Egyptian Music All Serious Bellydancers Should Know
Every serious dancer should be familiar with the classics. Sahra Saeeda advises everyone to learn at least 3 that you know inside and out. In Cairo there were four classic, top singers, including Oum Kalthoum, Mohammed Abdel Wahab, Abdel Halim Hafez, and Farid al-Atrash. Many of the songs they composed and/or sung were romantic love songs, as well as patriotic and religious songs. Of course, you probably want to stick with the romantic love songs, so you’ll want to know the gist of what a song is about before dancing to it. Also, never dance with the voice of Om Kalthoum, although it’s okay to dance with instrumental versions of her songs and okay to dance during the parts where she is not singing. Most of these songs will be known by Egyptian bands and are the most well know in Cairo and the Arab world. When dancing to a live band, whether performing or just casually dancing along, it’s a lot easier when you are familiar with the songs they play. A belly dancer knowing the most popular dance songs is like a photographer knowing his lenses or a writer knowing other authors. Well, here’s a great place to start. When looking for these songs, remember that there are many ways to spell these Arabic words and there is no right way. So, you may have to sound it out yourself and try various spellings.
Classics sung by Oum Kalthoum:
Alf Layla Wa Layla (One Thousand One Nights) – opening piece
Lissa Fakir (Do You Still Remember)
Ana Fi Intizarak
Leylet Hob, Ente Omry, Fakarouni by Mohammed Abdul Wahab
Classics sung and/or composed by Mohammed Abdul Wahab:
Aziza – Opening piece
Leylet Hob – Opening piece
Zeina – middle of routine
Ente Omry- composed for Oum Kalthoum; great veil song
Nebtedi Mnein al Hikaya (Where do we begin our story)
Fakarouni
Classics sung by Abdel Halim Hafez:
Zay el Hawa by – Opening piece
Habena (Love Us)
Sawah (The Wanderer)
Nebtedi Mnein al Hikaya (Where do we begin our story)
Gana el Hawa (Love has come our way)
Bahlam Beek (I Saw You in My Dream)
Classics composed and sung by Farid al-Atrash:
Gamil Gamal (Beautiful Dancer)
Habena (Love Us)
Hizzy ya Nawaem (Shake it Little Delicate One) middle of routine
Other popular songs:
Princess of Cairo or Banat Iskandria – Opening piece
Set el Hosen – Opening piece
Mashaal by Mokhtar Al Said – Opening piece
Batwanness Beek (You are always with me) -Made popular by Warda El
…..Gaza’iriya -Opening piece
Tamr Henna by Mohamed Fawzi – famous recording by Faiza Ahmad -
…..Opening piece
Hani – Opening piece
Ah Ya Zein – middle of routine
Nour el Ain (Darling You Are the Glow in my Eyes) -sung by Amr Diab –
…..middle of routine
Ayoub – song by Ahmed Fouad Hassan – finale
Touta -song by Mazen Salha- finale
Visit www.maqam.com for the most extensive list of classics which can be purchased as mp3s.
Dahlal has a collection of 14 songs every belly dancer should know, which includes many of the songs listed above. Dahlal lists CDs for purchase containing these songs.http://www.dahlal.com/default.aspx?n=20.1
For a basic translation of many Arabic songs, visit shira.net
For more info about the author, visit www.mellilah.com
Proper Dance Alignment (posture) for Dancers
Good alignment is important for life not just dance! With a good instructor, your dance training should improve your daily alignment; helping you prevent injury and pain, as well as helping you prevent unnecessary postural problems associated with aging. The road to good alignment is a process of identifying problems and habits and improving muscle strength and flexibility. It’s also learning how to stand, sit, and move without causing undue tension or strain. Normal joint motion in the spine and other body areas, as well as balanced muscles on both sides of the spine are needed to achieve good alignment. Below, you will learn how to observe your body and to identify visible problem areas, learn about common postural problems, and learn ways to make improvements.
Don’t Listen to Your Mom:
Many moms used to say, “Hold your shoulders back.” Sound familiar? Doing this often results in an excessive curve of the lumbar spine, which puts strain on the lower back. We do want our shoulders to fall back, not round forward, but we want this to be their default position because our chest muscles are flexible and elongated, not pulling shoulders forward, and our back muscles are strong, not over extended or hunched. When we think of “posture” most people want to instantaneously “hold” something in place, and too often this involves pulling the shoulders back and sucking in the stomach, which can cause tension, physical and mental pain, and other problems. Static posture is the alignment of your body when you are still, and dynamic posture is the alignment or your body when you are moving. In both static and dynamic posture, there are many components working together, balancing or equalizing the push and the pull from either side. Therefore, holding or focusing on only one area, like pulling the shoulders back, is most likely going to cause more problems then good.
The Frontal Plane (Front & Back View):
Look at yourself in a mirror or get a partner to look at you, as you stand erect in tight fitting clothing. If you have a partner, have them observe you from the back, too. This is not a side view; just back and front. Notice any asymmetry. Is one arm or leg longer than the other? Is one shoulder lower than the other? Is your neck straight? Are your kneecaps aligned? Do your feet turn in or out? All these things will affect your alignment. For these issues, you may want to seek a specialist, such as a physical therapist, who can either help you or refer you to the appropriate specialist. These problems will only worsen in time and can result in less mobility as we age, so they should be addressed right away.
The Sagital Plane (Side View):
This is where we can focus our attention and help ourselves. Again, stand erect, as you would usually stand, and have a partner observe you. Is your ear over your shoulders, or is your head-protruding forward? Is your thoracic spine hunched (hunch back)? Do you appear to have sway back? (Sway back is sometimes difficult to observe due to differences in soft tissue.) Do your ribs stick out? Do your abdominals spill over? Take note of all these problem areas.
Your Life Style:
Stress, fatigue, and poor sitting and standing habits can cause alignment problems, as well as poor ergonomics at work and home. Wearing high heels, poor footwear, obesity and pregnancy can cause issues, too. As we age, without adequate exercise our bodies will begin to atrophy (lose muscle) at a greater rate, causing all kinds of postural problems. These things, along with poor muscle strength and flexibility (tight muscles), are all culprits. Unfortunately, poor alignment seems to be affecting the very young, especially around the neck and upper back and shoulders, perhaps because of current lifestyle trends.
Alignment for Dance:
When we belly dance, we are sometimes in a fixed position but more often we are moving. Therefore, we especially need to have a balanced, strong and flexible body. Strong core (abdominal, pelvic, and lower back) muscles are important, too. Any issues in muscles weakness, tightness or imbalance are going to appear in your dance, so address any of these problems right away.
Alignment Check & Practice:
1. Stand with feet, toes and knees facing forward. Line up your knees with your toes. When moving think about keeping these aligned.
2. Slightly bend your knees, lengthening and taking pressure off your back, making it easier to isolate your hips. When you begin dancing you will sometimes need to straighten your leg/s for a pose or move, but most of the time, they should remain soft (slightly bent not extended).
3. Slightly tilt the pelvis forward (it’s actually a backwards pelvic tilt but most people associate this with tilting “forward”). Bring your pelvic floor closer to your belly button, just a little bit, like you’re zipping up your lower abdominals. Feel your lower back lengthening as you do this. You’re trying to find a neutral position for your pelvis, not too forward or too back. Some people may naturally have this alignment without doing anything but most people need to tilt a bit more forward. When you begin dancing you will naturally move in and out of neutral pelvis alignment but this should be your home base. Unfortunately, if you do not have balanced muscle strength and flexibility on both sides of the trunk, it will be extremely difficult to sustain this neutral position. For now, work on finding it when practicing moves in place when you can focus on technique, and work on the stretches and strength training exercises recommended below to correct these problems.
4. Shoulders should line up with your hips from the side view. Avoid pulling shoulders forward and allow them to rest back and down. Begin by rolling them forward, up, back and then down…feeling them drop and relax, opening the chest. Extend and lengthen your arms towards the floor on either side. You’ll need to do some regular chest stretches if you have rounded shoulders. When you lift your arms or move your arms forward, do not allow your shoulders to come up or forward with your arms.
5. Armpits- Put some space under your armpits, slightly moving your arms away from your body. Again, pull shoulders downwards.
6. Chest should be slightly forward and slightly tilted downward to close the gap under your ribs. In other words you don’t want your ribs to stick out.
(4-6)- Numbers 4-6 above work together, balancing the upper body. Pushing forward with upper erector spinae muscles and traps, while pulling in just under the breasts and opening the chest. It should feel equalized and strong all the way around, front to back.
7. Neck should be elongated. Think about the vertebrae in your neck as a small spring that you allow to stretch out and up through the top of your head. Feel your entire body lifting up and out through the top of your head as you stand and move.
8. Head -Your ears should line up with the middle of your shoulders. Avoid sticking your chin out. When you elongate your neck, your head should follow.
9. Weight Distribution- Rock from balls to the heels until you rest your weight into the middle of the arches of your feet.
10. The Peacock- We want to look confident and open, larger than life, like a peacock on the stage. We do this by following the steps above, pulling and pushing, equalizing the back, front and sides of the body so that we feel slightly contracted all over. Do not focus on only one side of the body but on all sides, which creates a strong alignment for dance, as well as for daily life. Feel confident (pretend if you’re not) and visualize energy coming out of your chest and fingertips.
For a video example, check out the “ballet alignment” link below in the “resources” section!
Common Problems with Alignment:
**Kyphosis Lordosis (hunch back) – curvature of the thoracic spine, with rounded shoulders, sunken chest, head jutting forward, and/or neck hyperextension. To correct this, you’ll want to stretch your chest muscles and strengthen your upper/mid back muscles (rhomboids and trapezius muscles) with strength training exercises, and improve your poor postural habits. See my favorite chest stretch in the “resources” section below.
**Lumbar Lordosis (swayback) – This is when the natural curve of the lumbar region is slightly or dramatically accentuated, making the buttocks and abdominals stick out due to the anterior tilt of the pelvis. It’s sometimes seen in dancers who arch their backs, putting stress or extra weight on the lower back. Certain diseases can also cause this and other spinal issues. Too much belly fat and tight, shortened hip flexors from too much sitting can cause this, too. This condition can cause spine compression, tension on ligaments, and back pain as well. For most people, stretch the back extensor muscles, hip flexors (rectus femoris or quad and iliopsoas muscles, as well as the adductors), and strengthen the abdominals and hamstrings with strength training exercises. You may want to stretch the piriformis, too, which can shorten along with the psoas. Work on losing excess belly fat, too, with exercise and healthy eating. People who have lumbar lordosis usually have hunch back, too, so read that section if applicable. Unfortunately, it’s difficult to diagnose from just observation and palpation is needed. See the hip flexor, adductor, and piriformis stretches in the “resources” section below.
**Tight Chest Muscles – On most untrained people the chest muscles are stronger and shortened as compared with the back muscles, causing an imbalance. Stretch the chest muscles and strengthen the back muscles (trapezius and rhomboids). See my favorite chest stretch in the “resources” section below.
**Fatigue Postures- Many postural problems are caused by stress, lack of energy, muscle imbalance, and pain. As with all postural issues, if allowed to continue, the bones will adapt over time causing skeletal deviations that can be irreversible. Get plenty of sleep and efficiently deal with stress. Poor alignment can also cause fatigue.
**Muscle Imbalance- “Symmetry” Equal strength and flexibility on the right/left sides of the body is needed to maintain good alignment. If one muscle group is too tight, it may pull the body out of the neutral position, creating an imbalance. Alternatively, if one muscle group is weakened, the body will fall out of alignment on the opposite side. Common example: Erector spinae muscles (back extensors) are stronger and shorter than opposing abdominal muscles, causing lower back pain. In untrained individuals the quadraceps are usually 2x the size of hamstrings, resulting in an imbalance; thus hamstring strains are common.
**Irreversible Skeletal Deviations- Over time, all of these poor postural patterns can cause the bones to adapt resulting in skeletal deviations that can be irreversible. So, begin correcting the problem areas now.
Recommendations:
Alexander Technique- Buy a book on this technique and/or see an AT trained specialist. It will help you identify and lose harmful habits and learn to move more freely. AT is popular amoung actors, dancers, singers and other stage performers.
Ergonomics at Work/Home: If you ask, many employers will now provide an ergonomic specialist to help you create a healthy work space. Look below for websites that may help.
Massage- If you can afford it, find a licensed and skilled massage therapist. Deep tissue and sports massage are great for people with postural issues.
Myofascial Release- A hands-on technique that involves applying gentle sustained pressure into the myofascial connective tissue that has become restricted, causing pain and impairing mobility.
Strength Training- Belly dancing itself will improve muscular endurance and will improve muscle strength somewhat, but regular strength training is recommended, especially to improve core stability and correct imbalances.
Stretching- Warm up and stretch daily, and at the least, stretch after each rehearsal, class or show but only after you have warmed up the body. A warm up is gentle, dynamic movement (large/generalized movement) with full range of motion of all the major joints. This might look like gently marching in place with arms moving side/up/side until you begin to feel warm. Know your problem areas (chest? hip flexors?) and give these extra attention. Get a good book about how to stretch effectively without injury. Below are the best websites I could find on stretching that included pictures and that didn’t have erroneous information.
Resources:
Adductor Stretch - Scroll down to the “Moderate Frog Position” stretch
Ballet Placement & Postural Alignment A great video demonstrating alignment for the dancer.
Chest Stretch This is my favorite chest stretch. You can use a towel, too.
Hip Flexor Stretch Keep back straight. Lots of other great stretches are listed on the left side of screen, including back stretches and chest stretches.
Lordosis: Assessment & Care Information on how to assess pelvis tilt with palpation.
Posture Problems This site says to stretch hams as the cure to swayback, but this is wrong according to ACE and other resources. The hamstrings need to be strengthened. Otherwise, all other information is great.
Stretching A series of safe, easy stretches.
For more info about the author, Mellilah, please visit www.mellilah.com
Am I there yet?
Am I there yet? … a very interesting and common question among dancers. As dancers we get so easily distracted when someone says, “Great job,” often thinking, “That means I’m there.” In contrast, dancers can get easily discouraged when they hear criticism. However, a compliment is a compliment, not a comparison, scale, or measure of your worth in the profession, and criticism should be given and used as a means to improve. I think a lot of dancers just want and need validation. Let’s accept compliments graciously and learn from criticism, and if you want to know if you’re “there,” ready to perform as a professional, or what you need to work on to get you there, pose the question directly and more specifically to a respected professional.
Just a thought… You may want to check out my article, “So You Want to be a Professional Belly Dancer.”
For more information about the author, Mellilah, visit www.mellilah.com.
Care for Silk Belly Dance Veils
How do I clean my silk veil?
Dry-clean or hand wash your silk veil in cold water with a gentle detergent. If it’s a dark color, rinse and gently agitate with vinegar and 2 cups- gallon of water for 15 minutes to set the color. Iron with a cool iron set for silk, hotter if need be. To avoid static, you may spray it with a fine mist of water. Do not use a dryer.
Audience & Performer Etiquette at Belly Dance Shows
Belly Dancer, Mellilah, at Sahra Saeeda showcase in Philidelphia
Written by Mellilah
As an Audience Member:
·Wait a couple of seconds before clapping to make sure the artist is finished.
·Tipping is a typical way to show your appreciation of the dancer’s performance. Generally, audience
members tip as the performer dances up to your table during the final section of the performance.
Fold a bill in half lengthwise and tuck it into the side or back of the hip belt or the back of the bra strap
or arm band. Never tuck money into the front of her costume. Alternatively, an audience member can come up to the performing area and present the dancer with a “money necklace,” bills connected together, or a “money shower,” bills thrown over the dancer’s head; the money from a “money shower” traditionally goes to the band at the end of the show.
·If you wish, zagareet to show appreciation. A zagareet is a high pitched trilling sound that is produced by rapidly moving the tongue and uvula. In Arab countries it is commonly used by women to express celebration.
·Say only positive things about other performers when you are conversing at a show, as you never know who may overhear your conversation, especially in an audience. If you’re in the audience, you could be sitting next to someone’s husband/wife.
·Be authentic when complimenting others. Find something that they did well that you can stand behind. (Compliment their costume style/color, arms, footwork, turns, choreography if it’s his/her own, technique, tell how it made you feel to watch him/her, etc…)
·Purchase something, food and/or drink, if the show is at a restaurant or bar. Don’t just order water.
·If something happens to the sound, like you can’t hear it, you may help out the artist by clapping to the music.
As a Performer:
·If you’re in the show, you should do your best to come to the beginning and stay until the end, to support others who are also performing. In other words, don’t just show up for your own spot and/or leave after you’ve performed. Of course, sometimes we have other obligations that are important.
·Make sure your costume fits properly. Use safety pins if necessary and make sure your costume wont reveal any parts that it shouldn’t. It’s usually a good idea to practice in your costume beforehand.
·Wear a cover at all times when not performing or change into appropriate street clothing.
·Wear stage make up and look your best.
·If you have to practice or warm up backstage, do so quietly and without disrupting others, as much as possible. You should bring a headset so others can’t hear your music while practicing. If you absolutely must play your music aloud so more than one of you can hear (for a troupe), ask permission from those around you first.
·Give credit to the choreographer. “Choreographed by…” Give credit when using choreography you learned from an instructional video, too. If someone helped you or coached you, it’s nice to give them thanks in your announcement but not required.
·We all get nervous. Just be careful that overly nervous energy doesn’t affect others. Ex: Talking excessively… not noticing when others need quiet time…or continually announcing how nervous you are.
·Keep talk minimal when speaking to someone who is just about to go onstage, especially if they are obviously trying to focus internally.
·Give credit to the music artist, CD etc… Check copywright laws when using music, even music from CDs
·When using music with lyrics in foreign languages, be sure you know the translation, so you can dance appropriately to the mood and lyrics. Some lyrics are inappropriate, too. The emotion expressed and felt is of extreme importance in Egyptian dance.
·Be careful with hand gestures; some may be offensive to Middle Eastern cultures. It’s easy to unintentionally make a gesture that is inappropriate to another culture. Learn about the common mistakes belly dancers make.
·Be prompt and have your music ready to go and labeled correctly
·Don’t put out your own cards or flyers or make announcements for your events at someone else’s private event without pre-approval.
·Perform at appropriate venues for your level. Appropriate student venues include amateur nights, haflas, recitals, and friends or family celebrations. Professional venues include, restaurants, nightclubs, parties, weddings, cultural events, often charity events or any venue that offers pay.
·Charge appropriate professional rates for your area and avoid undercutting other dancers.
For more info about the author, Mellilah, please visit www.mellilah.com
Book List for Belly Dancers
Badia Masabni
Psychology of Dance by Jim Taylor & Ceci Taylor - Techniques & exercises to help dancers overcome mental obstacles. This one I finished and found to be really helpful in helping to set goals and manage insecurities and stage fright. Recommended to me by Nadira.
Serpent of the Nile: Women and Dance in the Arab World by Wendy Buonaventura history of female solo dancing in the Middle East.
Daughter of Egypt by Marjorie A. Franken – To purchase contact mafranken@earthlink.net – I just ordered by copy. I’ll let you know whow I like it.
The Voice of Egypt by Virginia Danielson Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century- Zulaika recommended this book to me, and I’m reading this now.
Badia Masabni, the Legend: Jewel of the Nile by Jodette – I cannot find a copy of this. Let me know if you have information.
Egyptian Music Appreciation by George Dimitri Sawa Comes with music CDs – Recommended by Sahra Saeeda and Zulaika
Artist’s Way by Julia Cameron- A 12-week program to help remove blocks that impede on your creativity
“A Trade Like Any Other:” Female Singers & Dancers in Egypt by Karin van Nieuwkerk
Blood Memory by Martha Graham – An autobiography about Martha Graham’s life as famous contemporary dancer. Sahra Saeeda recommended this one.
Wombs and Alien Spirits: Women, Men, and the Zar Cult in Northern Sudan by Janice Patricia Boddy - Book about the “zar” cult in northern Sudan
Arab Music and Dance an International Encyclopedia of Dance by R.J. Racy – Sahra Saeeda recommended all these books by R.J. Racy.
Improvisation, Ecstasy, and Performance Dynamics in Arabic Music, in In the Course of Performance. Studies in the World of Musical Improvisation by R.J. Racy
Music of the Arabian Desert in the Accounts of Early Western Travelers and Musiqá al-Badiyah fi Sijillat al-Rahhalah al- Ghardiyyin (translation by the author), al-Ma’thurat al-Sha’biyyah by R.J. Racy
For more info about the author, Mellilah, please visit www.mellilah.com
Making Your First Belly Dance Costume
Me, a long time ago, in my 1st handmade costume
Making Your First Belly Dance Costume
Written by Mellilah
Need a costume for your first performance, recital or student troupe or just to wear to class for fun? Low on cash? Making your own costume can be rewarding, inexpensive, and you don’t have to know how to sew. Some basic sewing is involved but there are a lot of pieces that just require gluing and cutting. Below are a few ideas to help you get started on your first costume.
Start Collecting
Search thrift shops, consignment shops, and garage sales for the following:
~Brass bangles and large hoop earrings
~Shiny/sparkly clothing of any kind- these can be used as is or if large enough, you can just use the fabric to create something new
~Mid-drift tops- yoga, exercise or other – they can be cut; sequins, coins or fringe can be added
~Large, flowing long skirts, preferably a half or full circle skirt
~Used rhinestone jewelry and beaded necklaces – broaches can be used as a focal point on a bra or hip belt. Necklaces can be worn as is or used as a drape for a bra or hip belt. Stones can be taken out of jewelry and glued onto fabric
~Well-made bras with full coverage- These can be covered w/ fabric and decorated w/ beading, sequins, stones, ribbon, etc… (FYI: There’s nothing worse than a bra that is left as is, augmented w/ only sequins, stones, and/or ribbon. It looks tacky in my opinion. So, please fully cover the bra w/ fabric, so people can’t tell you’re just wearing an undergarment.)
~Costume and Supply Stores- Sewing shops as well as costume and supply shops usually sell coins, beaded fringe and other types of trims. These can be added to the bottom hem of an exercise top or other mid-drift top. Beads and trim can be draped and attached to the top of a skirt waistband.
Glue
Forget fabric glue. You’ll want to get a tube of Amazing E-6000. They sell it at most fabric and craft shops. I use a drop of this to glue rhinestones directly onto the fabric of some of my $600-800 costumes. It works!
Accessories to Purchase
Don’t care to sew too much and just want to piece things together? I suggest checking out L. Rose Designs. They make beautiful skirts, tops, headbands and gloves in many colors and fabrics. You can add these to your homemade costume for a finished look. (I recommend the gauntlet gloves, and definitely pay the extra $2 and get them banded. There’s a big difference.)
Resources
You’ll want to learn from Dina the Costume Goddess. She’s written a few books on how to make your own belly dance hip belt, bra, and accessories.
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There’s nothing like the pride you’ll feel when you wear a costume that you created! I still have one of my very first homemade costumes. I’m not sure I will ever part with it. Good luck!
For more info about the author, Mellilah, please visit www.mellilah.com
Learning to Belly Dance from Videos: Instructional & Performance VHS and DVDs for Belly Dancers
Learning to Belly Dance from Videos: Instructional & Performance VHS and DVDs for Belly Dancers
Written by Mellilah
There is a plethora of professional performance and instructional DVDs and videos that will help support what you’re learning in class. Performance videos will help you develop an appreciation and better understanding of the dance, while assisting you develop your own unique style. A good instructional video will further develop your skills and can be used as a practice aide. However, there are also a lot of videos that contain poor quality dancing, unsafe movement, and/or erroneous information. Hopefully, as you grow as a dancer, you’ll learn to recognize great dancing and great teaching of dance. Below are some recommendations on how to practice with videos/DVDs and names of videos/DVDs I recommending being the very best.
Learning from Performance Videos:
-Pay attention to entrances/exits, technique, isolations, use of space/stage, musical interpretation (knowledge of rhythms/accents and transitions), stage presence, transitions, and stylization (Egyptian, American, Turkish, etc… as well as personal stylization)
-Listen to the music/instruments- how does the dancer move/interpret the different instruments?
-Pretend you are a judge and this is a competition. Use the above criteria to score the dancer. What did he/she do well? What could he/she do better?
-Personal stylization- Are there arm/hand, turns, or other movements that seem unique to this particular dancer?
-Choose something great from the dancer that you can incorporate into your practice sessions or into choreography of your own. Incorporating a move or a combo into your own dance is much different than stealing someone else’s’ choreography. Be aware of the etiquette around this and the importance of giving credit when it’s due.
Learning from Instructional Videos:
-DVDs are the best as you don’t waste time forwarding and rewinding
-Incorporate parts of your favorite DVDs into your practice sessions; start with a couple of easier things and graduate to the more advanced concepts
-Organize your practice time, delegating part of the practice session for practicing with a video. Just be sure this isn’t your entire practice session
-Try not to emulate the dancer’s personal style, charisma, and/or facial expressions. Be yourself and add your personality, even during practice sessions. It will take time, but eventually you will develop into your own dancer.
How To Choose a Quality DVD/VHS:
-Do some online research and learn about the dancer’s credentials first.
-Does the dancer teach only subjects in which he/she has a lot of experience and/or background in doing?
-Use what you know. Does this dancer appear to have good technique?
-Video production is sometimes an indicator of poor/high quality instruction but not always. Remember that anyone can pay to have a video produced.
-For the most part, stay away from YouTube instructional videos. Unless it’s a trailer, if it’s free, it’s most likely not worth your time. This is the number one place for erroneous information in regards to dance instruction.
-Learning to belly dance cannot be achieved from any “one” DVD/video. Anyone that claims you’re going to be a pro at Saidi, sword, cabaret, etc… by watching their video, is most like presenting erroneous material. Belly dancing takes a lot of hard work and dedication. Study DVDs, take lots of private lessons and workshops, practice, watch dancers perform live, and do your research.
-Ask for recommendations from the teachers you respect.
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Mellilah’s Favorite DVDs (videos) with a “thumbs up”:
(Check back for updates – More coming soon!)
Sahra Saeeda I recommend any performance or instructional videos/DVDs by Sahra Saeeda for her authentic Egyptian style and excellent historical and practical knowledge of Egyptian style dancing.
Hadia I recommend Hadia’s “Oriental Belly Dance System” for technique and knowledge of warming up, stretching, and body mechanics that all dancers should know. Hadia also has a series of choreography DVDs that will help reinforce good technique. Every dancer should own these!
Ranya Renee’s “Belly Dance Egyptian Style- The Baladi” – Ranya has definitely done her research, and this DVD contains two discs for the price of one. She teaches you the parts of a traditional baladi progression, introducing you to the instruments and rhythms you will hear. She breaks down belly dance moves appropriate for each section and provides improvisational drills. (For excellent references to which muscles are being used for moves I’d see Hadia’s DVDs for this.) I love how she drills each section of the beledi separately. All and all, Ranya’s is a remarkable DVD. Although some of the moves may be difficult for beginning dancers, it’s definitely appropriate for all, beginning through professional.
Aziza – Aziza does a great job, too. Her “Hands, Arms, and Poses” DVD is well organzied and appropriate for all levels.
Yasmina Ramzy’s Belly Dance Technique Volume 2 – I really like how Yasmina breaks down the movements, making it easy for all levels. In this DVD she uses mostly a Gawazee 3/4 shimmy (up down up) with the exception of chapter 9. I prefer the Hagala myself for a more Egyptian look, but it’s easy enough to make that switch yourself. A definite plus was how she performed the variations of each movement with the band so you could see it applied in a performance setting, and there are a lot of interesting ways in which she layers a 3/4 shimmy. I’m looking forward to reviewing more of Yasmina’s DVDs. Even if you don’t buy here DVDs, you should check out her school and performances!
“The Legends of Belly Dance (1947- 1976)” – Performance footage; an excellent collection of the most prominent belly dancers of the past. A DVD every dancer should own.
“Leila presents Bint al Belad”- A performance DVD with Leila of Cairo and her band. Contains post modern Egyptian style dancing. Her music CDs are excellent, too!
Bellydancers of Cario – Not an instructional or performance DVD, but rather a look at the current dance scene in Cairo from a few dancers’ perspectives. I found it very interesting. Available on Netflixs. Article about the production of the movie.
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Additional Reading:
You will also want to read this excellent article about the subject written by Yasmin. To Buy or Not to Buy – A Guide to Mass Market Belly Dance Instructional DVDs
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For more info about the author, Mellilah, please visit www.mellilah.com
Male Arabic Dancers
Male Arabic Dancers
From what I have learned up to this point, throughout the Arabic world, men were historically seen performing dance while impersonating women (cross dressing) at times when women were not allowed to dance in public. Today, this is still commonly seen, and of the Middle Eastern countries, it is most tolerated in Turkey. However, not all male dancers impersonate women. Arabic men have also performed folkloric dances, like the Tahtib or stick dance, and have danced informally at parties and family gatherings and still do today. Particularly in the Western societies, men have taken to cabaret style dancing, the style usually seen performed by women, sometimes cross-dressing and sometimes not. In 1959 soloist, choreographer, and director, Mahmoud Reda, started the first Egyptian folkloric dance company, The Reda Band. His efforts helped shape the dance we know and love today, Oriental Dance (Raks Sharki) or belly dance. Today, Tito is famous in Cairo, Egypt, performing for tourists at major hotels, performing oriental raqs sharki (belly dance) and folkloric dances. He is particularly loved and respected by fellow belly dancers throughout Western countries for his performances and instruction.
Video Examples:
Tito of Cairo
Amir Thaleb
Tito performs Tahtib, stick dance
Tito performs Raqs Sharki / belly dance
Mahmoud Reda (Fast forward to 3:00 on the counter for his performance.)
Nath Keo
Nate Keo
Mohamed Shahin
Belly Dance Articles by Hadia
I highly recommend that you visit Hadia’s new and improved website, as she has included all of the articles that she has written. There is some excellent material here that every belly dancer should read! Articles by Hadia If you’re short on time, definitely read “Five Reasons to Not be a Squatty Dancer” and ‘The “Industry of Belly Dance” – A Consideration of Growth and Sustainability.’
Sahra Saeeda intensive workshop
WEEEE! I bought my ticket and paid for my course!!! I’m taking 20 hours of instruction with Sahar Saeeda! For those who don’t know anything about her, you can visit her online at http://www.sahrasaeeda.com/
She will be coming to Seattle, too, sponsored by MEAI. Check www.middleeastarts.org for more info
Comments: Sahra was an exceptional teacher, as I had expected based on her reputation! I bought her performance DVD #3 and can’t stop watching it. Pick one up! http://www.sahrasaeeda.com/layaliyasmine/Videos.html
So you want to be a professional belly dancer! (performing and teaching)
So you want to be a professional belly dancer! (performing and teaching)
Written by Mellilah
PERFORMING
Belly dance is such a beautiful art form. People say that this is a “dance for everyone.” It is! Belly dance makes us feel sexy, feminine, and proud of our bodies. Without a lot of training or expertise, you can get instant gratification dancing through an entire song. Belly dancing does not require a particular body type. To do it for fun, you don’t have to have special shoes, you don’t have to be super fit, and you don’t have to have a whole lot of balance, like in so many other dance forms. You can’t fudge your way through tap dancing, etc… But in belly dance, you can dance, dance, dance, by yourself or with others, and feel good about it! It’s fun to watch people you know belly dance, as we can appreciate how hard it is to do some of the movements and isolations. It’s exciting just to see someone come close. We have student recitals just like all other dance forms; however, we also have big celebrations that you don’t see in other dance forms, haflas, belly dance festivals and retreats, etc… So, yes, belly dance is unique in these ways. Yes, it’s a dance for everyone to “enjoy”!
However, an art form would cease to exist if there weren’t some who excelled at it. Those that excel in art, music, sports, etc… are the ones that motivate others to learn it, patronize it, dabble in it, or aspire to be it. Without fine examples, the art form would die. Those that excel become the catalysts and teachers for the dancers of tomorrow.
So, what do I need to learn and how do I know when I’ve reached a professional level? Unfortunately, there’s no black and white answer. So then what? Here are a few things to keep in mind:
1. Just relax, learn, and enjoy the dance and everything will happen as it’s meant to be.
2. Don’t let people discourage you from trying. It’s your “right” to try. It’s this passion to “be,” to learn, that makes life worth living. Although everyone can enjoy the dance, not everyone is cut out to be a professional belly dancer. Just like any other art form, some people never get to the professional level no matter how hard they try. However, even if you remain a student, it’s usually the journey not the destination that matters. (Coming from a schoolteacher, I know that you should never get in the way of someone’s dreams. I’ve seen kids struggle for years and then suddenly blow everyone away. No one knows what another human is capable of and no one knows the true nature of another’s psyche, which plays a huge role in our success.) So, dance your heart away and give it all you’ve got.
3. Be selective and find a good teacher. Take group classes, private lessons, or both.
4. Take workshops and be selective about which ones you choose. If you don’t know, ask your teacher.
5. Get online and watch videos of exceptional belly dancers. Your teacher should be sharing these with you. Study what these dancers do. This is vital to your education as a dancer.
6. Read- Get online and read about the history, rhythms, costumes, traditions, etc… Your teacher should be sharing this with you.
7. Attend shows- See high-quality dancers perform live as much as possible. Ask your teacher for recommendations. If you are fortunate to have live Middle Eastern bands in your area, attend as many of their shows as possible. Get up and dance when it’s an open dance. Watch any Middle Eastern patrons dance. Notice how they move.
8. Set goals and schedule practice time- Plan when you will research and practice. How many hours per week? Decide when and how long you will study videos.
9. Save your money for the most important things. Spend your money on more classes instead of fancy jewelry or costumes. Ask your teacher before buying instructional and/or performance videos, as there’s a lot of junk out there. You can’t learn everything from one person or source but you do want to be selective, so you’re not spinning your wheels. Do your homework and find out. Save your money for the best classes, shows, workshops, etc.
10. Help elevate the dance form you are in or that you’re joining by voting with your money. Support the shows that showcase high-quality dancing and pay their artists well. Support your local Middle Eastern musicians. If you have limited funds, it’s more reason to be selective. The time you spend observing will help you develop a keen eye.
11. Dance Theatre/Fusion Dance- It’s fun but resist the urge to fuse or alter belly dance at first. Initially, you need to fully learn good belly dance technique. Later, you can fuse it with other dance forms or use belly dance moves in dance theatre or alternative dance. And if you choose to branch out, label it as such. (Fusion dance is a dance that encorporates two specific dance forms. For example, Flamenco and Belly Dance can make a beautiful fusion dance.)
12. When you feel ready, do get stage experience at haflas and student recitals and showcases. There are lots of events that are appropriate for gaining stage experience. Ask your teacher for a list.
13. Be responsibile: Do not dance for pay and do not pose as a professional dancer until you are ready. This includes dancing for the general public without announcing that you are a student dancer. By representing ourselves properly, we help raise the publics’ perception of our dance form. Sometimes students and “up-and-coming” dancers are given a chance to open up a show at a public venue; in these cases, it’s the producers and/or dancer’s responsibility to announce the performances properly, and it’s important that the dancers are polished and well prepared.
TEACHING
Dancers often jump into teaching too soon and before they are qualified to teach. This comes from poor training, in my opinion. Teaching is a huge responsibility; so take it seriously. Here are some thoughts regarding teaching:
1. Why do you want to teach? Consider the other teachers in your area, the good ones. Are you able to offer the same instruction or better?
2. Be well learned and never stop learning. Take a “real” look at your credentials and your skill sets. What do you need to learn? What are your strengths and weaknesses? Especially if you’re not Middle Eastern, it can take a lifetime to come close to truly figuring out the mystery of the dance, the history, and other dance customs.
2. Be honest- Be ready to be a positive example for your students. Admit when you don’t have the answers. Dabbling in something does not make a person an expert, so only call yourself a professional when you have truly excelled in that field. We may have expertise but there is always more to learn.
3. Excelling in your field is not the only prerequisite to teaching, as teaching requires more than just dance ability. An excellent dancer is not necessarily an excellent teacher.
4. Teaching belly dance is more than just teaching “moves.”
5. Have full knowledge/understanding of all aspects of belly dance
–Middle Eastern rhythms
–Music interpretation
–Stage presence
–Dancing with live band/musicians
–Body anatomy
–Body awareness and alignment
–Injury prevention
–Proper warm-ups and stretches
–How/when to dance to specific rhythms
–How to dance to different types of music; choosing appropriate movements for the music
–Culture/traditions/customs- What to do/not do in a plethora of environments
–Professionalism/ethics
–Costuming- Appropriate dress for different dances
–Choreography and improvisation
–Middle Eastern instruments
–Use of props
–How to teach music and dance appreciation
–Belly dance technique- movements, isolations, variations, traveling moves
–Knowledge of creating a syllabus/class – Chronology, what’s important /not important
–Knowledge of how to teach- You don’t have to have a teaching degree but you do need to do some work before you start
6. Only start teaching when you can honestly say that you have reached a professional level in your field, have a wealth of knowledge to share, understand the responsibilities of teaching people, and have skill in teaching. Talk to your mentor or those you respect about your interest in teaching.
***Mellilah teaches and performs in Seattle, WA. For more info about the author, please visit www.mellilah.com.
PS- Hadia of Canada was asked this question in an interview: What advice do you have for the dancer, both new to the dance and those stepping out into the professional ranks? Here’s her reply, “I think that the first question that an upcoming dancer should ask herself is if she wants to be around for a long time or be a flash in the pan or the flavour of the week. Does she seek quality or quantity? Is she willing to work and work hard and go out of her way to be the very best that she can be? Does she want to touch people’s hearts when she dances or does she want them to see her technique? Is she in a hurry or is she prepared to let this luscious dance form slowly seep into her cells until it is time to unveil another secret and another perspective?” Excerpt taken from Hadia’s Articles. (I took the liberty of correcting a couple of typos from Hadia’s original post.)
What’s in a cover charge?
What’s in a Cover Charge?
Written by Mellilah
Sometimes we have a hard time paying the flat fee, cover charge, that is sometimes collected at restaurants and bars that have belly dancing and/or live bands. Especially when the cover charge is high, it’s easy to think that you don’t need to make a purchase of food/drink. However, the reality is that the restaurant and the entertainment need to succeed financially in order for both parties to continue, and it costs a lot of money to put on a show.
Here are some Q&A’s that will shed some light on cover charges:
Does the cover charge go directly to the entertainers? It depends. Ask when you enter.
How much does it cost to pay for a live Middle Eastern band and dancers? A live band can cost between $500-1000 if it’s a regular gig, much more if it’s a one-time event, depending on the number of band members and the type of gig. This money is usually divided equally among the members. A professional belly dancer in Seattle gets paid between $80-120 for regular shows and about double if it’s one-time event or private party. (Band and dancer fees listed are based on the standard for Seattle, WA in 2009.) Remember that this money covers the time spent getting ready, travel time, setting up, wait time, performing, promotional materials, practice time, instruments/props/costuming, etc… for both the musicians and the dancers. This money must come from a cover charge or the establishment must generate additional business to offset the costs.
Are there other expenses in running a show? Yes, there are advertising costs and sometimes added security, special lighting, and/or sound equipment is often needed. Some shows require a soundman or other technician. The person who works the door needs to get paid. Sometimes the performers pay for these things, sometimes the owner. Either way, the costs must be offset by an increase in patrons, customer purchases, and/or the cover charge.
If the owner allows the performers to collect and keep the cover charge themselves, how many people will be needed in order to pay the performers fairly? With a $10 cover charge, you’d need 70 people just to pay 7 performers $100 each. Look around next time you’re at an event and do the math. It’s super difficult to have a Middle Eastern band and dancer/s with anything less than a $15 cover charge.
If I’ve already paid the cover, then do I need to make a purchase, too? Yes, you should support the establishment, too. If the customers sip on one drink all night or ask for water, the owner will most likely be forced to discontinue the entertainment or find a band that attracts a larger or hungrier crowd. So, if you like the show, you should support it by making a purchase, returning, and spreading the word!
What if the owner is keeping the cover charge? Then, the owner is taking on the risk of losing money instead of the performers, in the event the night is a flop; or the owner may gain if it’s super successful. Hopefully the owner is paying the performers a fair price. If you’re not sure, ask. You’ll still need to support the venue by making purchases, otherwise where will the money come from to pay the performers? Again, the owner may cancel the entertainment if it’s a loss.
The price for drinks/food seems expensive! I’ve seen owners charge more for food/drink to help offset the cost of the entertainment, especially if the performers are keeping the revenue at the door. If the place were absolutely packed, then I would probably complain. Is there a large enough crowd to pay the performers? Are people eating and drinking to support the establishment, too?
(Cover charge multiplied by approximate # of peeps, divided by the # of performers.)
I hope this info sheds some light on why there’s a cover, in hopes that you’ll come out and support the shows that we all love so much without feeling like you’ve been “had.” Because the bottom line is: It costs a lot more than you realize to produce a show. Of course, remember that your money is a vote for the future. So, support the shows that you want to succeed.
Before you leave, don’t forget to tell the owner that you came to see the performers! This will help encourage the owner to support additional shows.
Mellilah has produced several shows, including Middle Eastern shows with belly dancing and live bands and a monthly variety show. For more info about the author, please visit www.mellilah.com
Sustainability and Community
Sustainability and Community
Written by Mellilah
With so many shows which ones should I attend?
My greatest hope is that we will support high-quality shows that showcase high-quality dancing, from dancers who have “earned the right to dance,” as Hadia says. I think this is how we can elevate our dance form, including all it’s variations (tribal, etc.), and attract and sustain the general public.
So, what’s the problem? The current trend is for non-professional shows to pack the house, while some of the more professional shows go under from lack of attendance. In my opinion, this is a travesty. It creates less work for professional dancers, often lowers public perception of the dance, and novice dancers get fewer opportunities to observe excellent examples. Why does this happen? Can we avoid it? There may be many reasons why this happens. Dancers may not want to pay the cover fee, as professional shows usually have to charge more to pay the performers and many non-professional shows are free. Dancers may feel less intimidated watching those at their same level. Also, dancers may put a higher priority on the shows that may offer them a chance to be on stage “next time,” maybe without even realizing it, or maybe it’s simply that the non-professional shows are more fun for them and give them more opportunities to socialize with their peers. Furthermore, restaurant owners, especially those not prospering, are more likely to choose the free entertainment that offers to bring in its own crowd over the professional entertainment that will cost. Whatever the reason, how can we help sustain existing professional shows and generate more, while supporting students and up and coming dancers, too?
Of course we need to support beginning and intermediate dancers by providing them with adequate opportunities to perform and learn. Haflas, student recitals and other venues designed specifically for the belly dance community rather than the general public, provide dancers with lots stage experience and a chance to share with family, friends and fellow dancers. Also, more important than performing is that dancers practice and take as many classes as possible from qualified teachers. And don’t forget that a huge part of a dancer’s education is seeing and hearing dancers and musicians who excel at their craft perform live.
How do you grow to appreciate fine wine?…through education and sampling the best…not by drinking boxed wine. Appreciation of dance is no different.
As teachers, we can and should help our students focus primarily on skill, knowledge and appreciation of the dance and secondly on performance. As students, we should fine tune our palettes and become responsible consumers when it comes to choosing which shows to attend, which classes to take, and which products to buy. Remember, that your money is a vote for the future.
Also noteworthy is the fact that we, in the US, HAVE many musicians who are from the Middle East and Middle Eastern bands. Everyone, whether or not you wish to perform Egyptian cabaret style, can learn from seeing a live Middle Eastern show.
You can only learn so much from classes, DVDs and CDs, and nothing beats seeing the real thing or as close to it as possible. For those who appreciate Egyptian style dancing, “come sip some fine wine” and see some of the best. Experience how to dance to a “real’ band and not just a CD by getting up and dancing with the band during the open dancing. For other styles, wouldn’t it be awesome to hear the rhythms that are being used in your dance come to life? Wouldn’t it be awesome to keep connected to the roots of the dance so you can experiment and fuse with intention? Additionally, most communities have a plethora of professional dancers with regular performances. Keep your eyes open for quality shows in your area.
Stand by your principals when deciding which shows to attend. We wouldn’t have the problem of choosing which shows to attend if we stopped attending shows that represent our community poorly. Shows that deserve the attention would be sold out. Other shows would go under. The tides would turn. We aren’t overly saturated with high quality shows. I also recommend supporting the shows that pay their dancers well, a minimum fee that most professional dancers uphold as the current standard. It should be noted that there are a few professionals out there who will dance for less, deliberately undercutting their colleagues in order to get more gigs. We can’t stop progress…stop growth, just because we don’t have everyone on our side. Be brave and step up for what you believe and if it’s right, more will follow, leaving the minority behind.
If you are looking for a teacher, do your homework. Learn about the teacher’s credentials but also research the facility where he/she is teaching. Is it an organization that upholds your standards and one that you want to support? Is it a school that is selective about who they hire? Remember, that your money is a vote for the future.
Furthermore, ask questions and don’t assume that just because someone calls themselves a professional belly dancer, wears expensive costumes, and has even managed to find a way to perform for pay, that this person is worthy of your patronage and/or worthy of teaching you. There are imposters in every field who injure people and poorly represent their field. Be weary of those self-proclaimed professionals, those hiding behind that next prop that gets attention, those focusing on being seen without honing in on the skill and knowledge, those who really don’t have the knowledge and skill to be performing, let alone teaching.
Keep talking, write, and most importantly vote with your money!
For more info about the author, please visit www.mellilah.com
Dance Flooring: Injury Prevention & Dancer Longevity
Importance of Proper Dance Flooring: Injury Prevention & Dancer Longevity
Written by Mellilah
Don’t forget to check out the dance flooring before taking dance classes or choosing a studio. Dancing on hard surfaces, like concrete, or dancing on flooring that is too soft, can lead to injury and can even end a dancer’s career.
Dancing on hard floors can produce serious return shock waves, causing premature wear on cartilage and damage to muscles and joints. Basically, there’s no decompression of the surface when your feet hit the floor, so all the force just pounds up into your legs, instead of having some of the force dissipating into a floor that moves a little. In contrast, dancing on a floor that is too soft can cause the muscles and tendons to work harder. A dance floor needs the right about of energy absorption and flexibility, which will differ slightly according to the type of dance/activity.
Educating yourself is the key to your safety. I was just in a gym and noticed that the floor in the aerobics room has a thin wood or faux wood surface directly over concrete. Keep in mind that just because the facility ’should’ be looking out for your safety, doesn’t mean it’s necessarily the case. Sometimes owners are more interested in saving a buck.
Guidelines and Suggestions for Safe Dancing:
~Look for sprung (or semi-sprung) sub-floors, also known as floating floors
~Find out what’s under the surface? Just because you see wood, doesn’t mean it’s safe.
~Avoid dancing on concrete!!
~Avoid squishy surfaces
~Avoid uneven surfaces
~Look for floors that are clean, unpolished, and not waxed
~Ask the teacher or a staff member about the floor
~Carpeted area? Pull up a corner of the carpet and visibly see what is underneath
~Test the floor. Knock on the floor with your knuckles to see how much give it has. Jump on the floor and see if it seems to absorb some of the shock
~Consider the type of dance/exercise you will be doing. The more jumping, bouncing and/or propelling into the air, the better the floor must be. Higher Impact = Better Flooring
~How often will you be dancing on the floor? Increased Frequency = Better Flooring
~If you will be dancing barefoot, you’ll need to avoid abrasive or slippery surfaces
~If you must dance on a hard surface, wear dance sneakers, use good technique, limit duration, and stick with low impact movements
Some Effects of Dancing on Poor Dance Flooring:
Shin splints
Stress fractures
Inflamed ligaments and joints
Joint damage to ankles, knees, and hips
Damage to the spinal vertebrae
Premature wear of cartilage
Damage to muscles
Achilles tendonitis
Articles for Further Reading:(Be sure to push the back button to return to my blog!)
Flooring it: one key to dancing well–and long–is right beneath your feet.
The Facts About Sprung Floors for Dance
Flooring Ergonomics
Flooring for Dance, Theatre and Performing Arts (Read: What You Need to Know)
National Floor Standard
Wikipedia: Sprung Floor
Harlequin Floors: Considerations for Choosing a Dance Floor
Dance Floor Expert Tips
Dancer’s Health A Medical Resource – Reflexology for Dancer’s Feet
How to Keep Feet From Hurting When Dancing
ANS E1 .26-2006 (Scroll down to find floor standard)
Mellilah is a trained fitness instructor and belly dance performer and instructor. For more info about the author, visit www.mellilah.com
