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Most Popular Technique, Practice, & Performance

Have No Fear! How to Create Choreography Courageously

Everyone loves a good belly dance choreography… once, of course, it’s grown up into a well-mannered and polished routine. In its growing stages, choreography can be an unruly, demanding brat-  a brat that sometimes makes us want to cry or tear our hair extensions out.

It’s easy to get intimidated when you first begin. Suddenly it’s as if you can’t remember any of the moves or combinations you know. You think that everything you try looks stupid, or it’s just not good enough (anyone else besides me a perfectionist?). These kinds of thoughts aren’t helpful. In fact, they can shut down your creativity. So when we choreograph, we have to give ourselves space to experiment. We have to be willing to have some failures, and to acknowledge that this is part of the process. We have to trust ourselves.

Follow this mantra: Keep. It. Simple.

Keep it simple means that we get out of our own way. We aren’t overly critical of ourselves in the early stages. We keep an open mind to all possibilities. We choose movements and combinations that our bodies love to dance, not moves that we think we should be using or that are beyond our skill level. Keep it simple works because we can (and will) add complexity later. Keep it simple is just our path to get us there.

Before We Begin

The music comes first. Choosing the right song is crucial! The music you select should inspire you, be appropriate for your skill level, and be sensitive to the cultures it represents. Give this some thought before you begin. To start, you can  read my blog article about selecting the right music.

Give yourself plenty of time. Rushing the creative process to meet a deadline is stressful! You’ll have more space to experiment, more opportunities to be innovative, and a better chance of enjoying the experience if you work with a longer timeline.

Use the techniques that work for you (and ignore the ones that don’t). We all have a different way of learning, and inspiration may come to us in different ways. Experiment with the techniques listed here to see what resonates with you. Don’t add unnecessary work by using every technique in this article. <– Shameless plug: Next month I’ll be discussing how to make your learning style work for you. Check back here in September!

Consider keeping  a journal. You can write down (or video!) your thoughts as you go through the process. It’s helpful for remembering where you left off at your last practice, and for noting ideas you’d like to incorporate later or even in another piece.

Relax. Creativity works best when the mind is clear. Find space in your day when you can set aside your to-do list and life’s demands. You may also find it helpful to begin your practice with a short breathing exercise or a few minutes of meditation.

A frame for your creativity

Step 1: Explore Creatively

The first stage in the process of creating choreography is like brainstorming. This is when we want to be inspired, to be open to lots of possibilities, and to withhold judgement. This is also the stage when we really dive deep into the music, getting to know its nuances and complexities. You might find it helpful to commit to time, not goals (Instead ofI will choreograph the first minute of this song” think “I will spend an hour working on the choreography today”). Be kind and patient with yourself!

  • Improvise. Dance to the music without any expectations and see what happens naturally. If you’d like, you can even use a video camera for later review. Make notes about anything that felt or looked right. It’s okay to note challenging sections too, just remember to withhold judgement.
  • Map the music. This can really help you learn the music at a deeper level. Name each section and note where sections repeat. Mark any interesting accents or melodies. Note rhythm changes or difficult transitions. Later, your map may help you decide where you’d like to repeat sections of choreography, and where you’d like to accentuate contrast.
  • Create a movement bank. Listen to the music and envision the dance in your mind. Write down any moves or combinations you hear along the way. Create a list that you can reference later if you get stuck.
  • Work with a friend. Together you may discover new possibilities that neither of you had thought of before. A friend can help you brainstorm movements, or simply be your sounding board as you talk your ideas out aloud. Make sure, however, that you don’t rely upon him or her to do the work for you.

Structure is strength

Step 2: Strengthen with Structure

Now we’ll take the fruits of our brainstorming efforts and begin to organize them more formally. This is where we start forming combinations, playing with transitions, and thinking about how all the pieces fit together as a whole.

  • Start with sections. This means you don’t have to start at the beginning and then work your way through to the end. Choreograph each section of the music discretely, then build the bridges between sections with solid transitions.
  • Repetition is good.  Untrained eyes in your audience will need repetition to take in all the complexity of your movements, and even trained eyes enjoy seeing repeated combinations. When a section of the music repeats, your choreography should acknowledge it in some way. It’s your choice whether to repeat choreography strictly, move by move, or to add a little variation. It can be as simple as changing the direction or orientation of your movements. Another idea is to keep the overall structure but change specific isolations.
  • Add interest with contrast and texture. These elements give your choreography depth. Contrast can be achieved by breaking patterns, changing the mood or level of energy, or accentuating differences in the music. Texture can be added through variations in arm positions, level changes, body orientation and angle, and through floor patterns.
  • Pay attention to your transitions. After all, the chain is only as strong as its weakest link. This is really where you define your own style as a dancer. Transitions are simply how you get from A to B: between two movements, two combinations, two sections of the music, two moods. You can aim for seamlessness, and the audience arrives at B from A without having noticed. You can also deliberately add contrast, by making transitions sharp (but these are best used sparingly).
  • Spend time on the macro and micro. This is the key to making your choreography balanced. Macro elements are the big picture. It’s how your choreography flows from high energy sections to slow, reflective sections. It’s the symmetry of repeating combinations, giving equal weight to different parts of the room, and having diversity in movement. It’s how props are introduced, carried through, and discarded. Then there’s the micro elements, or the details. These elements include building combinations, the transitions between them, and their presentation.
  • It’s okay to be a hybrid. There’s nothing wrong with fusing choreography and improvisation together. You can create a macro structure and leave the details to improv. Or you can create a flow of movements and then improvise how and where you’ll carry them out in the performance space.

Polish to gold

Step 3: Refine and Polish

We’re ready to add the finishing touches – these are the details that will take your choreography from “nice” to “WOW!”. This is also the stage where it’s okay to be a constructive critic. Just remember that it’s the choreography that is being critiqued (“This shimmy isn’t working there… I need something that can let me travel”) not the dancer (“I can’t shimmy… I look awful”).

  • Make use of technology. Use that video camera or smart phone to record your performance! It’ll let you tease apart the areas that still need work, and it’ll show you what you look like without the aid of a mirror.
  • Get some feedback. A peer can help you find the strengths and weaknesses in a choreography. This is also a great time to schedule a private lesson with a teacher (in person or even online!) Getting overall impressions is useful, but you may also ask for help on specific areas or sections.
  • Consider expression and mood. Remember that through dance you can convey all the emotions of the soul, from celebratory joy to tragic loss. There’s also your approach, which can be flirty, mischievous, sensual, introspective, mysterious, or strong. Think about your body language or other cues you can give the audience. This is quite an in depth topic, but one we’ll surely explore in a later post!
  • Think about the presentation as a whole. How can you use costuming and makeup to accentuate the mood or movements? How you can use the venue’s performance space to your advantage? How will you introduce this piece to the audience?

 

I can’t promise you that after reading this blog article you’ll love creating choreography, nor do I think there are any tips I can give you that will make the process magically happen for you. In fact, I think it’s healthy to get frustrated, even to hate, the process sometimes (it shows that you’re being challenged, which means you’re growing as a dancer). Instead, I hope that this article may guide your approach and help you make the most of your creativity.

Well then! Now that you have a finished piece it’s time to really learn it. Check out my article on how to learn (and remember!) choreography for the stage.

Thanks to Burtn and night-fate-stock for the stock images.

 


Coming in September: We all have different learning styles. Find out which one works for you and how to use it in your study of belly dance.

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Most Popular Technique, Practice, & Performance

How to Learn (and Remember!) Choreography for the Stage

Choreography… for some dancers it’s a very long four-letter word. Even for those who love choreography, the process of learning a new routine can be exhausting, confusing, and defeating. As if preparing for a performance wasn’t intimidating enough!

Whether the idea of choreography makes you skip or shudder,  it’s pretty much a given that you’ll have to learn one at some point in your studies (And if you plan to perform regularly with a class or troupe you may as well learn to love it!). That’s why you need a strategy for learning choreography. It can make the process go a lot easier and it can help you remember a routine when it most matters… on stage!

The Theory Behind This Strategy

There’s a lot of approaches to learning choreography. In this post I’m going to share with you the one I use. I like it because it’s very simple. In fact, it’s all about achieving just one goal:

Learn the choreography by not thinking
Thanks to faestock  for stock image.

DON’T THINK. DANCE.

Here’s why: You’ve probably heard of the “fight or flight” response from psychology. It’s the idea that when we feel threatened, our bodies pump adrenaline into our system so that we’re ready to either flee or take the threat head on. This is obviously very useful when you’re physically threatened, such as if you encountered a bear on a hike. But this response happens when we face other kinds of threats, too. You’re familiar with the feeling- get up in front of a group to speak and suddenly you break into a cold sweat, your mouth is dry, and you can feel your heart racing.

On stage this can sometimes be inhibiting. But we can learn to use this natural response to our advantage. As we step out into the spotlight, blood is diverted away from internal organs and outwards towards our extremities. The thrill shuts down our ability for more abstract thinking, and churns up our baser instincts. Thinking isn’t very useful on stage. Muscle memory, on the other hand, is at its prime.

You have to learn choreography with your gut- not with your head. Choreography that becomes instinctual will serve you well under pressure, and you’ll remember it much longer (sometimes years!).

Let’s repeat our main goal here: DON’T THINK. DANCE. Now, here’s how to do it:

 

Step 1: Before You Begin

Know your moves. It’s true that some people actually prefer to learn how to dance through choreography, and choreography can actually be a really useful learning tool. But when we’re memorizing a routine for a performance, it’s best to be prepared by knowing all the moves first. Remember our goal? Concentrating too much brain power on how to perform a move when we should really only be thinking about when and where works against us. Make sure your technique is solid and you’ll think less on stage.

Know your learning style. Are you the type that likes to count beats? Do you learn better in a group? Does repeating silly mantras in your head help you remember a sequence? Having some self-knowledge about your personal learning style is worth its weight in gold. Now see if you can arrange to learn your choreography in an environment that supports your learning style. Not sure what your learning style is? Hmm… I might have an upcoming blog post about that…stay tuned!

Belly dancer on stage

Step 2: Getting Down to Business

Practice early and often.  If you had just six hours to perfect a choreography, it’d be better spent over the six weeks than the six hours before the show. Start practicing as early as you can, even if you only have a few combinations to work with at first. And try to sneak in frequent (rather than long) practices. You can, for example, save the 5 minutes before you jump into the shower before work as your choreography time. If you start early enough, it’s even okay to take some time off if life gets busy. (Added bonus… when you revisit the routine after time off you’ll discover which parts are the hardest to recall- drill those more.)

Listen to the music like crazy. Do this when you can’t physically practice, like on the way to work or while doing chores around the house, and at a deep level your brain will still be processing the motions. You’ll catch nuances in the music you didn’t hear at first. You’ll begin to anticipate every phrase and beat. It’ll take more thinking out of your dance because you’ll spend less brain power on interpreting what you’re hearing, leaving more brain power for reacting.

Drill specific phrases again and again. This is the muscle-memory part and the key to your practice! Start by breaking the choreography into its smallest unit, single combinations. These are like words in a sentence. Practice each one over and over without building or moving on. When you’ve drilled each ad nauseam, put two or three together to fit the phrasing of the music. These are like your choreography’s sentences. Drill, drill, drill. Finally, sentences can become paragraphs with entire sections of the music.

Note that this is distinctly different from how we are usually taught choreography, which is often by learning the beginning and then adding a little more on after each run through of the music. Don’t learn the choreography as a long string of movements. Drilling the building blocks makes a stronger foundation for adding more complex phrasing later.

However, I personally think it’s okay to practice the beginning more than the middle. Stepping out on stage is hard. If your entrance is strong it can help you transition into using the muscle memory that will take you safely through your routine. It can also give you a boost of confidence that will radiate from stage.

Check yourself (before you wreck yourself). Think you really know your stuff? Here’s a few ways to test, and more importantly discover, where your weaknesses are before show day:

  • Try starting in the middle of the music. Can you pick it up without any hesitation?
  • Can you perform the choreography without the aid of mirrors? How about facing a different direction than normal?
  • What happens when you perform in front of an audience of friends or family?
  • Throw yourself a curveball. Try placing an obstacle in the middle of the dance floor, or wear a big floppy hat (no seriously!). Can you perform while distracted?

If you’re still relying on your higher thinking skills to remember your routine, these scenarios might throw you off. You know what that means… back to drills, drill, drills!

Belly dancing on stage

Step 3: Performance Day Success Tips

Steal a moment in the spotlight. Try to get to the venue early, or arrange to see the stage before the show. You might be able to walk through your choreography, or at least stand on stage, before you perform. This is a great way to orient your routine to the performance space.

Anticipate distractions and eliminate. Is the entrance to the stage in a place you were not thinking? Is the stage shorter than you imagined? Proactively anticipate distractions and then practice dealing with them. If you do not have the time or space for physical practice, envision in your mind dealing with them successfully.

 

Learning choreography is an acquired skill. The more you practice, the easier it will become. Pick up some belly dance choreography DVDs, take a choreography workshop, or even try a fitness class (like step aerobics) that builds choreographed sequences. Practicing the skill of learning choreography, in between times when you’ll actually be using one for a performance, can make the process much easier.

Lastly, remember that it’s never the end of the world! As always treat yourself, flaws and all, with kindness and patience. Like many things in life, your experience of learning a choreography is dictated much more by your attitude than your actual performance. When needed, step back and take a breath!

 


Read the Next Article: This article assumed the choreography already existed. But how about some tips for creating your own? Learn how to create choreography courageously in my next article.

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Most Popular Opinions

Is Belly Dance Sexy?

How to Embrace Sensuality When Words are Traps

Belly Dancer Belly“Now, stand with your pelvis in neutral, feet hip width apart, and knees bent” I told my class of Advanced Beginner students as I showed them a Figure 8. “Don’t do this,” I added, taking my legs wider apart and tilting my pelvis forward. “That’s okay for the club, but it’s not okay here.” As usual my students giggled at my exaggerated impersonation of an ‘impolite’ belly dancer.

Then one of my students asked shyly, as if she was anticipating my disappointment, “But… I don’t understand. Belly dance is sexy, isn’t it? Why do we have to try so hard not to be sexy?”

She didn’t mean it as a challenge. She was simply puzzled by a complicated issue I had often struggled with myself, one that has shadowed our art ever since it was brought to the Western world. Where does sexy belong in belly dance? And what are we to do with it?

A Belly Dancer Named Goldilocks

It’s always a harrowing walk along the edge of the knife for belly dancing professionals. We have to make our living, which means promoting ourselves and advertising our services to a general public that often is very misinformed about what we actually do. It can be difficult finding a common language that sells our classes and shows, but that still maintains an authentic connection to the art. If you lean too far one way, you’ll alienate potential students and customers who may not yet understand or appreciate authentic Middle Eastern culture. Lean too far the other way and… well, you know what kind of names are waiting for those belly dancers.

I don’t know about you, but I feel constantly burdened by the tension that exists between these two extremes. I’m always at the ready to defend my art, ever-anticipating a need to justify who I am and what I do. When I tell people I’m a belly dancer, I’ve come to expect that it will somehow give them permission to ask me personal questions they’d never ask another stranger, or even a close friend. I sometimes assume dancers of other mainstream and Western styles will be prejudiced against me. I often attribute rejections to be included in community events and exclusions from teaching at certain studios to be a judgement of me or my trade.

As I drove home that evening after class, I couldn’t help but think that I had, in some ways, failed in my duties as an instructor. In their studies I had encouraged my students to find the beauty and power, to respect the level of dexterity that it demanded, and to show them expressions of joy, humor, and even tragedy. But in my battle-ready preparedness to defend my art I had not encouraged them to embrace their sensuality. It wasn’t that I thought belly dance shouldn’t be sexy, it was that I assumed they already had connected the two. Or rather, I assumed what they knew about sex and belly dance was overdeveloped and that I, at the least, had to show them other dimensions of the dance, if not tone down the perception that already existed. I was coming to realize, however, that it wasn’t just that Americans tended to oversex belly dance, it was that their idea of sexiness was very different than the sensuality in belly dance. In other words, it wasn’t just the volume, it was the melody of the music, too.

An Ill-Advised Search

In the coming months I thought a lot about sexuality, sensuality, and belly dance. I even did a few searches on Google (I wouldn’t try it unless you are prepared!) to see what happened when I put the terms “sex” and “belly dance” together. In the top ten results there were a few links I didn’t dare click. In others, a teenage boy asked on Yahoo Answers if belly dancers made the best sex partners, to which the replies, also from other young men, unanimously agreed that they were. The experience was so sensationally crazy, one suggested, as to break his equipment. There was also a blog article from a feminist author that questioned whether or not belly dance supported or contradicted stereotypical roles for women, a tutorial “How to Belly Dance Your Way to Better Sex,” and in a forum where, again, the experience of having sex with a belly dancer was being discussed, a woman claiming she was just beginning to take belly dance classes joined the conversation and promised “to use [her] powers for good and not evil. ::wink::”.

It’s particularly frustrating to read these discussions when you think about how many double standards exist. Certainly, more skin is shown in professional ice skating (when there’s even more reason to bundle up!), and yet the sport is an esteemed tradition in Olympic competitions. There’s actual physical contact between partners in ballroom dancing but, at least in this day and age, the waltz wouldn’t be excluded from any wholesome community event. Other exercises that improve physical health, even some that probably do much more for improving sexual health like Yoga, are celebrated by doctors, physical therapists, and psychologists. I’m not going to discuss how and why these double standards came to exist (because there’s already great articles about that), but I think it’s important to acknowledge how challenging they can be.

*I happen to love ice skating, ballroom dancing, and yoga, so I am by no means suggesting that these are not legitimate pursuits. In fact, all of them are great for physical conditioning, and all are beautiful art forms, too.

It’s a Trap!

Why are these perceptions so damaging? Certainly most belly dancers would prefer not to be treated like strippers or prostitutes. But the real dangers, in my opinion, are in the limitations it imposes. In American culture being sexy is a trap. It’s a characteristic of the “other” entertainment, the kind that didn’t get to your television or to the stage by the merits of requiring dedication, talent, creativity, or vision. When entertainment is defined exclusively by its sexiness, it’s value is judged by the physical attributes of the performers, not by their skills.

This means that:

  • To be a good belly dancer, you should fit the American stereotype of an attractive woman. You should be thin, toned, and young. You should have flawless skin, thick shiny hair, and… well, you know. Go open a magazine.
  • The art of the dance goes unnoticed. The preparation and work given to each performance is overlooked. Your technique, your creativity of interpretation, your strength and poise, are relatively meaningless.
  • You’re limited in your expressions. You can be sexy, but you can’t use the dance to celebrate a joyful moment, interpret the loss of a loved one, show triumph over a challenging obstacle, connect to a higher being, share in a sisterhood, or anything else. Even sexy is limited to the American interpretation of being very loud, aggressive, and accessible.

It’s therefore easy to see why ‘polite’ belly dancers shy away from the label of “sexy”. It’s a dangerous one.

But Belly Dance Is Sexy, Isn’t It?

Yes, it can be! But it can be sexy in a way that embraces womanhood in all stages of life, no matter who she is or what she looks like. It can be sexy in the way she dances, the dedicated practice, the creative vision, and the energy that is invested, not what her body looks like through the performance. It can be sexy, but through an entire range of feminine expressions from cheerful celebrations to quiet lamentations, moments of hopelessness to surges of triumph, it can be many other things, too.

To my students: I encourage you to embrace sensuality in your dance, because it is a natural part of the human experience. But I ask that you first examine, and expanded upon, your previous conceptions of sexuality. Be wary of the limitations that “sexy” imposes. Continue to learn about and advocate for belly dance as an art. You have a responsibility to represent it as such to the greater community.

To other professionals: I encourage you to have a “birds and the bees” talk with your students. Let them discuss their ideas about what sexiness means to them and how it relates to belly dance in an environment that is supportive and judgement free. Remember that you’re not just turning down the volume, as I did for years, but also trying to change the melody. Sensuality in belly dance is not always bad.

What do you think?

Does sexy have a place in belly dance? How do you manage perceptions? Please leave your thoughts in the comments below!


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Costuming, Makeup, & Presentation Most Popular

10 Fun Belly Dancer Life Hacks

Isn’t it fun to learn tips and tricks that make life easier? This week I would like to share a few of my favorite “life hacks”- fun shortcuts using regular household items to solve everyday belly dancing dilemmas. We’ll learn quick makeup techniques, cheap ways to store costumes, and a few items that can make prop usage more simple. Get ready to say, “Aha!”

1. Wrap a few rubber bands around the end of a cane for easier twirling. It’ll help sweaty hands keep a grip. You can even match your cane with colored rubber bands, or through natural or artificial dyes.

2. Use a stripe of nail polish to mark the balance point on your sword. It’ll make transitions from balancing on one body part to another easier to judge.

Tips and Tricks for Balancing a Sword

3. Wear leg warmers bunched around your knees and ankles while practicing floor work.  A set for your ankles and another for your knees will act as padding when you practice a floor routine over and over. It helps prevent rug burn and bruising.

4. Place a strip of scotch tape before applying cat eyes for straight lines. Place the tape at the outer corner of your eye and then angle it up towards your eyebrow. Apply your liner and shadow as usual. Remove the strip when finished for a straight, crisp line. It helps prevent powder from falling down your face, too.

5. Use baby socks as zill mufflers. It’ll let you practice at home without driving your family crazy!

Tips and Tricks for Belly Dance Zills

6. Rub beeswax on the balancing point for your sword for better grip. Beeswax, golfer or bowler’s grip, or hair spray add tackiness to the edge of a sword and help prevent slippage.

7. Save the zippered plastic bags that new sheets come in for costume storage. Whenever you buy new sheets or curtains save those plastic bags! They are an excellent container for costumes, scarves, and jewelry. It’s easy to see what’s in them and the plastic is thick for protection.

Belly Dance Costume Storage Tips

8. Place a wine cork on the point of  your sword to protect you (and your floors!) if it falls. Beginning sword balancers may have a few slips when they first try dancing. Use a wine cork in the sharp end of the sword to protect you and your household.

9. Use colored thread to sew the elastic on zills for different fingers. You can use one color for thumbs and another for fingers so that it’s quick and easy to identify where to place them on your hands.

Tips for sewing the elastic on finger cymbals

10. Use vodka to remove stains and odors for costumes. A solution of water and vodka (I usually use half and half) is great for removing stains and odor from sweating. It’s gentle on fabrics that can’t otherwise be washed, such as hipscarves and costumes. Use a spray bottle and spritz, then let it air dry.

Tips for cleaning belly dance costumes

What are your favorite belly dance life hacks? Leave your tip in the comments below!

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Technique, Practice, & Performance

Learning the Art of Veil: Essential Tips for Beginner Belly Dancers

Although only introduced to Belly Dance in the last one hundred years, the veil is nonetheless an important tradition in American Cabaret. The image of a dancing girl with a veil dates back to the times of the ancient Romans, and is perhaps an inspiration for this art form.

As you will soon learn, the veil tends to have a mind of its own. It is sometimes unfaithful to even the most experienced dancers. Here are a few tips to help make your first experiences with a veil enjoyable:

How to Belly Dance with a Veil - Ananke

Selecting a Veil

Fabric: Choose a fabric that is light and loose such as silk or chiffon. Remember, each fabric will behave differently in the air. Some movements are better suited to certain types of fabrics

Size and Shape: The standard size is approximately 2.5 to 3 yards, rectangular shape. This is the easiest to work with, although some dancers prefer circular veils or different lengths.

Preparing to Dance

Environment: The veil may not perform well in certain environments. Windy weather may interfere with outdoor performances. Watch for low ceilings, lights, or other potential snags.

Hold: Be sure not to grasp the veil in a tight fist. Instead, interweave the fabric between the extended fingers.

Posture: Remember that the veil is often used to accentuate the body lines created in dance. Concentrate on maintaining clear lines through attention to proper posture, especially in the upper body.

Dancing with a Veil

Transitions: Do not rush the veil from one movement to another but allow time for the fabric to breathe. The appeal of the veil is in its interaction with the air, so exploit these transitions.

Variation: Play with different types of movements including spins, wraps, frames, and tosses to keep the routine exciting. Vary the tempo and the complexity, and do not forget to include regular dance movements.

Working through Mistakes

Keep Moving: Even when you have made a mistake or lost your grip on the veil, keep your feet moving while you work to find your place again. This keeps the audience from recognizing the error.

Let it Go: If all else fails, do not be afraid to toss the veil aside. You may pick it up later and continue dancing.

Where to learn some moves?

There are a lot of great resources available to you. There’s instruction on YouTube as well as DVD’s. And don’t forget your belly dance classes and workshops, too!

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Branding and Professional Image Most Popular

5 Creative Approaches to Writing a Stage Introduction

Gerson Kuhr, the “Fitness Pharaoh”, as emcee for a bellydance show in Silver Spring, MD.

You’ve worked really hard to make sure every detail is perfect for this performance. The costuming and make-up, your song selection, the choreography… each took hours of careful planning, hard-earned sweat, and maybe even a few tears. Don’t let all your work go to waste, take the time to write a good stage introduction!

What is a stage introduction? The stage introduction, sometimes called the emcee notes or dancer’s bio, is how your routine is announced to the audience. It’s the ‘who you are and what you’re doing’ that may be read by a live MC, pre-recorded, or printed in the show program. If you’re dancing in an organized show, you’ll probably submit your introduction with your music and contact details. If you’re performing at a professional gig, you may be asked if you want anything announced before you enter.

Why is it important? The stage introduction is often your first impression on the audience. It’s a chance to get their attention, set the mood, and raise the level of anticipation.

So let’s walk through some important considerations before we begin. Then we’ll look at a few creative writing approaches, with examples of how each may by used. We’ll finish with some general tips on style.

Considerations:

  • What’s the format? Will your intro be in a printed program, read by a live emcee, or both? If you know your intro is going to appear in print, then you can ask the show organizer if it would be okay to include a link to your website (or your teacher’s!) in your intro. It’s a great way to get free advertising. If your intro is being read by a live emcee, you may want to consider including a phonetic guide to pronouncing any difficult names.
  • Who is your audience? The purpose of the intro is to provide context for your audience, to help them connect to you and your work. You’ll first have to understand who they are to be successful. Are the people in your audience traditional American, or do they generally belong to a particular ethnicity, culture, or other socioeconomic group? What is their level of experience with bellydance? Will this be their first time seeing a live bellydancer?
  • What’s the venue? Is this a formal gathering, or something more casual? The tone of your writing should compliment the tone or mood of the event.

Approaches:

  • Educational: Explaining a few of the historical or cultural background details related to your performance. This works great for audiences that are new to bellydancing, or for haflas where there are often students in the audience that are learning about different styles and traditions. It also works nicely for folkloric routines.

Ancient dancers in Egypt, Greece, and Turkey held percussive instruments in their hands during religious and secular ceremonies. These instruments would later come to resemble the modern belly dancer’s finger cymbals. Tonight, Ananke fuses the traditional playing of finger cymbals with New Age world music in a routine that features some jazzy rhythms.

  • Translation: Summarizing a translation of the lyrics to set the mood or tone. This can add depth to your interpretation, especially when the singer relates an interesting story or parable. It also works well for traditional American audiences that may feel disconnected to foreign music.

Ananke interprets a Turkish pop song in which singer Tarkan pines for a woman that is a bit of a tease, and who also happens to be with another man.

  • Dedication: Dedicating the performance to a teacher or inspirational figure, or to a friend or family member. This works well for emotive pieces, especially when the routine demonstrates a quality of the person you are celebrating or remembering.

Ananke dedicates this performance to her good friend Jeanine, who taught her that life’s most valuable lessons are those that are the most hard-won.

  • Provide a setting: Using imagery to evoke a particular scene in space or time. This works well for non-traditional fusion pieces with a particular theme, as well as historic folkloric routines. Here’s one I used for a Halloween show:

On this moonless night you have been summoned to witness upon this stage a dark covenant. From the shadows emerge creatures who conjure around the ghostly flames and take pleasure in ghastly tricks and treats.

  • Use humor: People have a good time when they laugh. Use a bit of humor to engage an audience before a light or playful routine.

Ananke will perform a sizzling drum solo, a traditional component of the Cabaret line-up involving precise isolations that require intense practice and drills. These shimmies are sure to leave you (and her!) breathless.

Tips:

  • Keep it short! Less than four sentences is great.
  • Pick just one of the above approaches (or your own!) and do it well. Don’t overcomplicate the message.
  • If you need to include biographical information (like how long you’ve been dancing, who you study from, etc.), then try to creatively weave it into your approach. Avoid sentences like, “Salimah has been dancing for three years.” when you could write, “In three years of dancing Salimah has learned that the most challenging pieces are easiest to interpret with a veil in her hands.”
  • It is proper for student-level dancers to acknowledge their teachers, and to acknowledge the choreographer of the routine if it is not yours.
  • Remember to write in the third person, “Ananke dances…”, instead of “I dance…”, so that it makes sense when the emcee reads it. And don’t forget to include your name somewhere!
  • Use the present or future tense, “Ananke is performing…” or “Ananke will perform.”
  • Try to use an active voice, it sounds much more powerful. “The routine features…” instead of “… is featured in the routine.”
  • Save the introductions you write so that you can reference (and reuse!) them later.

Happy writing!

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Branding and Professional Image Most Popular

Mind Your Manners! Hafla Etiquette for Bellydancers

Ananke performing at hafla

Update for the Non- Dancer Audience: Just remember that attending a belly dance show is about having a good time! You probably have already attended a ballet or other performing arts event. It’s really not much different.

What do you do when a belly dancer approaches your table? Feel free to encourage the dancer with smiles, eye contact (for however long seems natural to you), and by clapping along to the music. It’s okay to watch her body movements or her use of any props, too. And don’t forget that you can always talk to her, even if it’s just to tell her she’s doing a great job! If you’re uncomfortable- go back to your dinner conversation. It’s that simple.

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It’s spring, which means it’s hafla season. If you’re into performing you probably have at least one upcoming show in the next few weeks. And even if you’re not performing I bet you’ll be attending one soon. So I thought it would be a good time to review the P’s and Q’s of performance etiquette.

Why it’s important. Being polite and respectful at shows is about maintaining your reputation amongst your fans and your fellow dancers. Your name is the single most important thing you have. If you tarnish it, then you don’t dance. It doesn’t matter how good your technique is. It’s that simple.

So what is good show etiquette for bellydancers? I’ve broken it down into three categories:

In the Audience

  • Be positive. You know Thumper’s Law: if you can’t say something nice, don’t say nothin’ at all. Help create a show atmosphere where women are supported for being who they are, where they are in their study of the dance. Plus, you never know who might overhear your negative comments.
  • Be supportive. Don’t underestimate the power of a reassuring smile, especially for dancers new to the stage. Clap along to the music, or zaghareet where appropriate. If you’re comfortable with a little Arabic, you can also call out encouraging phrases such as “Yalla!” or “Ya Habibi!” Be careful with hissing- while it may be appropriate in some tribal dance themed shows, cabaret or folkloric dancers will probably find it offensive.
  • Buy something. If the hafla is being held in a restaurant or lounge, you should at least buy a drink to support the establishment. The tables are there for paying customers, and your ticket or cover charge doesn’t count. This is just as true for dancers in the show who are sitting in the audience before or after their number!
  • Stay for the whole thing. Don’t just arrive for your number and then leave after your done. Be there to support all the dancers. If you really must leave for another engagement, then email the event organizer to let them know well ahead of time.
  • Wear your cover-up. For performers not on stage, and this includes any time you’re sitting in the audience, you should wear an appropriate cover-up. A transparent veil isn’t enough; aim for a caftan or change of clothes instead. You don’t want your costume to detract from the performance currently onstage. And if you haven’t performed yet, you don’t want to give away your look!
  • Promote where appropriate. Haflas often have a table with promotional materials such as flyers and business cards made available to the audience. Before placing your own materials here, check with the event organizer.

In the Dressing Room

  • Be on time. This helps the event organizers run the show smoothly. It also gives you more time to prepare backstage. Be sure to check in with the stage manager and to hand off your music, stage introduction, etc. to the DJ or emcee as soon as you arrive.
  • Come prepared. You should arrive in full costume and makeup with only some last minute pinning and adjustments needed. Triple check that you have everything you need before you leave. Have your dancer emergency kit (extra safety pins, costume tape, needle and thread, bobby pins, etc.) with you. Remember: “A lack of planning on my part does not constitute an emergency on someone else’s part.”
  • Don’t hog the dressing room. It’s rare to be in a dressing room that isn’t overcrowded. Do what you can to maximize the space by bringing in only what you must. Try to give everyone some mirror time, especially the dancers going on stage before you. And please please please don’t practice your routine in the dressing room.
  • Stay positive.  It’s good to remember that everyone prepares for a show differently. Some people might want to chit chat to ease their nerves, others may want time alone to recenter. Stay positive and cheerful. The “OMG I’m going to mess up!” neediness is draining for everyone. You’re already here. Take a breath. Have fun.
  • Offer some help. Other dancers may need assistance with zipping, pinning, clasping, etc. Lend a hand if you have a spare moment, especially if you’re already done with your performance.
  • Mind the door. Some dressing rooms open into an area that is public. Check to make sure that you won’t expose any dancers before exiting. Knock before entering if necessary.
  • Don’t bring anyone else. Your friend/significant other/children should not come with you to the dressing room. If you need support or assistance, ask another dancer. If you need a babysitter, hire one to stay with your kids in the audience!

On Stage

  • Shh! Be quiet. While waiting in the wings try not to make any noise or ruffle the curtains. This includes talking, zilling, jingling, etc.
  • Stick to time limits. Let me tell you a little secret. I’ve never seen someone dance over their time limit and be glad they made the decision. Sticking to your time limit is respectful to the event organizers and your fellow dancers. Also, the best performances leave the audience wanting more. It’s hard to go wrong leaving too soon.
  • Give credit. In your stage introduction (or emcee notes) you should acknowledge anyone that assisted you with the choreography or the routine. Giving credit also means acknowledging the musicians if dancing to live music, and acknowledging the audience with a bow or curtsey.
  • Have a prop retrieval plan. A lot of event organizers would prefer you to leave the stage with whatever props you had when you entered. Even if this is not the case, make sure someone will be there to collect your things before the next performance.
  • Entrance and exit (have them). Be in character before the audience can see you, and keep it until after you are well out of sight. Nothing ruins the moment like an artist getting into character on stage.

The Good, the Bad, the Ugly

Do you have an example of really great show etiquette? How about a horror story? Please post in the comments below or share it on the Facebook page.

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Technique, Practice, & Performance

6 Tips for Selecting the Right Music for Your Next Performance

Choosing Belly Dance Performance Music

It all starts with music. It’s the foundation of your dance. You can have great technique and stage charisma, but if you’re not connecting to the music then you’re not connecting to the audience.

The best performances are the ones that blend all elements together seamlessly- the music complements the choice of movements, the costuming, the venue, and the dancer’s expression. Here are six tips for selecting and interpreting your next musical piece:

Selection

  • Pick a song that inspires you. Songs that naturally move you will be easier to choreograph and more enjoyable to watch in performance.
  • Give a thought to the venue. Where do you see yourself performing this routine? The musical style should fit the theme or demands of the show for which you are preparing. A non-traditional or fusion piece should only be performed at fusion-friendly events. Traditional music is appropriate at most shows, restaurants, and private gigs.
  • Avoid music that is too long or complicated. Basically, this boils down to owning the routine and dancing within your limits. You want to leave the audience wanting more. Beginners should stick to songs that are three to five minutes in length, with simple rhythms and a single mood or theme. You can begin to add in complexity as you advance in your studies. (This doesn’t mean beginner dancers can’t dance to more complicated music- it’s just not the best selection for a performance).

Interpretation

  • Know the meaning of the lyrics. This may be useful in helping you understand the emotions of the piece. And you also generally want to avoid music with religious, political, or other controversial themes. Try searching for a translation online.
  • Listen to the music, a lot! Learn all its pieces and how they fit together- the accents, crescendos, and pauses. It may sound tedious, but interpreting music is like developing a relationship with a person. There will be elements that grab your attention and excite you when you first hear the song, but your understanding will be deeper and more complex when you have gotten to know it well.
  • Break it down into recognizable segments. There should be repetition in your music- a chorus, a melody, a drum section. Find these patterns and map the overall structure. It’s important because your dancing should acknowledge repetitions in the music. Your movements, combinations, and patterns should repeat, at least in part, with the music.

Question for you: How do you know when you’ve found the right song?

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Health & Wellbeing

Components of Fitness for Bellydancers: Balance

Compromising  your natural support structure requires balance

You probably already know that balance is one’s ability to maintain an equilibrium either while standing still or moving. Balance is actually linked to strength. It’s the strength of very small muscle groups needed to hold us in place when we disrupt our natural support structure (either by taking a foot off the ground or moving different sections of our body out of alignment). So how do we use balance in belly dance, and why is it important to develop this skill?

What a belly dancer with balance looks like: She appears solid, grounded, and in control of her body and movements. She can easily perform the transitions needed for level changes and floorwork. Movements that require shifting the weight to one foot or movements on relevé seem effortless. She can spin or turn while maintaining her position on the floor or while traveling around the room, stopping with ease and precision.

You know what the feeling of being off balance is like. If you experience that feeling during…

  • large isolation work (such as large torso circles or eights)
  • level changes
  • spins, turns, and arabesques
  • traveling steps
  • relevé (on your tip-toes)
  • movements with the weight on just one leg

… then you know it’s time to work on your balance.

A few tips for balance work:

  1. A lot of balancing in belly dancing relies on the calf muscles. To strengthen these and practice traveling steps, relevé, and level changes, try adding heel raises into your warmups. Lift your heels off the floor, balance on your toes for a few seconds, and then lower with control. Repeat for a minute or two.
  2. You can give yourself an even greater challenge by layering a shoulder shimmy or torso circle over the heel raise exercise. Or try performing a grapevine, or other footwork sequence, interspersed with heel raises.
  3. A lot of people avoid spins because of the unpleasant feeling on dizziness or nausea, but this actually fades with practice. Some people feel less effect focusing on a point turning with them (like their arm or shoulder), on nothing at all, or by spotting. Start with the style that works best for you and try to add a few turns to your practice.

Extra-curricular study: I really like Yoga for teaching body awareness (important for balance) and strengthening core and calf muscles. Standing yoga poses like Vrksasana (the tree) are great.

Check out the other components of fitness for bellydancers:

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Health & Wellbeing

Components of Fitness for Bellydancers: Coordination

Using props requires coordination

Coordination is our ability to integrate our movements into sequence, into what we call dance. It is actually a synthesis of the other components of fitness such as strength and balance.

What a coordinated belly dancer looks like: She is able to effectively layer. She can perform hip and torso movements in tandem, shimmy over circles and eights, or add level changes. Her movements are in sync to the music and form natural patterns to the rhythm. Her footwork is varied and she has an assortment of traveling steps, turns, and transitions to choose from when improvising or choreographing. She can gracefully integrate props such as a sword, veil, cane, or zills into her routine.

You should work on your coordination if you:

  • Feel like you ‘lose touch’ with your arms when you’re concentrating on other movements
  • Feel like you can’t connect to the muscles your instructor describes using for a particular movement
  • Would like to learn to travel with the circles, waves, and eights you already know
  • Would like to add a shimmy to the circles, waves, and eights you already know
  • Want to add more complex traveling steps and footwork to your practice
  • Would like to dance with props such as a sword, veil, cane, and especially zills

A quick note: What’s the deal with isolations? Isolations, as I refer to them, are small, highly focused movements. These include the circles, waves, and eights of the hips, belly, torso, chest, and shoulders. Isolations are a product of coordination (your brain knowing and connecting to the right muscles at the right time), strength (those very small muscles having the power to move large sections of your body), and flexibility (those same muscles being able to stretch long enough to produce a wide range of motion). You need all three to have clean, precise isolation work.

Recognizing the Signs

1.) You’re working on a new isolation but the body part you’re trying to move just doesn’t go where it’s supposed to. Your instructor has described what muscles to use and has maybe even shown you where they are located. You just can’t feel them though, and aren’t sure how to connect to them.

Why: Your brain and the muscle haven’t coordinated yet. You might use the muscle in your day to day without thinking, but haven’t discovered yet how to actively move it where you want it to go.

The Fix: First, try your best to identify the right muscle group. You might be able to see the muscle movement in your instructor, or even feel it with your hand. Ask your instructor to steer you through the movement with her hands, if you feel comfortable. Then try to incorporate a mind body connection into your practice. Imagine the muscle working, performing the movement correctly.

2.) You’re learning to layer, essentially trying to perform two movements at once. It might be as simple as circling your arms while moving your hips from side-to-side, or more complicated like layering a hip shimmy over a figure eight. In any case, you have that sensation of brain overload. When you concentrate on one movement the other loses its form or shape, starts and stops, or gets dropped altogether.

Why: It’s the typical pat your tummy while scratching your head thing.

The Fix: There are a few things you can try in your practice. Always start with one movement first (I like to start with the harder one), and then slowly add in the other. I also recommend varying the speed of one or both movements. The circle can be really large and super slow when you’re first trying to layer a shimmy.

3.) Fancy footwork is not your favorite thing. Your instructor occasionally throws in a few turns, crossovers, rock steps, cha cha chas… and it’s like showing a dog a card trick.

Why: We don’t always identify as strongly right and left with our feet as we do our hands. It’s difficult sometimes (especially when a mirror is involved) to tease apart footwork.

The Fix: Unfortunately, the only thing to do is practice! It’s good to slow things down occasionally, but a lot of times it can be easier to get things at speed. Don’t think, just try to move. Look for ‘anchors’ in the combination… one two three turn five six rock step… and try to hit these first, the filler steps will fall into place.

Extra-curricular study: I like to think that the footwork I use in my combinations is entirely a product of step aerobics and ballroom dance. From these I learned how to take ‘X’ number of beats and distance A to B and travel it gracefully. I highly recommend both as a supplement to your study, I think you’ll be surprised by how much you’ll learn about belly dance!

Check out the other components of fitness for bellydancers: