way in order to get the nail through, causing somewhat of a pig-nosed snout. However, most blockhead performers would say maneuvering through the nose is the easy part. It’s the trying not to sneeze part that’s the hardest…and most dangerous.

Sneezing is an involuntary reflex, just like the knee-jerk when the doctor taps your leg with his hammer. Involuntary reflexes are automatic reactions, meaning they do not require thought. They are the body’s response to an outside stimulus, in an effort to protect itself. Like all other reflexes, sneezing follows the reflex arc of the receptor, sensory neuron, integration center, motor neuron, and effector.

When the nerve endings (receptors) in the nose detect irritants, an impulse (sensory neuron) quickly travels to the sneezing center of the brain stem (integration center), which in turn sends instructions (motor neuron) along the facial nerves that lead to the lungs and diaphragm, causing the eyes to water, the diaphragm to contract, and the person to take a deep breath (effector). What follows is an abrupt contraction of the chest muscles to forcefully and rapidly expel the air from the lungs via the nose and mouth (aka sneeze). This is the body’s way of trying to rid of potentially infective and harmful particles that enter the nasal cavity, a basic defense mechanism against bacteria and viruses.

Ignoring this defense mechanism is the most difficult aspect of blockheading. Performers learn to suppress this automatic and natural response by desensitizing the area through frequent practice. This conditioning involves repeatedly stimulating the nasal cavity in a controlled fashion, while trying to ignore the tickling sensation it causes.

Most human blockhead performers have a preference for which nostril they use, either because that nostril already has a naturally lessened sensitivity to sneezing, or because they trained that nostril to be less sensitive. Mastering complete sneeze suppression is a very difficult task, and even though some blockhead performers condition and practice for many years, occasionally it may just not be possible to hold that sneeze back. Here lies the real danger of the human blockhead.

Sneezing while performing blockhead could cause the inserted object to enter into the skull base, perforate the septum, or head into a sinus. Since a sneeze begins with a sharp inhalation of air, the object could potentially be pulled in deeper, piercing the back of the throat or causing damage to the soft tissue lining. The actual sudden expulsion of air and whipping of the head at the culmination of sneezing could cause the object to tear through various nasal structures as it is suddenly and erratically launched out of the nose. In addition to sneezing, performers also must always ensure their inserted objects are clean, to avoid any potential sinus or throat infection.

Amateur blockhead performers start with smaller and softer objects before working their way up to sharp nails. While beginners usually start with a q-tip, more advanced performers have been known to go beyond just nails, inserting everything from fireworks, to lit fire-eating torches, to even automatic drills.

In fact the blockhead trick has spawned several other similar performance acts. In the year 2000 blockhead performer Ryan Stock created a variation known as the “human meathead,” in which he inserts a hook into his nose and coming out of his mouth, and hangs up to 70 lbs of weight on it. Other variations of “mental floss” or “skull floss” involve similar acts of items such as balloons, condoms, and noodles going through the nose and out the mouth.

If you ever witness a blockhead performance you’ll notice most performers hammer the nails in. The hammering, though totally unnecessary, adds to the charm of the trick. For it is the sound effects produced from the hammer hitting the nail head, and the suffering and strenuous facial expressions the performer puts on, that create the illusion of hammering through bone. In reality, the nails could simply be slid into place.

Obviously inserting nails into your nose and fighting the urge to sneeze can feel weird and uncomfortable. But as long as people continue their reactions of dread, disgust, and disbelief, performers will continue shoving things up their shnozzes.

Captured Through a Zen Lens

Ever wonder how the Zen Arts crew produces so many visually-striking images of light and fire performance? Well it’s not through Photoshop, Illustrator, or some other means of photographic digital manipulation. All it takes is a simple adjustment of your camera.

Long-exposure photography has been around since the beginnings of photography itself. It involves the creation of images featuring a streaking, blurring, or smearing effect, produced by photographing lit objects moving at quick speeds. Long-exposure photography works by holding the camera’s shutter open for an extended period of time, allowing the camera to try and capture movement upon a singular still image. A moving object producing light will create light trails, and unlit moving objects will create transparent silhouettes. When unwanted, the effects of long-exposure photography are often called motion blur.

Producing a long-exposure image requires the shutter of a camera to be held open longer than usual, an action known as slow shutter speed. This allows light to enter the camera for a longer period of time, creating the crazy effects of long exposure we’ve discussed. Slow shutter speeds work best at night, but also could be used for day effects of moving water or clouds. Due to the fact that there is less ambient light at night, long exposure at night allows the lens to capture only the moving light source, creating bright and crazy patterns. Any moving objects emitting light will create intricate lines, circles, and streaks, whereas stationary objects will be photographed as usual, with clear edges and fine details. Long-exposure effects let the viewer feel the speed of objects, feel a sense of mystery in environments, and add overall intrigue to any average scenario.

To produce a long-exposure image the photographer will need a few basic photographic tools, the main one obviously being a camera, specifically one capable of manual settings. Setting the camera to manual allows the photographer to take control of light adjustments that the camera would fixate itself if set to automatic. Depending on the scene being shot, the amount of light being emitted, and the speed of the objects photographed, the photographer must adjust the shutter speed and aperture (size of the opening through which light is allowed) manually. Additionally the photographer could also adjust the ISO setting on the camera, to manually adjust the shutter speed/aperture combination used. Previously in film cameras ISO was used to mean the speed of photographic negative materials, but in our newly digital camera age it now represents how sensitive the digital image sensor is to the amount of light present. A high ISO means high sensitivity to light, something you’d want in dark, night, or low-light situations. However, higher ISOs allow sensors to record fainter light eminences, resulting in more image noise (aka “graininess”). Excessive noise could result in a pixilated image, full of colored dots. High ISOs on regular digital cameras can create troublesome images high in noise due to a smaller image sensor. To the contrary digital single-lens reflex cameras (DSLRs) contain larger image sensors, meaning the pixels themselves are larger, allowing each to receive more light and thus result in less noise, even at high ISOs.

An automatic ISO setting tells your camera to obtain the best image quality at the lowest possible ISO for the situation you are photographing, automatically adjusting aperture and shutter speed dependant upon the amount of light available. For bright situations the lowest possible ISO is ideal, whereas low-light or night-time situations need either additional lighting (like a flash), or a higher ISO.

In addition to the ability to manually adjust shutter speed and aperture, a photographer attempting long-exposure also requires a tripod for better stabilization. Holding a camera with the hands at slow shutter speeds results in shaky and over-blurred messes. A tripod or some other stable surface the camera can rest upon will reduce the effects of shakiness and blur.

Furthermore, utilizing a remote trigger is best, seeing as pressing a camera button can shake the camera and ruin the shot. One of the benefits of a cable or remote release is they usually have a locking feature so you wont have to hold the trigger down for long periods of time, especially if you are attempting a very long exposure shot (e.g. starry swirls in the nighttime sky). Without a remote, most cameras have two settings for manual shutter speed: B (bulb) and T (time). A B setting keeps the shutter open as long as your finger is depressing the camera’s button. A T setting opens the shutter when the button is depressed and then closes it once the button is depressed a second time. A fourth option may be a self-timer setting, in which you can leave the shutter open for a specified amount of time automatically, without having to monitor the camera button.

If manually adjusting the shutter speed, the length of time the shutter is held open should be gauged by the brightness of your subject and how quickly it is moving. For a fast-moving and bright subject, start with a relatively moderate shutter speed anywhere from 3 to 5 seconds. Slower-moving subjects that are not as bright may need a shutter speed of 15 to 30 seconds. Since slow shutter speeds allow a great deal of light to saturate the chamber, simultaneously the aperture should be kept small so the image will not result overexposed. This is especially true if you’re doing a slow shutter shot during the day, in which a lot of ambient light can burn the image and wash everything out.

When it comes to lens aperture, the size of the opening is usually indicated by an f/ratio number, and the higher the f number the smaller the aperture. A 28 mm lens set at f/2.8 has an aperture of 10 mm (28 divided by 2.8 equals 10), while the same lens set at an f-stop of f/16 has an aperture of 1.75 mm (28 divided by 16 equals 1.75). The higher the f/ratio number, the larger the aperture, the more light will be caught by the lens. A setting of f/8 or f/11 is good for trying to attain an image with a slow shutter speed, but may need to be made even smaller (aka increased f-stop) if there is too much light.

Aperture also affects depth of field, so this should be taken into consideration when trying to attain your desired effect. The lower the f-stop number, the larger the aperture and thus a narrowing in depth of field, resulting in sharp focus of objects within an narrow range, and a defocus of background objects. Vice versa, a higher f-stop number creates a smaller aperture making the lens act like a pinhole, focusing all objects both near and far for maximum sharpness.

When trying for day-time long exposure shots, maybe to capture the rush of a raging river or the movement of clouds across the sky, extra tools like filters will help hold back the extra unwanted light that could wash out the picture. A neutral density filter is usually colorless or grey, and is a great tool to lessen the gravity of daytime light during long-exposure shots.

In many ways long-exposure photography is a process of trial-and-error. Since it can be difficult to guess the appropriate settings for the amount of light and movement present, many photographers shooting long-exposure practice bracketing, in which multiple pictures of the subject are taken at various shutter speeds to ensure that at least one will have your desired effect. This can be especially useful since sometimes its difficult for cameras to determine the appropriate aperture setting on slow shutter speeds in low light. Bracketing can involve changing shutter speed, aperture size, ISO setting, or any combination thereof between shots. Many modern cameras have an automatic bracketing setting that makes the adjustments among a series of shots, saving time and hassle for the photographer having to make the changes manually between each shot.

Long-exposure photography is a two-way street, meaning it works for both stationary photographer and moving subject, or stationary subject with a moving photographer. Both techniques are often used in what is considered the art form of light painting.

First started accidentally by Frank Gilbreth in 1914, light painting is the result of night-time exposures with a moving light source, or moving cameras across a stationary light source, both in an effort to purposely create unusual patterns and lines of light, sometimes discernible as objects, people, or script. Using small lights and leaving his camera’s shutter open, Gilbreth wanted to track the motions of his manufacturing and clerical employees, in an effort to create more efficiency and see how their jobs could be made easier, while still increasing output. What came out of his camera were the first light paintings.

The first photographer to purposely use light painting was Man Ray in 1935 in a series entitled “Space Writing.” After Ray soon many other artists followed, most notably even Picasso himself. Upon seeing photographer Gjon Mili’s light images of a figure skater with lights attached to the skates, Picasso starting creating light paintings right away, resulting in his famous “Light Drawings.”

Light painters pull their light source from a large array of choices including flash lights, fiber optic light pens, candles, matches, glowsticks, and of course fire poi! Light painting must be done in a completely dark setting so no additional light pollution will affect the camera. Setting the camera in a fixed position, light painters then open the shutter and quickly begin drawing the design of their choice. In light painting, its important to always keep the light moving and try not to repeat areas. Stopping, lingering, or repeating spots will cause burns in the resulting photo, with extremely bright spots washing out the rest of the image. Brightness of the light in the photo will vary depending on speed of movement: moving the light slower will produce a brighter streak whereas moving it quicker will produce a thin line. The same principle applies for how close the light is to the camera: the closer the light source to the camera, the brighter the image.

Some light painters choose to move the camera as opposed to the light source, a form of light painting more technically known as camera painting. Moving the camera around like a paintbrush, trying to capture lines and patterns of the light source, camera painters can create some of the same effects as light painters. Also, many light painters incorporate projections into their work, using light art to paint images on people or objects, not unlike this Zen Arts photo of the dancer with a tutu skirt made of light.

As with regular long-exposure photography, light painting works best at a low ISO to decrease noise (aka grain) and give the best chance for a good exposure. Noise also tends to increase with exposure time, but the advanced sensors in DSLR cameras produce images with significantly less noise than smaller cameras. An ISO of 100, shutter speed of 10 seconds, and relatively large aperture of f/4 to f/8, is an ideal setup to begin light painting.

Although all the exposure tricks we’ve discussed work with film cameras as well, obviously digital cameras produce the best results because they allow the photographer to see the effects right away and make any corrections as they work.

If you’ve got a camera, you’re more than halfway there. It’s time to close the curtains, turn the lights off, and get started! And if you’re fortunate enough to view a Zen Arts performance, try your hand at some long-exposure and email us the pics! You never know they could be featured on the website.

For more amazing Zen Arts long-exposure light images be sure to check out the Zen Arts Facebook page and blog page regularly for new uploads.

 

       

Got a Yearning for Something Burning?

Ever go out for Thai food and love dousing your dish in spicy red Sriracha chili sauce? Well if you can’t get enough of that burning, numbing sensation, then you might want to consider a career as a fire-eater! Fire-eating is the very dangerous act of extinguishing flames by using the mouth. Although “eating” is the verb linkage used in its name, the act involves no actual ingesting of flames, rather simply a smothering of flames to deprive them of the oxygen they require.

Just as fire-breathing, fire-eating is a very old practice dating back to ancient times. Royal courts of antiquity employed fire-eaters for entertainment purposes, while in the Far East in places such as India, Hindu swami and Islamic fakir fire-eaters displayed their skills in order to show their invincibility as a result of spiritual empowerment. Post Roman empire, as with most circus arts, fire-eating was relegated to street performances, festivals, and fairs where eaters usually performed for tips.

Fire-eating did not attract interest in the upper classes until 1667, when an English fire-eater by the name of Richardson completed a fire-eating act worthy of being recorded in France’s Journal des Savants. On October 8th, 1672, noted English writer and diarist John Evelyn documented a performance by Richardson, claiming he “devoured brimstone on glowing coals,” “melted a beere-glass and eate it quite up,” and “melted pitch and wax with sulphur, which he drank down as it flamed.” Evelyn even wrote that Richardson held a burning coal under a raw oyster in his mouth, letting it steam “until the oyster gaped and was quite boil’d.” Although Richardson’s servant disclosed his secret methods ultimately ending his career, Richardson paved a path for future fire-eaters among the wealthy.

In fact in the 18th century, another Englishman by the name of Robert Powell became one of the most famous fire-eaters of all time. In Harry Houdini’s Miracle Mongers and Their Methods, Houdini writes Powell ate “red-hot coals out of the fire as natural as bread,” “broil[ed] a slice of beef or mutton upon his tongue,” and “lick[ed] with his naked tongue red-hot tobacco pipes, flaming with brimstone.” Powell was also said to hold burning matches in his mouth, as well as ingest melted resin, wax, tar, and brimstone in a sort of fire-eaters soup. Performing for 60 years, Powell even got to perform for the Royal Family, and was awarded a purse of gold and a silver medal in 1751. Powell’s fame is partially due to his presence in performing, noted by medical writer Jeremiah Whitaker Newman in his The Lounger’s Common-place Book: “Such is his passion for this terrible element, that if he were to come hungry into your kitchen, while a sirloin was roasting, he would eat up the fire and leave the beef.”

Following Richardson and Powell, fire-eating found a stable audience in the circuses of the 19th and 20th centuries. Commonly a sideshow act, fire-eating among the circus community was seen as a sort of freshman position, with fire artists that were capable of more dangerous manipulation tricks such as breathing and juggling, receiving higher billing.

Just as real as fire-breathing, fire-eating does not involve any sort of trickery or illusion. It is a very real act, with real flames going into real mouths. There is no such thing as the rumored “cold flame.” Additionally, fire-eaters do not flame-retard the inside of their mouths; the chemicals in retardants would pose an even bigger danger causing severe poisoning. Rather than any trickery, fire-eating relies on one very simple scientific principle: fire and heat rise!

If you ever watch a fire-eater you’ll notice that they almost always stand with a wide stance, tilting their head backwards so their mouth and nose are pointing directly up. The stance ensures stability so they will not topple over, while the tilt is to keep the flames away from the face, because as we all know fire always burns upwards.

Once the tilt is perfected next comes the breathing, and in this department fire-eating rule number one is simple: don’t inhale. Inhaling when a flame is near or in your mouth can cause severe burns, fume poisoning, and tissue damage. Because of this risk, eaters must practice breath regulation constantly, holding deep breaths in and then slowly releasing air during exhalation. Controlled exhaling is the key to a successful fire-eater, so that the flames burn away from the face.

With tilt and breathing perfected, now its time to put the fire out. Making sure the mouth is as moist as possible, eaters stick their tongue out flat and wide, and place the burning wick upon it. At this point there are two basic methods to putting out a flame: closing the lips around the shaft of the torch to snuff out the flame, or a last quick puff of breathe when the flame is in the mouth. Often times the type of fuel, wicks, skewers, and length of burning can determine which method an eater will choose.

In terms of fuel, fire-eating follows the same general guidelines as fire-breathing: low burning temperature, high flash point. And also as fire-breathing, the risks surrounding fuels are multi-fold, with inhalation or ingestion causing serious consequences like pneumonia, cancer, tissue damage, or even death. Although kerosene and paraffin are common fuels in fire-breathing, fire-eaters generally use isopropyl alcohol or naphtha (aka white gas). Naphtha has the highest vapor pressure of all petrols, meaning it will easily produce flammable vapors whenever contained in an unventilated area (e.g. the mouth, for the Human Candle trick). Its low burning temperature and higher water content makes it easier to manage, lighting easily, burning almost anywhere, and evaporating very quickly.

Like in fire-breathing, wicks should not be made of cotton because they will burn and deteriorate quickly. Wicks are commonly made of Kevlar binding, which is durable and cool to the touch, even when set ablaze. It’s important to remember that even though a flame is biggest at ignition, this is when the wick is coolest, heating up as the flame burns longer and longer. So even though a flame could be burning a long time and be smaller than before, its probably hotter than its ignition state, and thus harder to eat. This is a contributing factor to the method of extinguishing an eater will choose to use.

Additionally its crucial that wicks contain no exposed metal screws, wires, or other metal binding. Metal gets hotter than anything else burning, so hot metal on the tongue is the surest way to get burned. Even though wicks should contain no metal, the skewers which they sit upon usually are made of metal, so eaters must be wary of where they put their skewers and how long they let their torches burn. A flame that’s been burning for a long time can heat up the surrounding metal of the skewer, making it hard to place the lips on the rod to suffocate the flame. In this case, a half-closing of the lips combined with the puffing method may be a better option for extinguishing the flame. Most performers ensure their lips are wet prior to beginning, seeing as they are the first things to feel the heat of the flame.

As with all fire arts, there are many safety precautions that a performer must check-off before beginning a fire-eating demonstration. If performing indoors its necessary to be in a high-ceiling area, breeze-free, with no hanging flammable materials nearby. If outside, performers must make sure there is no wind to potentially cause a blowback. Floors should be fire-proofed as well and extinguishers and fire blankets readily available in case of an emergencies. And of course, it’s never a good idea to fire-eat alone.

Amateur fire-eaters first practice with unlit skewers, eventually progressing to the real thing. When starting out it’s important to make sure the mouth is nice and wet with spittle. The first step in fire-eating is simply placing the torch in the mouth and then removing it. Mastering the breathing technique is paramount, and amateur eaters should immediately remove the torch away from the face if they ever feel out of breath. Once breathing is perfected, fire-eaters then move up to extinguishing the flame by blowing it out. Finally they graduate to quenching the flame by suffocating it from any further oxygen, closing the lips around the torch shaft.

There are five parts to every fire-eating routine, with an endless bag of tricks eaters can perform. The first part is ignition, the basic lighting of the torch. This itself can be made into a very dramatic act, with eaters finding innovative ways to light their flames. One common way is with the teeth, striking a match against the top front row.

The second part is tasting, also known as licking. This is the part when the eater places the flame on their tongue without putting it out. Tasting can encompass licking the flames, licking hot metal rods, or licking anything else that is set ablaze or giving the appearance of heat.

After tasting comes holding, in which performers hold a burning flame in their mouth. Holding also is commonly known as vapors, since most of these tricks involve maintaining lit vapors inside the mouth. Since the fumes of the fuel are the things burning, a performer is able to hold them without burning the inside skin of their mouth. Ranging from the basic human candle trick, to the cigarette light (lighting a cigarette with burning vapors), to the volcano (shooting lit vapors straight up), vapor tricks can be the most complex part of fire-eating. Teething is also a popular hold trick, in which the performer holds the lit wick of a torch between their teeth.

Fourth is transfers, in which performers transfer flames using various parts of their body. Finger transfers, floor transfers, palm, spit, and tongue are all very common. Some performers will ignite another torch using the lit vapors held in their mouth, before killing the present torch in their hand.

Which brings us to the final stage of the eating process, killing. Aside from putting out the flame with a blow or snuff, some performers put it out on their tongue, in their palm, or by simply whipping the torch down to extinguish the fire. More advanced eaters will perform multiple swallows at the same time, doing double, triple, or even more torches into the mouth and extinguishing them all at once.

Many record-holders in the world of fire-eating have completed their achievements in recent years. On April 1, 2010, Swiss eater Pascal Ackermann extinguished the most torches in 1 minute on an Italian TV program, putting out a total of 89 flames using his mouth. In February of this year, German Hubertus Wawra did the most in 30 seconds on the set of Guinness World Records in Mumbai, India, totaling 39. And the credit for the longest torch held in the mouth goes to Manhattan’s Chris Reilly (under the performer name Flambeaux) for holding a flame for 55.53 seconds in his mouth.

Special note: those looking to become fire-eaters must possess a high threshold for pain. Many notable eaters have stated that blisters in the mouth, on the tongue, on the lips, and in the throat are common and necessary in order to toughen up and desensitize the area. Yet others state that eating should come with little tissue damage, and that blistered eaters are performing incorrectly. No matter which side is correct, there’s no doubt that eating fire is probably not the best feeling in the world. So as the old adage goes, “If you can’t handle the heat…then don’t put fire in your mouth!”

For more on fire-eating check out the DVD How To Eat Fire: The Essential Guide by Carisa Hendrix. Or to book a Zen fire-eater for your next event, call 855-ZEN-ARTS or email us at info@zenartsla.com.

Zen Arts’ Top Picks of Circus Flicks

Cold, wet, wintry weather ruining yet another weekend? Well we’ve got just the thing to boost the spirits of that circus lover at home. Whether you’re looking for a great holiday gift or just in need of a DVD rental night, each of these films delivers its own special dose of circus fun, from the dramatic, to the light-hearted, to the downright scary. On both the big and small screens, the circus has been the subject of hundreds of films ever since the start of motion pictures. Below we’ve listed some of Zen’s favorite circus flicks of all time.

 

1. Freaks

Released in 1932, Tod Browning’s horror flick Freaks tells the story of a carnival freak known as the “feathered hen.” In a traveling circus, little person Hans is infatuated with trapeze artist Cleopatra, but is engaged to fellow little person Frieda. Frieda warns Hans that Cleopatra only gives him the time of day so that Hans will give her gifts and money, but Hans does not heed her warning. Frieda approaches Cleopatra and begs her to quit the charade to spare Hans’ feelings, accidentally revealing that Hans has a large inheritance coming in. At the sound of this news, Cleopatra seduces Hans into marrying her so that she can take his money and run off with Hercules, the strongman she’s been secretly sleeping with. At the wedding reception, the rest of the circus freaks announce they will accept Cleopatra into their group even though she is normal person. While passing wine around and chanting their acceptance, Cleopatra openly flirts with Hercules, mocks all the freaks, announces her disgust for them, and throws wine in their faces, causing them to leave. Regardless, Hans sticks by Cleopatra’s side as newlywed husband and wife. However soon after Hans is ill-stricken, and it is revealed Cleopatra has been poisoning him since the wedding, so he will die and she can take his inheritance and leave with Hercules. When another circus performer overhears Cleopatra and Hercules discussing their murder plot, she tells the other freaks and they band together to get revenge. One stormy night the freaks attack the couple with barrage of weapons, completely mutilating them. In the end it is revealed Cleopatra is the “feathered hen,” having her hands melted to appear webbed and her entire lower half permanently tarred and feathered.

The movie received mainly negative reviews by critics and was disdained by the public as a cinematic abhorrence. Banned in several countries, it single-handedly caused the end to Browning’s career. It wasn’t until decades later that the film was rediscovered as a cult classic, a label it maintains to this day. Featuring real-life circus freaks, the film teaches a lesson that sometimes pretty people are the real monsters.

 

2. The Greatest Show on Earth

Released in 1952, The Greatest Show on Earth was famed filmmaker Cecil B. Demille’s attempt at bringing the drama of life under the big top to the silver screen. Starring Betty Hutton, Cornel Wilde, and Charlton Heston, the movie also featured real circus acts put on by the complete Ringling Bros. Barnum & Bailey 1951 troupe, including all 1400 members, tons of equipment, and hundreds of animals. The actors were required to learn and rehearse various circus acts that they then performed with the rest of the troupe for some of the scenes of the movie.

The storyline follows strict circus manager Brad (Heston), who is in charge of the world’s largest railroad circus. When the circus’ board of directors decides to cut the show to a short 10-week season due to rough economic conditions, Brad convinces the board to keep the show on the road as long as it is turning a profit, that way he can keep all the circus employees working. The board agrees to this only if Brad removes his leading aerialist Holly (Hutton) from the center ring and replaces her with The Great Sebastian (Wilde). Although a very talented trapeze artist, Sebastian is also a playboy, troublemaker, and quite a handful for Brad to control. In their charade of continually one-upping each other for the center ring spot, Sebastian develops feelings for Holly, creating a delicate love triangle in which Brad and Sebastian are both vying for Holly’s affections. As a dare from Holly, as well as an effort to impress her, Sebastian performs a stunt without a safety net and falls, gravely injuring himself. Due to Sebastian’s handicap, Holly is then assigned center ring and top billing, a bittersweet victory as she realizes she has feelings for Sebastian. Harry, a crooked midway employee, and Buttons, a mysterious clown who never removes his makeup, add several interweaving elements to this complicated and melodramatic storyline. The movie culminates in a terrible train collision caused by the evil Harry, in which the truth about Buttons is revealed and the love-torn Holly must make a decision of who she wants to be with.

Winning two Oscars for Best Picture and Best Writing, Greatest is one of the highest grossing movies of all time (with respect to inflation). Although many critics feel it is one of the worst movies to ever win the coveted Best Picture award, most see the win as a last chance honoring of Demille, who’s best work was made before the Academy was even created. The film is said to have inspired director Steven Spielberg to pursue a career in filmmaking, specifically the big train collision scene, which Spielberg used as inspiration for his train collision in 2011’s Super 8.

 

3. La Strada

Spoken in Italian and directed by Frederico Fellini, La Strada follows the plight of a young girl named Gelsomina (Giulietta Masina) who is forced into servitude with a brutish traveling entertainer named Zampano (Anthony Quinn). When Gelsomina’s sister Rosa dies on the road with strongman Zampano, Zampano approaches the girls’ mother asking if Gelsomina will take her sister’s place, a swap the mother gladly allows for 10,000 lire. Zampano is a traveling strongman who puts on shows breaking iron on his chest and collecting tips in a hat. The naïve and playful Gelsomina quickly learns of Zampano’s rough personality, as he often uses intimidation and cruelty to control her. Zampano teaches Gelsomina how to dance, clown, and play a few instruments for money. But having had her fill of Zampano’s abuse, Gelsomina escapes into town where she meets Il Matto, a clown and high-wire artist. Zampano eventually finds Gelsomina, and the two to join the circus Il Matto works for. Il Matto and Zampano do not like each other however, and Il Matto continually teases Zampano, culminating in a fight between the two that results in both men being jailed and fired from the circus. After being released from jail, Il Matto proposes alternative life goals for Gelsomina to pursue, but she instead offers herself in marriage to Zampano, only to get rejected by him. One day Zampano sees Il Matto fixing a flat tire on the side of the road and decides to finally get his revenge on the clown, beating him to death and hiding the body. Gelsomina is witness to this and falls into a catatonic depression. Zampano finding newly saddened Gelsomina no longer lucrative to his act, abandons the young child, learning of her ultimate fate years later.

Winning the Oscar for Best Foreign Language Film (1st ever in this category) as well as over 50 varied international awards, La Strada is one of the most awarded films of all time, and considered by many to be one of the best. It makes our list however, for its poignant portrayal of the less glamorous side of circus performance known as busking.

 

4. Water for Elephants

The newest movie on our list (released in 2011), Water for Elephants is based off of author Sara Gruen’s novel of the same name and stars Twilight’s Robert Pattinson, Legally Blonde’s Reese Witherspoon, and Inglourious Basterds‘ Christoph Waltz. The film follows the story of Jacob (Pattinson), a 23-year-old Cornell vet student who is forced to drop out of school after his parents are killed in a car crash. Left with a bank repo-ed home and unable to return to school, Jacob resorts to jumping aboard a moving train, soon realizing the train he’s boarded belongs to the Benzini Brothers Circus. Eventually Jacob meets the owner August (Christoph) and his wife Marlena (Witherspoon), who agree to hire Jacob as a vet to the circus animals. After being unable to heal injured show horse Silver, Jacob puts the animal down, angering the hot-tempered August, who then tries to throw Jacob off the train. Soon after August purchases an elephant named Rosie to replace the horse and leaves Jacob and Marlena in charge of training the animal. The two fall in love and what ensues is a drama-filled love triangle under the big top.

Receiving critical acclaim and box office success worldwide, the film presents a compelling love story amidst a great depiction of the American circus at the height of its popularity, as well as shedding light on the issues of animal abuse and cruelty.

 

5. Kà Extreme

Ok so this one is not technically a film…rather a documentary. Still who wouldn’t want to see a behind the scenes look at one of the most expensive, innovative, and technologically advanced Cirque du Soleil shows ever? Kà is unbelievable! Opening in February 2005 at the MGM in Las Vegas, Kà and its home theater cost $220 million to develop and construct. Centered around an Asian motif, the story of Kà follows the journeys of two imperial twins separated during their youth, when their parents the Emperor and Empress are killed and the palace is overthrown. Of course the production is wrought with all the usual Cirque embellishments, including amazing costuming and makeup, state-of-the-art lighting and sound, and unbelievable acrobatic feats. But what really makes Kà stand apart from the rest is its stage…or should I say lack thereof.

Unlike the other Cirque shows, Kà’s main stage area is actually a giant void through which one super-large moving platform, a secondary large platform, and 5 smaller platforms move in and out of. From the height of the highest grid 98 feet up to the deepest level of the pit 51 feet below spans a distance of 15 stories, allowing enough room for a 25 ft. x 50 ft. platform weighing 50 tons to lift up and down, tilt from flat to 100 degrees, and rotate a full 360 degrees. This mammoth contraption is known as the sandcliff deck, and it is the setting for the great climactic vertical battle scene of the story. The secondary large platform known as the Tatami deck slides in and out of the performance area like a drawer…a large 30 ft. x 30 ft. 37.5 ton drawer.

The Kà Extreme DVD takes us behind the creation of the theater as well as every aspect of the production, including lighting, rigging, makeup, costuming, and much more. Interviews with director and creator Robert Lepage, theater and set designer Mark Fisher, and interactive projections designer Holger Forterer provide us with an inside scoop of how challenges were overcome to create the magical world of Kà. We also get a behind the scenes look at rehearsals and training for the various acts of the production, including things like Wushu martial arts, Capoeira, Chinese opera, Wheel of Death, poi, and other aerial arts. Winning the 2008 Thea Award for Outstanding Technical Achievement, Kà is truly a wonder in terms of theatrical productions, and the Kà Extreme DVD makes our list for answering all our burning questions about this eye-popping spectacular.

To pick up your copy of the Kà Extreme DVD visit the Cirque Du Soleil online store. In the meantime be sure to check out this excerpt on the sandcliff wall from Discovery Channel program Really Big Things, and this inside look at Kà provided by SoWat TV.

A Little Cabaret with your Cabernet?

Before Zeta and Zellweger “Razzle Dazzled” their way to the Oscars, before McGregor and Kidman had a whirlwind romance at the Moulin Rouge, and before a young Liza told us to “come here the music play”…there was the small, smoke-filled, salacious speakeasies of the American cabaret. Beginning in France in the 1800s, the art of cabaret has seen its rise and fall in a span of time of less than a century. However, could a recent renaissance in dinner theater and the rise in popularity of performance troupes (ahem…Zen Arts), mean a comeback for this forgotten art form?

The origins of the word “cabaret” follow a three-part evolution: from the Middle Dutch cabret, stemming from the Old North French camberette, which is derived from the Latin word camera, meaning chamber or room. In France the word originally referred to any establishment which served alcohol. In the 19th century the definition was expanded to define any restaurant, nightclub, or dining atmosphere in which guests can eat and drink while watching an entertainment program. Since then it has also come to define the style of said entertainment program, which is usually bawdy, satirical, and crass.

Cabaret was a child of La Belle Epoque, a period in Europe from the late 19th century until World War I marked by political stability, optimism, and advances across nearly every industry of man. Some of the highlights of this time include technological advances such as the telephone, electric light, automobile, and motion pictures. Advances in medicine included the establishment of bacteriology, while modern physics got its start thanks to scientists like Einstein and Tesla. In the field of art a style known as Art Nouveau took center stage on both architecture and canvas, signified by its curved lines and natural forms. It was also during this time that champagne was perfected, haute couture fashion began, and a taste for luxury permeated the middle and upper classes. Literature geared towards realism, aiming to represent contemporary life just as it was, while theater geared towards expressionism, a rebellion against the ordinary and humdrum. It is here that cabaret made its grand entrance.

Cabaret started in France in 1881 with the opening of the first cabaret Chat Noir in the Montmartre district of Paris, an area known for its nightlife. It was an instant success and other cabarets soon popped up, the most famous being the Moulin Rouge and the Folies Bergere. What appealed most to patrons was the informal cozy atmosphere cabaret provided; people were free from the societal rules of daily life, able to mingle with others of different classes, meet friends, socialize, and maybe even be a part of the act. No matter what they did during the day, at night in the cabaret there were no rules: people could smoke, drink, curse, and they didn’t need to take off their hats.

Opening in 1889, the same year as the construction of the Eiffel Tower, with its iconic red windmill exterior, the Moulin Rouge (French for…you guessed it…“red windmill”) revolutionized cabaret with the introduction of the French cancan, a dance featuring young women lifting their legs and miniskirts to a quick tempo-ed rhythm. Said to be indecent by some, the cancan brought fame to many dancers, most notably La Goulue (French for “the glutton”) and Jane Avril. As the birthplace of the cancan, the Moulin Rouge became a place for all classes to mix: the rich, the working class, and the starving artists.

Another establishment, the Folies Bergere, opened in 1869 as a music hall, with its heyday lasting from 1890 through to the 1920s. Folies launched the careers of many famous French entertainers such as Maurice Chevalier, Edith Piaf, Charles Trenet, and the risqué Josephine Baker, whose erotic semi-nude “danse sauvage” garnered her world fame. Dressed in a mini-skirt made of bananas and pretty much nothing else, Baker played up her African-American heritage for a more exotic look, appealing to the negritude of Parisian society at the time.

Most cabaret shows consisted of comedy, song, and dance performances, in which the performers often perused through the tables and mingled with the audience. Acts were frank, crude, satirical, and lewd…and the people couldn’t get enough of it. Wannabe singers, composers, poets, dancers, and artists flocked to the cabarets for a chance to become a star. The arrangement worked out pretty well: performers could come share their talents and test new material, while audiences enjoyed nonconforming entertainment at a nominal fee of a couple of drinks.

By the 1910s cabaret had made its way all over Europe and even to America. New York City cafés that featured singers started calling themselves cabarets, among the most famous being Delmonico’s and the Palaise Royale. But the American cabaret differed from its European sister in that it was less about satire and more about glamour. That being said, cabarets in America still continued the cabaret tradition of pushing the envelope against the rules of society. American cabarets were definitely not geared towards family, but rather adult fantasy and desire. For the husband and father, they were a place to escape family, work, daily responsibilities, and maybe even meet a prostitute. For the young and single it was the hookup joint, a place to meet that special someone…even if for just one night.

By 1913 Manhattan laws forced cabarets to close by 2 am, becoming the catalyst for the creation of members only clubs that were open until the early morning, America’s first “night clubs.” These establishments also began featuring dance floors so patrons could dance along to the entertainment. And while New York City cabaret focused mainly on jazz singers as entertainment, Chicago cabarets spotlighted big band jazz acts.

With the passing of the Volstead Act and subsequent ratification of the 18th Amendment in 1918, the sale, manufacture, or transportation of alcoholic beverages became illegal. Thus the cabaret was forced to move underground. This new cabaret, known as a speakeasy, was held in basements, backrooms, and underground clubs, and usually required a password to get in. It’s not exactly clear where the name “speakeasy” originated but it is thought to stem from the urging of patrons to speak softly when ordering alcohol at a bar, for fear of getting caught. The speakeasies illegally sold alcohol which was bootlegged by gangsters, who often controlled the speakeasies themselves as well. This is the time when infamous mobsters like Al Capone and Lucky Luciano made a name for themselves, as well as a fortune, bootlegging and selling contraband beer and liquor to speakeasies across the nation. And although its origins are not exactly known either, it is believed that “bootlegging” is a term that came about during the Civil War, when soldiers hid their alcohol in flasks jammed inside their boots.

Even though alcohol was illegal during the time, cabaret peaked during America’s Roaring Twenties. Needing to appear as legitimate businesses, speakeasies sought out live entertainment acts of mostly female singers, something they found helped increase drink sales. Many torch singers such as Showboat’s Helen Morgan got their start in these speakeasy cabarets.

During this time in post-WWI Europe, cabaret was making a big splash in Berlin, with acts featuring comedic sketches, songs, and even transvestites permeating the city. This Weimar-era cabaret behaved similarly to its French neighbors with its light-hearted political satire, but differed in its emphasis on gallows humor. The Germans were looking for any escape to the harsh realities of their post-war realities, thrown into economic turmoil by excessive reparations. For film references, Bob Fosse’s Cabaret starring Liza Minnelli and Josef von Sternberg’s Blue Angel starring Marlene Dietrich are exaggerated, yet fairly accurate depictions of this Weimar cabaret.

The ratification of the 21st Amendment in 1933 put an end to Prohibition, and the start to the large nightclub with places like the Copacabana and Ciro’s. Although these places were upscale, with tuxedo-clad servers and guests in formal dinner wear, the cabaret was just as raunchy as before. But by the late 1930s a smaller sort of club was becoming more popular in New York and other metropolitans, a type of establishment known as a “supperclub,” so aptly named since law required places that serve alcohol to also provide food. Supperclubs were significantly smaller than their grand nightclub counterparts, with generally seedy and rundown appearances. In fact they were usually low-lit to hide the fact that they were over-packed, smoke-filled, disheveled little rooms. The only thing that really drew patrons in were the performers, many of whom moved on to Broadway and cinema fame.

In fact with the rise of cinema and television, just as with many art forms, cabaret began to see its decline. But it wasn’t until the 1960s that rock n roll music and rock concerts really delivered the last blow. Cabaret only truly survives today in the form of stand-up comedy clubs, drag queen shows, and a few Las Vegas revues.

In recent years however, thanks to films like Chicago and Burlesque, and television programs such as the HBO hit Boardwalk Empire, there appears to be a revival in cabaret and dinner theater. In fact not too long ago the Zen Arts team performed a special engagement for the premiere Boardwalk, and two months ago the Zen crew was at one of LA’s hottest restaurant/nightclub venues Supperclub LA, putting on a frightful and rare Halloween spectacular.

Whether it’s here to stay or fading away, Zen does its part to keep alive the cabaret. To book a Zen performance for your next dinner gala call 855-ZEN-ARTS or email at info@zenartsla.com.

 

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