Meet Despina Cartsos. She was born in the United States and raised in Athens, Greece. Despina has proudly called Astoria home for more than 25 years. Despina tells us her love of dance began in childhood, when her parents would take her to the bouzoukia, where she was captivated by the belly dancers performing to live Greek music. Those performances sparked a lifelong passion that would eventually grow into a career as a licensed Salimpour belly dance instructor with over 20 years of experience. Dedicated to lifelong learning and honoring the rich history of belly dance, she continues her studies through the Salimpour School while drawing inspiration and guidance from mentors Dalia Carella and Donna Eileen Manalo.
As a performer, Despina blends strength with fluidity, creating dance that is expressive, dynamic, and deeply musical. She has performed internationally and throughout the United States, and has been invited to teach at festivals, workshops, and dance intensives across the country. Today, she teaches classes in both Astoria and Manhattan, creating a welcoming space where dancers of every level can build confidence, develop strong technique, and discover the joy of movement.
A second-generation designer and professional patternmaker, Despina graduated from the Fashion Institute of Technology before building a career in intimate apparel design and later founding D.Webb Designs. Her passion for fashion naturally complements her work as a performer, and many of her original costume designs are featured in Menagerie NYC, the varieté-style production she produces. Featuring a diverse cast of performers, Menagerie NYC showcases belly dance alongside other dance genres, drag, and a variety of theatrical acts, creating an immersive celebration of artistic expression. Whether teaching, performing, designing, or producing, Despina is dedicated to building community, celebrating creativity, and inspiring others through the transformative power of the arts.
QG: Your love of dance began as a child; how hard was it to learn and did you have formal training?
DC: My love of dance began long before I ever stepped into a formal dance class. As a child, I did not have traditional dance training. The only formal performance training I had was in acrobatics through a clown group I was part of. I worked with my teacher Paul, performing balancing acts where I would do handstands on his arms. We even performed at SeaWorld. My mother made my costumes and styled me for performances. I was an eight-year-old wearing a bald cap as part of my character, and it took me years to fully understand what exactly I had on my head! Lol
My earliest connection to belly dance came through my Greek heritage. I grew up doing tsifteteli, a Greek social dance style that shares many qualities with belly dance. I learned by watching and absorbing—observing my mother, my family, and the people around me. I was also deeply influenced by the belly dancers I saw performing in the Greek nightclubs, the Bouzoukia. I would go home, put on my miniature bedlah (a traditional belly dance costume consisting of a decorated bra top and belt) that had been specially made for me by a belly dancer from New York who performed in Florida, and imitate the dancers I had seen. I would practice floorwork and turn our living room into my own personal stage. At one point, my mother had to hide the costume because I had outgrown it but refused to stop wearing it!
I did not discover formal belly dance training until I moved back to the United States after growing up in Athens, Greece. When I began studying with my first belly dance teacher, Mimi Fontana, I was in heaven. However, I quickly realized that I had a lot to learn, not only about technique but also about translating the movement language I had grown up with into a formal classroom setting.
Some of the corrections I received were actually connected to cultural nuances in the way I moved that were already part of me. Because I grew up dancing Greek tsifteteli, my hands and wrists naturally carried the relaxed, expressive quality of that style. At the time, I didn’t realize that some of the things I was being asked to change weren’t necessarily “wrong”; they were simply different from the technique being taught in that particular setting. Years later, I came to understand that I already had a cultural foundation—one that deserved to be honored while I continued to develop my technical training.
So in many ways, I had to “unlearn to learn.” I do not regret the discipline and training I received—it helped me grow tremendously as a dancer—but I wish there had been more awareness that I was also bringing my own cultural experience into the room.
I also had to overcome physical challenges. I had suffered injuries from activities outside of dance, including an aerobics injury when I was 17, and I did not understand at the time how much my posture and alignment affected my movement. That experience shaped the way I teach today. I am very mindful of alignment and body awareness, including what we call “Home Position” in the Salimpour Method.
Looking back, I realize that dance was always part of my life. Music, especially Greek music, filled our home, and I grew up watching my parents light up the dance floor at the Greek nightclubs. People would eagerly wait for them to dance the Hasapiko. They had no formal training, but their musicality, confidence, and athletic flair made them unforgettable. I would give anything to see them dance together again.
That is the beauty of cultural dance traditions—they are passed from generation to generation through families, communities, music, and shared experiences. My journey has been about honoring those roots while continuing to study, grow, and share what I have learned with my own students.
QG: As a teacher, what is the most important lesson you try to impart to your students on dance?
DC: As a teacher, I hope my students leave my classes with much more than dance moves and choreography. I want them to develop a lifelong love and respect for the dance. The first lesson I always share is, “Learn it before you fuse it.” Belly dance has deep cultural roots in the traditions of the Middle East, North Africa, Greece, Turkey, and neighboring cultures. I encourage my students to learn about the history, music, and the people behind the dance—past and present. That means understanding the communities where these traditions come from, studying influential dancers and musicians, appreciating the composers whose music continues to inspire us today, and learning about the teachers and mentors who have shaped my own journey as a dancer. My teachers and mentors have profoundly shaped who I am as both a dancer and an instructor, and I want my students to understand that every class they take with me reflects the generations of artists who taught before me. By training with me, they become part of that lineage as well.
The goal is not to wait for the “perfect” time to practice, but to consistently make space for your growth. I often tell my students, “I can’t do your dance homework for you.” The work happens between classes. That means setting aside time to review choreography, drill technique, practice isolations, or visualize movements—but it also means taking advantage of the small moments we have throughout the day. For my Queens commuters, I always remind them that the train ride can become a practice opportunity. You can quietly count music, visualize choreography, work on subtle isolations while standing on a platform, or practice finger cymbal patterns while walking (with finger cymbal mufflers on, of course!). These small moments do not replace focused practice, but they help keep your connection to the dance alive between classes.
Another lesson I emphasize is taking care of your body through self-care. Dance class is just one piece of becoming a strong, healthy dancer. I encourage my students to complement their dance training with activities like Pilates, yoga, strength training, or anything that improves mobility, endurance, and overall well-being. Nourishing and respecting your body allow you to keep dancing for years to come. Finally, I want my students to let go of fear and comparison. I tell them to “mind your own shimmy.” Everyone in class is there to learn, not to judge. Don’t let anything stop you from dancing. If you keep showing up with curiosity, kindness toward yourself, and a willingness to learn, you’ll be amazed at how much you can grow.
QG: Tell our readers about Salimour belly dance; what are the benefits?
DC: The Salimpour Method combines detailed movement breakdown, conditioning, musicality, and a deep respect for the history and evolution of belly dance. Suhaila Salimpour’s somatic approach emphasizes mindful alignment, muscle engagement, and the connection between the body and mind. What I love about this method is that it teaches dancers not only what to do, but how to understand their movement and develop greater body awareness. After years of exploring different styles of belly dance, I was drawn to the Salimpour Method because it gave me the structure, vocabulary, and body awareness to continue growing as a dancer while honoring the traditions that inspired me. One of the greatest benefits is that dancers learn how to train their bodies intentionally. Through warmups, conditioning, technique drills, musicality exercises, and choreography, students build strength, stamina, coordination, and a deeper connection to the dance. They also gain a greater appreciation for the cultural roots of belly dance and the lineage of artists who have shaped this art form.
For me, the Salimpour Method is about creating well-rounded dancers, people who are not only able to execute movements, but who understand their bodies, respect the dance, and continue growing as artists. It is also a valuable method for dancers of all styles because it provides tools that can support any movement practice. This method welcomes dancers of all bodies, genders, ages, and experience levels. One aspect of the Salimpour Method that I especially love is the finger cymbal training rooted in Jamila Salimpour’s teachings. Jamila Salimpour developed a structured approach to learning finger cymbals, treating them as a musical instrument rather than simply a prop. Students learn foundational patterns while developing rhythm, coordination, musical awareness, and the ability to improvise. The cymbal patterns are designed to complement, but not simply mimic, the drum rhythms, allowing dancers to develop their own expressive voice within the music. For me, this is one of the many ways the Salimpour Method helps dancers become more complete and confident artists
QG: Who are some dancers/choreographers that have inspired you?
DC: I am fortunate to have studied with and been inspired by incredible mentors who have shaped my journey as a dancer, artist, and teacher.
Suhaila Salimpour inspires me through her musical intelligence, intricate choreography, and ability to create technically complex work with intention and artistry. Her method has helped me grow tremendously as both a dancer and teacher. I never imagined I could advance my finger cymbal playing to the level I have, and I continue to learn and grow as an active student within the Salimpour School. I pursued my teaching license through this school because I have experienced firsthand how deeply this method has transformed my own dancing.
Dalia Carella inspires me because she is a true storyteller through movement. Her theatrical works, cultural explorations, and creation of her signature Dunyavi Roma Dance style demonstrate how dance can connect tradition, innovation, and emotion. Her private coaching has helped me bring my own artistic visions to life in professional theatrical settings.
Donna Eileen Manalo inspires me with her creativity, versatility, and fearless approach to combining different dance influences while honoring musicality and expression. Her unforgettable performances are a reflection of her dedication, extensive dance background, and training as a classically trained musician. I am also inspired by legendary dancers who have shaped the art form, including Nadia Gamal, one of Egypt’s most influential dancers from the 1950s through the 1980s. She was incredibly innovative for her time, combining elegance, power, and theatricality. I often think of her as the “Queen of Line Design and Contrast” because of her beautiful arm work, precise isolations, and exceptional use of space. I continue to study her performances because there is always something new to discover in her artistry.
QG: Can you share a transformative moment in your dance career that had a profound impact on your artistic journey?
DC: One of the most transformative moments in my dance journey was performing at the Yallah Art Festival in Ashkenazi, California, produced by Suhaila and Izabela Salimpour. I had the incredible opportunity to present my own choreographic work in front of members of the Salimpour community, including Suhaila Salimpour herself. For this performance, I created two pieces set to Greek music, one inspired by the music of Asia Minor and another from northern Greece. This was a deeply personal moment because I was able to bring together my cultural roots, my love for Greek music, and the many years of dance training that have shaped me. My second piece also incorporated finger cymbals, bringing together my Greek heritage with the Salimpour Method training I had worked so hard to develop.
What made this experience so meaningful was the response from the audience. Several dancers shared that they had never experienced Greek music expressed through belly dance in that way. For the first time, I felt that all the different parts of my journey came together. I felt grounded, at home, and deeply connected to both the music and the audience. It reminded me that the most powerful artistic expression comes from honoring where you come from while continuing to grow as a dancer. Another transformative experience in my dance journey has been becoming an ongoing performer with Scott Wilson and Efendi at Zlatne Golden Fest at Astoria Manor in Astoria. In 2026, I celebrated my third year participating in this special celebration of Middle Eastern and Mediterranean music and dance, led by Scott Wilson, son of legendary Middle Eastern dancer Serena Wilson. What makes this experience so meaningful is the connection to community and musical history. Performing alongside musicians I have known and worked with for over 20 years, including Carmine Guida and Casey Bond, has been a reminder of how deeply music, culture, and dance are intertwined. Being able to share the stage in my own Astoria community with artists who have been part of my journey has strengthened my sense of belonging as both a dancer and a storyteller. Another unforgettable moment was performing alongside my Greek dance sister Myrto Daskaloudi at Café Aman Project with the Kelepouri Band at Barzakh Cafe in Brooklyn. Dancing to the Greek music I grew up with, alongside another Greek belly dancer who shares that same connection to the music and culture, was incredibly meaningful.
QG: Where can someone find out more or see one of your performances?
DC: The best way to learn more about my classes, performances, and upcoming events is through my website, Instagram, and YouTube, where I share updates, performance videos, and glimpses into my dance journey.
www.youtube.com/@despinanyc
www.despinadance.com/
www.instagram.com/despina_dancenyc
QG: In your downtime what are some of your favorite places and or things to do locally in Astoria?
DC: One of my favorite local events is Dance Astoria, produced by the talented Nicole Ohr. I am proud to be a sponsor and have participated as a soloist, while my students have also had the opportunity to perform. I love that it creates a supportive space for dancers of all ages, levels, and styles, while bringing together the many dance communities in Astoria. For fitness and movement, I love Unlimited Body NY, owned by Daniel Berrios. It is a wonderful clean space for fitness classes, dance classes, and personal training. I also teach there, and I always tell people they are in great hands!
When it comes to food, Astoria has so many gems. One of my favorite restaurants is Ovelia—I love their coffee steak, honey feta cubes, and the mastic lemonade cocktail (try it with rum!). I know I’m Greek, but I am also a huge foodie, and my family and I love the tacos from Chela & Garnacha. For a great night out, Sweet Afton is a favorite spot for cocktails and late-night snacks. For a little self-care, I love Chris Spa & Nails—Linda gives an amazing pedicure, and Mia does beautiful magnetic gel nails. I have also been shopping at Astoria Fashion Fabrics for years; they have wonderful customer service and are such a valuable local resource. Most importantly, I encourage everyone to continue supporting the small, local, mom-and-pop businesses that make Astoria such a special place. They are the heart of our community.
––Melissa Cipolla-Mennona
The Local-Express interview series was originated on July 3, 2013 by Nicollette Barsamian.
