The FireWater Collective
FireWater is a collective of Tribal style belly dancers in London, solely and obsessively dedicated to showcasing Tribal in the UK, and beyond.
It all began in 2008, whilst searching for an environment in London where we could let our dance vision flourish, we started experimenting by creating a night. The name FireWater came to light on the dance floor of Shunt, London’s underground arts venue that sadly no longer exists; it is a message to the energy of the dance, to the energy of our lives and a head nod to the good stuff. Created by our trio: Hannah Mi Anis, Philippa Moirai and Jesse Stanbridge, who have always worked naturally together, interchanging relationships in student and teacher roles, and as dance partners. Although Jesse left for San Fransisco in 2011, she remains a major part of FireWater in spirit.
Many many people are involved in keeping the FireWater movement alive. Students, partners, friends and mothers are always working hard behind and often in front of the scenes. A special shout out goes to Emma Brown our tireless second in command; Edd Jordan and Nick Simms on sound and lighting, driving, general essential back up and keeping perspective; and Noggs who provides the best cakes you will ever taste!
One of the strongest aspects of the FireWater Collective is the harmony we strive for within American Tribal Style® belly dance and Tribal Fusion. We love to show their integral relationship, and their beautiful differences; and we seek to represent and respect our fore-mothers in dance, our fellow sisters of many styles, and our visionary students.
Born out of San Francisco feminism and sass, Tribal belly dance has strong and beautiful beginnings. We see Tribal as containing a specific posture and attitude as coined by Carolena Nerricio of FatChanceBellyDance®, the statuesque unflawed creativity of Rachel Brice, the take no prisoners training and wild imagination of the Salimpour inheritance, the free thinking liberal attitude of the 60s, the desire for women to take back their dance from any seedy resonance and into a strong wise demonstration of womanhood. It contains influence and inspiration from Middle Eastern dance, Indian Classical dance and Flamenco. It prizes the tribe, the troupe, and the collective, and decorates itself in old valuable vintage adornments. It sees the beauty and the protection in the tattoo, the matriarch, the amusement of life and the fellow company of other dancers.