Vashti's Middle Eastern Dance

Preconceived ideas of what a belly dancer should look like:
"Preconceived", means formed beforehand, or formed before full knowledge or evidence is available. Anyone who goes to see a belly dancer
for the first time has their own preconceived idea of what a dancer should look like. Some have visions of a radiant, exotic beauty hidden
behind a veil, while others may picture a seductress clothed only in gauzy material. Let's dispel those images of Vaudeville, Burlesque, and
Hollywood and enter into the Oriental Dance work of today.
Today's dancers are short, tall, willowy, square, full busted or "just" busted, pigeon-toed, bowlegged, pear and bear shaped, hairy, merry,
unemployed, mothers-to-be, mothers, grandmothers, and divorcees.
That radiant beauty you see before you is a woman who looks in the mirror in the morning and says, "Not too bad at all". She is also the once
who is willing to make mistakes at class and still carry on with those practices even though things look hopeless at the moment. So if you are
one of those people who think your hips are too big, your boobs too small, you are too fat or too skinny, you do not have enough hair or you
have two too many left feet, well, you are not alone, but when has that ever stopped any of us from doing something we want to do? Thank
goodness, some of those insecurities didn't stop all those talented performers out there.
As for the seductress, well maybe you're in the wrong dance class...
In the end, let's hope that the audience sees and feels the love you have for yourself, the dance, and those around you; that you dance from
your heart and that you carry yourself on and off the dance floor with grace, dignity and pride. Talent and expensive costumes are things
learned and earned along the way, but the true essence of a gifted belly dancer comes from within.

- Joanna, Grande Prairie, April 2006

Following are just a few performance tips aimed mainly at first-time performers:
Please don't circulate among the audience in costume before and after your performance. This detracts from the mystique of the dancers and
performances. This is common knowledge among every level of performer.
Feel the fear inside; show the confidence outside. Difficult for first-timers, I know. Even the professionals get the jitters at times but the audience
won't know it. If you're a beginner level performer at a recital, the audience knows it and certainly understand. They will appreciate and support you
also because they know it takes a great deal of courage to perform!
Try to avoid standing in view of the audience waiting for your music to begin. Wait for your music to start, then enter. This has a practical side as
well; if the person in charge of the music runs into a problem and your music doesn't start right away, or if the wrong music is played, you will be
standing there...and standing there...the audience now clearly understands there's a glitch in the works. If you're an old pro, you can lighten up the
situation in your own way, but most novices will be frightened already at the whole experience to begin with, which will show and makes the
audience uncomfortable and scared for you too.
Your music in on, and you're into your performance...then the music stops or the CD "garbles"...good 'ol CDs. I don't know which is worse; having
the garbled music or having the music stop altogether. It has happened to every single one of us. Try not to show anger and/or impatience; show
some good humour instead. If the music situation can't be rectified right away, you must bow out and try to get backup music on, or try again later.
Always, always, bring backup music.
Forgot part of your routine? Who hasn't? Never, never leave the floor because you've forgotten a step, whether it's solo or group. Make sure you
know that piece of music, inside and out. If you've forgotten a step and you're solo, at least you know how the music's going to go. Improvise
gracefully and the audience will never know. If you're part of a group, recover as best you can.

Vashti, Hinton, April 2006

A good instructor should be able to:

1. Gauge the students' abilities and personalities. Praise first, then work on the problem, for example: "Your posture is excellent, which is really
important, but we need to work on the arm movement." Constant criticism leave the students feeling rejected and hopeless.
2. Break the movement into steps. Every good instructor can do this.
3. Make the class fun and relaxed. Most of the students are not in belly dance to make a career of it. Of course, the instructor must still
ensure the steps are done properly and to teach as if they do want to take the dance further.
4. Have a good working knowledge and use of the basic props such as zills and veils. The more experienced will be able to instruct in sword,
shamadan, cane and Isis wings routines.
5. Have a good knowledge of performance venues; stage, restaurant, weddings, private parties (though never "men only" performances!)
6. Be a diplomat in and out of the classroom and must try to diffuse personality problems that may arise in belly dance, in the classroom and
performance settings.
7. Help each student who needs it. This can be difficult in a large class; the instructor does the best she/he can to provide individual attention
when needed.
8. Refer students to outside resources such as suggestions for purchasing costumes and props, keeping students up to date on workshops
and performances, recommending websites, being able to help find other instructors should the student relocate and want to continue the
dance.
9. Organize recitals, workshops, performances.
10. Refrain from trying to force students into performing, when it's clear they're too uncomfortable with the whole idea. Some people need more
time than one set of beginner classes; some just don't want an audience watching them and never will. It is not a flaw; it's just how some people
are. They can still be part of a show by doing some very important organizational things, and if not, will always be the best supporters of the
performers in the audience.
11. Create her/his own choreographies and encourage the students to really listen to the wonderful music and rhythms and try to create their
own choreographies. This doesn't mean the instructor cannot use other dancers' choreographies, but not always rely on them. A good
dancer/instructor should also be able to instruct the how-tos and the whys of choreography.
12. Know some basic Middle Eastern rhythms by the counts, name and accent beats.
-Vashti, Hinton, September 28, 2007

The following from Aldiya, from Edmonton, Alberta, October 2, 2007
A good instructor:
1. Answers all questions with patience and respect; students and prospective students should never feel stupid or hesitant to ask questions.
2. Is willing to allow prospective students to view a class to help them make their decision to take a class or not.
3. Is willing to recommend other instructors to current and prospective students; a good teacher does not disrespect or compete with other
teachers and always considers the best interests of the students over filling her/his own classes.
4. Is knowledgable about human anatomy, injury prevention, and takes time to ensure students are moving safely and educated about safe
movement.
5. Has taken at least three consecutive years of classes, at all levels, as well as numerous workshops, and continues to attend workshops and
work with videos to upgrade her knowledge and skills.

Encouraging students to arrange their own choreographies:
Recently, the Level II students from Hinton, Alberta, arranged their own drum solo choreography. It is such a wonderful choreography, and I had
a chance to perform it at the Greek restaurant in Hinton a few days ago. I've never had a choreography that so impressed an audience, and I'm so
proud of these students. The Edson, Alberta Level II students have done the same.
Instructors of Belly Dance: encourage your students to arrange their own choreographies, whether it be solo or group and that they shouldn't be
dependent on others' choreographies all the time. The benefits include thinking for themselves, working and using their strengths, and possibly
preparing themselves much, much better, for a career in dance, teaching and performing. I like to compare the process from high school,
(beginners), to university (advanced levels). Almost no choreography is geared for every single dancer. If students choreograph a solo routine
for themselves, the song is, naturally, one they like, and they will use the steps that suit them. Not all dancers can do, for instance, Turkish drops,
and not all are proficient with the more advanced steps just yet.
This is not to say to never use others' choreographies later on; you can always use them (make sure to give credit to the original choreographer
and keep in mind that these choreographies are copyrighted), and take inspiration from them.

-Vashti, April 9, 2008

Be prepared before your performances
Besides bringing extra music, costuming and even a small sewing kit to your performances, you should consider bringing a portable
music system to the site, even if a system is provided for you at the site. It's not much if the site is large, such as a park setting, (as some
people will not hear the music well), but it's better than nothing. This has stood myself and others in good stead, even at a restaurant
where the system has worked well in the past, then quit! And make sure you have good batteries in your system.
Now, you have a lovely veil, Isis wings, Shamadan (candelabra) or even sword routine planned... what do these props have in common?
You need to have some space, especially ceiling space, and if you're dancing outdoors and it's windy, your routine with these props will
not work. Make sure you have backup routines that don't rely on these props; cane and zills should work anywhere. I've seen veil and Isis
wings performed in a windy outdoors, and the Isis wings remained plastered to the dancer's body throughout the routine, and veils either
also stuck to the performer, or blowing away. Also, if you're dancing outdoors, keep in mind that the wind can blow a lovely skirt up and
about; consider harem pants or a snug skirt.
If you're asked to dance somewhere you've never seen, you must inquire about the space. Will the floor space and ceiling height
accommodate your props? Do they have a good music system in place?
My troupe and I were asked to perform at the first Rocky Mountain Music Festival in July 2008. We were assured that the stage would be
set up for us, but the organizers didn't have time to prepare it. We ended up dancing in the beer tent, where the tiny stage there wouldn't
accommodate the three of us with veils. We were fortunate in having the tent ceiling just high enough. I ended up having to dance an
orientale solo with zills on the grass, remained there to do the veil routine with the two other girls who used the stage. After the veil routine,
I was able to step up on the stage and do the drum solo with the girls.
I had considered doing a sword routine for this event, but it wouldn't have worked, as the tent ceiling was too low. I was lucky having that
little inner voice that day...

- Vashti, September 2008

Territorial Belly Dancers and Their Limitations
Every so-called professional belly dancer wants to be recognized as a leader, and an innovator in the area which they teach and perform. In between all
their performances, classes, and personal practice sessions there is the need to find new ways to reinvent themselves. Such are the problems of the
average belly dance performer and instructor. Not all of us are famous belly dancers like Lucy or Dina. As this trend continues to bloom and grow, so
does the need to be better than the guy across the street or on the next website. How does one become the ultimate in feminism? Let's face it; we all
would like to be number one!! We wish that all our students would idolize us as the best in the business. So begins the territory we etch out and pour
our heart and souls into while trying not to bad mouth the group that seems like they're ever encroaching on our territory. Dancers and teachers guard
this territory like they guard their young. Such is the way of women. As their territory gets smaller and competition gets tough, it seems inevitable that
the dancer's/instructor's egos grow bigger. Instead of positive reinforcement about fellow dancers, comments now take on a derogatory slant. Pretty
soon students are not sure who is good, who is bad, who can dance and who can lead. We are all great performers in our own mind and in our own
time. We dance on winged feet and adrenalin rushes. Grown women who are rehearsing for that first performance are like children upon receiving a new
toy. The enthusiasm, the uncertainty, and the innocence are all projected to their audiences. When that level of dancer disappears and grows into a
competent and sometimes competitive performer, something is lost. In their eyes we now see jealousy, insecurity and spite. Maybe this is just part of the
plan. Every goddess fights tooth and nail to stay at the top of their game. Some make it to the top, some think they have made it to the top, but most will
always struggle with their own personal demons. Or is there another route around this scenario.
Recognizing jealousy in ourselves and then learning how to give it back to that person who is projecting their own jealousy onto you is sure to put the
ball back in their court.
Be secure in your own skill level and teaching techniques. Know that you still have the ability to learn and perform at your own level. Looks do not last
forever, but dignity, style, grace and love do.
Like a super sized chocolate bar, spite is a form of instant gratification. It feels good at the moment, but leads to regrets down the line.
We have to accept who we are and what our limitations are without wiping out our dreams, or squashing someone else's. Have we stopped to notice the
friendships that have been forged through the love we feel for the dance? Are we still hearing comments after a session like: "Are you teaching again
next month? My friend and I are going out to find a hip scarf and some zills; this is so much fun"... We didn't realize how hard we work until the music
ends and we are flushed, smiling and winded. The rewards are there; we just don't hear them anymore.
So now when we enter the stage, classroom, and that personal practice area, what are our intentions? Is it to do our best, give it our all, open ourselves
up to receive and give positive feedback, or is it to outdo, out-dress, or outdo everyone technically? Will we make lifelong friends in our territory, or
possible adversaries down the road? Did we congratulate our students' successes and treat these fellow dancers with respect and with each success
recognize them eventually as equals? Are we able to let these fledglings leave the nest to create their own nest of followers? When we limit our students
are we not also limiting and eliminating ourselves?
Those leaders who cross into our territory, what is their intent? They too are looking for equality and praise. Do they have to earn our respect or are they
conducting themselves in the manner befitting a leader? It is so easy to step on toes, and so hard to take it back. Those who step on toes knowingly are
not worth our anger, energy or our acknowledgment.
So know that even if you smile throughout the whole performance or through class, the audience and/or class can still see who has a chip on their
shoulder, and who will weather the storm. Politics, personality conflicts and power struggles will always be a part of the dance scene. What route are
you taking while riding out the storms?
Territories are temporary. Limitations are debilitating if we let them stop us from finding different avenues or while struggling to reach a new level in
which to carry on with our affair in this art form. No one is a big fish in a little pond for long, and that is a good thing as it teaches humility and tolerance.
This article can only be written by a frustrated, aging wanna-be, who learns the hard way and who is still forging ahead in a new territory but will
approach her classes without the need of anyone's approval, that evil ego and the knowledge that you never lose what you never had.

-"Princess Joanna" (Joanne Fullerton), May 2009