Book List for Belly Dancers
Below is a reading list for belly dancers that I’ve compiled based on books I’ve enjoyed and reviews from my colleagues. I will be working my way through the books I have not read, adding more when I hear of them, and reviewing them when I finish. If you have a book you’d like to recommend, please add it as a comment!
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.
Serpent of the Nile: Women and Dance in the Arab World by Wendy Buonaventura history of female solo dancing in the Middle East. This was a great book that every belly dancer should read with lots of illustrations, too.
The Voice of Egypt by Virginia Danielson Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century- I’m reading this now.
Egyptian Music Appreciation by George Dimitri Sawa Comes with music CDs
Artist’s Way by Julia Cameron- A 12-week program to help remove blocks that impeed 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
The Cairo Trilogy: Palace Walk, Palace of Desire, Sugar Street by Naguib Mahfouz - An epic trilogy of colonial Egypt
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
Veiled Sentiments: Honor and Poetry in a Bedouin Society by Lila Abu-Lughod – Bedouin behavior, male and female roles
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
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, exericise 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
Instructional & Performance VHS and DVDs for Belly Dancers
There are many wonderful dvds/videos that will help support what you’re learning in class. 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 recommend to be 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, and style (Egyptian, American, etc…)
-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 from this dancer that you can encorporate into your practice sessions.
Learning from Instructional Videos:
-DVDs are the best as you don’t waste time forwarding and rewinding
-Encorporate parts of your favorite DVDs into your practice sessions; start with a couple of easier things and graduate to the more advanced concepts
-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 do I choose quality DVDs/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.
-Stay away from YouTube instructional videos! Unless it’s a trailer, if it’s free, it’s probably not worth anything. This is the number one place for errouneous information in regards to dance instruction.
-Learning to belly dance cannot be acheived 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
DVDs/Videos with a “thumbs up” / reviews:
(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.
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.) 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.
“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.
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.)
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)
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 but 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 which shows are the best. 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- Plan when you will research/read (How many hours per week?). Decide when and how long you will study videos. Plan your practice time. Practice, practice, practice…
9. Save your money for the most important things. Spend your money on more classes instead of fancy make-up, jewelry or costumes. Ask your teacher before wasting your money on instructional 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, best shows, best workshops, etc.
10. Help elevate the dance form you are in/joining by voting with your money. Support the shows that showcase only high-quality dancing and pay their artists well. Support your local Middle Eastern musicians. If you have limited funds, save your money for the best shows. The time you spend learning 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. First, you need to fully learn belly dance. 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.
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. Your responsibility: 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 “beginning or intermediate performer.” When shows are presented to the general public by dancers who aren’t at a professional level, it can lead the general public to disrespect the dance form.
TEACHING
Too many dancers 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 weaknessess? 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, and don’t call yourself a professional anything unless you have truly excelled in that field. Dabbling in something does not make a person an expert. We may have expertise but there is always more to learn.
3. Excelling in your field is not the only prerequisite to teaching. “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 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?
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. Added security, special lighting, or sound equipment are sometimes needed. Some shows require a soundman. The person who works the door may need 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 is 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
With so many shows which ones should I attend?
My greatest hope is that we will support high-quality shows that showcase talented, high-quality (paid) 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 / sustain the general public.
Of course we also need to support beginning and intermediate dancers in student recitals, haflas, and other venues not designed for the general public. (And if novice performers dance for the general public, it’s important that the producer labels the performance as such.) Haflas and non-public student recitals provide dancers with lots stage experience and a chance to share with family/friends and fellow dancers. However, more important than performing is practice, practice, practice and taking as many classes as possible, hopefully from teachers who have earned the right to teach. And don’t forget that a huge part of a dancer’s education is seeing/hearing experienced, quality dancers and musicians 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 not 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, etc. Remember, that your money is a vote for the future!
Also noteworthy is the fact that we HAVE many musicians who are from the Middle East and several Middle Eastern bands! Everyone, whether or not you wish to perform Egyptian style, can learn from seeing a live Middle Eastern show. Additionally, most communities have a plethora of professional dancers with regular performances. Keep your eyes open for quality shows in your area.
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…or experience how to dance to a “real’ band and not just a CD? 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 / fuse with intention?
If you are looking for a teacher, be smart about it. And even if you like a teacher, look at the facility where he/she is teaching. Is it an organization that upholds your standards? Do you want to give them your money? Is it a school that is selective about who they hire? Have all their teachers earned the right to teach?
Additionally, stand by your principals. Simply stop attending the shows that are allowing non-experienced, beginning or intermediate dancers to perform for the public. (Of course, I am not referring to shows that are produced for a belly dance audience but to those that are open to the public at large.) There are a lot of them! If you stopped attending them, you wouldn’t have the problem of choosing which show to attend. 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 collegues 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. These are the shows I will support. (Please note: Sometimes students and upcoming dancers are given a chance to open up a show; in these cases, it’s the producers responsibility to let the audience know that they are watching a beginning, intermediate or up and coming performer.)
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 horrible 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/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
Saidi Dance
Saidi is currently a very popular folkloric dance, performed by men and women at festive events, such as weddings. Saidi music uses the mizmar, nay, rebaba, and tabla. A long galabaya (dress) is worn by both men and women.
More information.
Here are some examples of Saidi:
Mahmoud Reda dancers performing “Raks Baladna – Saidi”
Yasmina of Cairo
Orit
Leila
Mohamed Shahin
For more info about Mellilah, please visit www.mellilah.com
Dance for the love of it and forget the rest!
“The good Lord gave you a body that can stand most anything. It’s your mind you have to convince.”
- Vincent Lombardi
My dear friend, fellow dancer, mentor, ….asked me the other day, “Why do you dance?” I know why I dance. I dance because it’s my way of expressing that which I cannot put into words. My body moves in a way that I’ve now claimed as my own, a gracefulness and fluidness I may never have found had it not been for belly dance. I feel feminine, sexy… beautiful. The music and movements bring about joy, love, tenderness, bittersweet pain, and ecstasy. For me, dance is healing; it’s my elixir. The music moves me like no other, and although I may need to work on more balance in my life, when I’m not performing, all I really want to do is watch a good belly dance show. Then why fret about it so much?
I find myself constantly striving to learn this or that… disappointed when I see how much is still left to master. Searching for that end in sight in terms of “mastery,” not to compete with others but to compete with myself. But the reality is that it’s the journey I love. It’s not about the end result…it’s about the music, sensations, the love of it.
My advice for myself and those reading: Don’t give dance too much importance. Release yourself completely and utterly, forgetting about any expectations from yourself and others, and just dance because you love it. Don’t give those with negative energy even a second thought, remove them completely. Practice technique, listen to your music over and over again, practice transitions and where to do certain moves, but then throw it all out the window and just dance, in both practice and performance. That’s what I’ll be doing!
I’ll let you know how it goes… to be continued.
Belly Dancing vs. Erotic Dancing
Why does the general public sometimes get erotic dancing confused with belly dancing? This happened to me just the other day while telling a stranger what I do. I will try to explain from my point of view and discuss ways that I feel we (dancers) can work to eliminate this confusion in the future.
Although belly dancing is ancient art form, it’s gone through a metamorphosis and still is, incorporating many cultures, techniques, ideas, etc… It’s only in the most recent past that belly dancing has morphed into a more refined art form. However, the dichotomy is that belly dancing is also more experimental than ever. We have an art form that has become more refined, and at the same time, more experimental.
What is belly dance and what is not belly dance? Let’s not analyze individual artists but ask ourselves what it is that we want to accomplish as dancers. These discussions persevere because of what belly dancing IS NOT! Belly dancing IS NOT yet a “fine art.” Belly dancing does not have a universal set of standards and universal vocabulary. Do we even want it to become one?
Balletrinas never seem to get mistaken for strippers. Why is that? Is this because ballet has a universal vocabulary and technique, standards. Ballet has been classified as a fine art form and has been for years. There are schools of ballet and although there are differences in philosophy and pedagogy, the end result follows a standard or norm for that art form. In my opinion, “fine art” follows standards, making it more refined. I found this, most appropriate, definition of “fine art” on dictionary.com: [Something requiring highly developed techniques and skills.] That is not to say that art is any less respected or regarded if it doesn’t have standards. In my opinion, the general public has less confusion around what ballet is, or is not, as compared to belly dance, because of these reasons.
I used to be a soprano vocalist, an opera singer, and I constantly found myself pointing out the difference between a classically trained vocalist practicing the “fine art” of singing and a pop singer. A pop singer does not necessarily need to practice technique following a pre-existing standard. A pop singer doesn’t actually have to be a good singer as defined by the fine art of singing. Therefore, there’s a lot more variation and diversity between pop singers; it’s experimental. If we want belly dancing to have less variability, less experimentation (when defined as belly dance), than do we need to work towards standards? What are the advantages and disadvantages of this?
I can respect those who choose to perform burlesque and other alternative forms of dance. And I respect our fellow belly dancers that choose to experiment with their craft because that is art! We should respect every artist’s right to express his or herself and cherish the fact that we can do as we wish in our country. However, the issue doesn’t lie in whether or not the art being presented is appropriate for a given venue and the issue doesn’t lie in whether or not you think erotic dancing, burlesque or other experimental dance is tasteless or inappropriate. In contrast, the problem exists only when labeling these art forms incorrectly. If the general public is ever to understand what belly dancing is or is not, than it should not be confused with other forms of dance. That’s not to say that there aren’t belly dancing moves being used in erotic dancing. We use jazz and ballet moves in belly dance! However, how much can be tweaked before it becomes something else entirely? Of course art is subjective and so are its labels. Use your best judgment, and if it’s experimental than label it as something else; make a new label, call it “free-style dancing,” “experimental dance that incorporates belly dancing movements.” Aren’t we confusing the public by labeling other dance forms or experimental dance as belly dancing? There is no “dance police.” However, as a belly dance community, we can choose to support a standard when referring to “belly dance” and we can choose to educate our audiences as we share our various art forms. We can also choose to experiment with belly dance, providing our own unique dance experience. To do this, we need to encourage and educate all those around us, students, teachers, performers, and the general public to use the label “belly dance” appropriately and as a prerequisite, to understand it in it’s purest form first. That doesn’t mean that you can’t be a belly dancer and a dancer of other forms, just educate yourself, label each individual performance as accurately, and with as much consideration, as you choose each individual costume and routine to meet the needs of the venue.
Of course there’s more than just the label. As a belly dancer, I never undercut other dancers, I make sure if I’m “belly dancing,” that it’s family friendly, and I dress and act with propriety before, during and after the show. I labeled myself as a student and didn’t pose as a professional until my teachers and I reached consensus that I had reached a professional level. As students, teachers, and lovers of belly dance, each of us can take steps to help belly dance grow. If we work on becoming better belly dancers, educate ourselves about the music, history, costuming, etc…, and put time into how we present ourselves to our audiences, I think there will be less confusion over time. Experiment but label it accurately and belly dance will be an impetus behind creations we haven’t even dreamt of yet. But respect it’s roots, too, and label “belly dance” for what it is.
On a positive note, I receive more praise and respect when I tell people I’m a belly dancer, than I receive misinformation or disrespect. Yes, I still run into people who are confused as to what belly dancing is or isn’t, but I accept these incidents as opportunities to educate.
For more info about the author, visit www.mellilah.com
Belly dancer fees? Why do they charge what they do?
Why do belly dancers charge what they do?
A quality, professional dancer spends hundreds, and even thousands of dollars on costumes, make-up, hair, jewelry, props, etc… For example, most professional costumes range between $500 and $1000 each. Additionally, time and money is spent on websites, advertising, gas and more, just like any other business. Like other performing artists, he/she most likely has spent thousands of dollars on training to get to the professional level and more on continued professional development. Hundreds to thousands of hours are spent practicing, too.
Before arriving at your party/venue, the dancer has to prepare his/herself by selecting and editing music, burning a cd, preparing the dances he/she will perform, selecting the right costume/s and props, applying performance make-up and traveling to your event.
Actually, the cost of a belly dancer is usually under that of other performers, like clowns, jugglers, magicians, and dancers of other art forms, although it takes the same or often more time and/or money to be a professional belly dancer. Fortunately, belly dancers across the nation are working hard to lessen this gap, which is one reason for the uprise of belly dance forums and union-like groups for belly dancers.
Do belly dancers have different rates?
In most communities throughout the nation, professional belly dancers have come to a general consensus on how much to charge, a minimum fee for given situations. Should you find a dancer charging less, most likely, you can expect the individual to have lower than professional standards – buyer beware! These dancers may be students or women who have not received adequate training. In our dance communities, it is generally frowned upon for novices/students to charge for their services and/or to present themselves as working dancers, selling their services to the public. (However, there are other outlets for students/novices to perform, such as: haflas and student recitals.)
Although there is usually a set minimum, some dancers may charge more. These dancers may be more in demand or may be choosing to limit their hours, only catering to higher end clients. Additionally, dancers in the “higher end” may offer unique specialties or may simply have more tenure. Of course, a higher fee doesn’t guarantee higher quality, but it’s a good rule of thumb.
Many dancers will list their prices on their websites. This is usually the minimum base fee, and most dancers will adjust these fees, adding on for extraordinary travel time, additional use of props, additional costume changes, a longer show, size of the audience, holiday shows, etc.
The frequency of performances will also affect pricing. For example, if a restaurant hires a belly dancer to dance on a weekly or monthly basis, a dancer is able to accept less for his/her performance. In most areas, there is also a set minimum for these types of recurring performances.
For a list of recommended venues in the Greater Seattle area that host belly dancing, visit www.mellilah.com/venues
For more info about the author, visit www.mellilah.com
Khaliji Dance History
Khaliji Dance by Mellilah
Belly dancers use the term “khaliji” to refer to the style of dance and music from the Persian Gulf or Arabian Gulf region, the “Khalig,” including Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, and the UAE. The dance is largely improvisational, performed by pairs or groups of women for their own entertainment at special celebrations, such as weddings. The dance is most commonly performed to a hypnotic 2/4 rhythm with two heavy beats and a pause, called the saudi, khaliji, or adany rhythm (from Yemen). It should be noted that there is not one khaliji rhythm but hundreds, as this dance represents many countries of the Gulf area. The khaliji rhythm most commonly used by belly dancers is similar to the ayoub rhythm except it has a more lighthearted feel with accents on the upbeat. Additionally, it is different from the fellahi rhythm in that it is characterized by two heavy distinctive dums surrounded by lots of fast teks.
In Saudi Arabia and Qatar the dance is called Raqs Khaliji (Dance of the Gulf); in Kuwait it is called Samri (Saumri); and in the UAE it is called Raks Al Nasha’ar (pronounced “rocks all nuh SHAH ar”), which may be referencing the woman tossing their hair to the rhythm. As the word Khaliji is not an English word, you will find various spellings of the word, including khaliji. khaligi, khaleegi, khaleeji, and khaleegy, (pronounced “kuh LEE jee”).
The dancers wear bright, oversized overdresses called the thobe or thobe nasha’ar, worn without a hip belt. The dress is used as a prop, too, held up in front like an apron to catch the wind while the dancer dances to a R-L-R, L-R-L floor pattern. Also, the sleeves are often used flirtatiously as a veil or held up like a hood to frame head slides. 
As noted above, the dance features a R-L-R, L-R-L stepping pattern with a gliding, limping feel, one foot on the ball, the other foot flat; but without the bouncing found in Nubian style dance, which has a similar stepping pattern. The flat foot falls on the heavy beat, with the other foot on the ball, slightly behind the leading flat foot, moving in the direction of the flat foot. Of course the style will probably change depending on the area in which it is from.
Although further research is probably needed, I have read from a couple of sources that the women are very proud of their long hair and so the khaliji dance often includes the tossing of loose, long hair from side-to-side, like the “shaking of water out of the ear.” In performance, when the music reaches a climax, the hair tosses are usually performed in a kneeling position and can build up to the point that the dancer’s hair creates figure eights.
Besides footwork and hair tosses, chest and shoulder movements are highlights of this dance, as well as lots of spinning, head slides, soft hand movements and shoulder and hand shimmies. The index finger is sometimes placed on the nose, with palm of hand towards the nose and again this may depend on the region where it is being performed.
One anthropologist who married into a Kuwaiti family, Melinda Smith, believes that the movements and gestures of the dance may have originally represented the Arab pearl divers in their everyday activities. The floating, rolling motions of the dress imitated the action of the waves. The dancers touched their finger to the side of their nose to mock the pearl divers decompressing, and their hair was tossed to mirror the seaweed floating on moving water. This may especially be true of the tribes that originally lived along the Eastern coast of the Arabian Peninsula. In contrast, the Central area (Saudi Arabia) would most likely have had different traditional movements.
My article is based on my research online, and I am not an expert on this subject. It’s very difficult to get a complete and clear picture of this dance form, as the dance will most likely vary from country to country and even within the different regions of the same country. Hopefully, this article will shed just a little light on the subject and encourage others to delve deeper.
Khaliji Video Example – Laila Abd al-Aziz i 1980’s
Another clip of Laila singing with dancers
These videos were found thanks to Kay Hardy Campbell! To read more about each clip, please visit Kay’s site.
For more info about the author, visit www.mellilah.com
