Mésmera Talks About Snake Dancing

"Lyrical and fascinating is the Dance of the Serpent. Their beauty and effortless grace is a constant inspiration to me! Imagine being able to move like that! Their movements are not only undulating and fluid, they're often sharp, contractive or vibratory.

Let's unlock some of their secrets, for they are my true teachers and the ones for whom I've named my dance:

Throughout the world, tribal religion and art features the serpent as a symbol of great power, regeneration and inspiration. Many ancient tribes honored the MOTHER OF CREATION in the form of a serpent, paying tribute to her eternal wisdom and ageless mystique. This was a vast influence in the origin of belly dance.

At the lovely Hathor's temple at Dendarah, Egypt, in the innermost shrine, are long wavy serpents carved in black basalt and featured in places of honor among the other power symbols. For several millenia the caduceus, two snakes intertwining up an eternal flame or winged staff, has been widely used in the medical and healing professions.

Snakes are MOVERS! They exist in a celebration of primordial atonement and natural "beingness", making them inspiring teachers and wonderful dance partners ... although dancing like a snake doesn't necessarily mean dancing with one. Besides, we all have our own Kundilini Serpent ready to rise up our spine and vivify us. This is the dance of life; the metaphor of our creative, sexual existance, moving in time to the beat of the universe.

In the pre-Christian era, snakes appeared in sacred places of power and respect throughout Africa and the near and far East. Since then there's been many false rumors. They're not Satanic demons of temptation, nor are they cold and slimy. Their muscled bodies feel strong, smooth and beautiful. I've studied their moves for a long time, and discovered that they each have a slightly different "dance".

My SESHA, a Royal Python from the grasslands of West Africa, likes to get a good grip and hold on, which is very good for freedom of movement in dance. She and her consort, OBSESSION, often remain positioned as magnificant bracelets or even a crown. Like most predators, they favor live food, which they consume about twice a month. They would never strike at someone unless they felt threatened and a need to defend themselves. Most snakes are particularly sensitive to sudden moves and rough contact. It causes them to become defensive and fierce. In this way, they refine the approach of all who touch them.

ZILA'S skin glows with rainbow irridescense across her rust red color and fabulous scale patterns. Her dance is very different from the royals. She's from Brazil, and has grown to 7 or 8 feet over the years. I've known her since she was a baby only 15" long. I like dancing with her because she is active and inquisitive. When relaxed, she goes exploring. I move in the way that features her curves and loops as she travels different parts of my body. In this way her dance directs mine... it's a duet.

As GOLDENHIPS, my gorgeous albino Burmese Python, flicks out her lovely pink forked tongue, she's taking a sample of the air to "taste" for information about her surroundings. Like the others, there are small vents below her nostrils that are heat sensors. They tell her where to locate a cozy warm spot to sleep awhile or perhaps dinner.

Snakes that hunt in flat or open areas tend to be faster, like SLEEK, who is a corn snake, and MIRACLE, a glossy from the desert. Like the Indigos from the Everglades of Florida, they're active and fun to watch, as well as move with.

The magnificant RUBY is a Red-Tail Boa, who's given me strength. Just to move gracefully with her on my shoulders, requires great control and balance. Boas, like Pythons, have no venom or fangs; they are constrictors, and are therefore most dancers' first choice because of their natural tendency to hold on. They are frequently arboreal and feel secure swaying in the upper limbs of a dancer, which offers reasonable freedom of movement in dance.

When asked to do a snakedance, I choose one that has not just eaten and whose belly may be full and uncomfortable when handled. I also take note of the colors in the scale patterns to see if they are bright or dull. If they are dusty or dry in appearance, or if the belly is pinkish, perhaps the eyes a milky blue, I let that snake rest, for the skin will be shed soon. This happens several times a year. The snake is nearly blind at this point, and may feel nervous when touched. You will generally be able to read the disposition from their response at first contact. My snakedances are usually not choreographed. The snakes won't hear of it.

Costuming for snakedance requires some awareness. Long strands or loops of beads are easily broken. C-quins add friction, unless sewn on very smoothly like the scales of a Mermaid. I make sure my costume is strong enough to support a snaketail seeking a good grip.

Most important of all, I make sure they're warm and clean with fresh water. Many of these spend a great deal of time at the bathes. I handle them often, so that we are sure of each other and I know they are healthy and happy. For performances, I transport them in a basket which is often used in the dance. Bringing the snake out of the basket can be a sensitive moment. Remove the lid gently so as not to be alarming. Use a light yet firm touch to hold the snake several inches behind the head, and use the other hand as necessary to support the rest of the body. This is a good beginning where movement can be gently and gradually explored until all goes smoothly enough to dance.

The more refined your isolations, the easier it is to hold the snake steady while dancing. When handheld, we can readily do turns, travels, hips, ribs and shoulders as well as armwork. This gives you opportunity for variety and dynamics. Once around your neck and shoulders, the ribcage and shoulders must remain stable, and only the slower more flowing moves will keep your partner from being bounced around. It's awful to see a dancer with so little respect for the snake as to jostle and jerk it through her choreography like a prop.

Sometimes, if the proportions are inviting, your snake can feel secure by wrapping around your waist or hips. Our costume can give added support. In this case, upper body and arm or even head moves work very well, while only the most undulating slow hipwork will be best. Some snakes, will enjoy holding a "crown" position on your head. The royals are famous for this. The serpent crown is dramatic and excellent for slow or fast hipwork. At times, an inquisitive snakehead may appear at your cheek, or upon your brow as in Isis' uraeus.

Never allow a snake to lose its grip or fall. Avoid sharp, uneven movements that shake them. When turning, hold them in close to you or centered above you so that the centrifugal force will be minimal. To unwrap them from you, use a gently persistent touch beginning at the head or tail.

It is important to understand that snakes are wild creatures of the first degree. Patience is a key element. They cannot be trained, or bribed, or rewarded. We may work with them well, if we respect their primitive nature. Snakes prefer to hold onto you, rather than be held by you. They are cold-blooded, so a warm environment is essential to their well-being.

The heat generated by our bodies when we dance is very attractive, making the neck a warm and comfortable place where they can feel at home. Although very sensitive to even the most subtle vibrations, snakes have no ears, so we do not share the music. Yet, they're highly responsive to our touch and our movements, which continually develops our skills, and spontaneity in creative expression."

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