Vashti's Middle Eastern Dance

What do we in a rural community do when our belly dance teacher retires?
There are many dancers out there in rural communities (and some even in small or medium-sized cities) who have done
without a regular instructor for a long, long time, and those who want to learn belly dance but don't have easy access to a
regular instructor at all. If there's a group of people wanting to learn, you may consider getting together to travel to regular
classes, if the distance isn't too extreme. Check the larger websites in the big cities closer to you for upcoming
workshops, and also ask the instructor/performer of the website to put you on their mailing list. (Go to "links" on this web
site and e-mail Isis Productions in Edmonton, and Abir's Casbah in Calgary.) If you're an aspiring dancer who has never
taken belly dance before, make sure the workshop you attend is geared for beginners. I've been asked about instructional
videos/DVDs...well, I'm hesitant about them for "raw" beginners, as you can work with them, but there's really no feedback
for you, the student. Videos/DVDs can't answer questions you may have or "watch" you practice the steps. A seasoned
instructor can personally guide you through the "right" way, and also make sure you don't hurt yourself. On the other hand,
those with prior belly dance experience can benefit from a good instructional video/DVD, and there are a few good ones
out there. There are also a few not-so-good ones out there. There are some that are good value, and others that are not. I
can recommend several good ones.
For those of you whose instructor has retired, take comfort that you already had some good base training and more, and
that you still have your core group. Get together as often as you can, and don't give up! You can host your own workshops,
as well as travel to workshops. Consider purchasing good instructional videos/DVDs between yourselves. Your retired
instructor will also likely still guide you and provide advice with many problems you may encounter. Once a belly dancer,
always a belly dancer; this form of dance seems to be with you, even if just in your soul, all your life!

- Vashti, 2007

Instructors, students, performers; treat others as you'd like to be treated:
Condescending behavior, rude and tactless criticism, distruptive and bad tempered ways (especially in class), and being
altogether a difficult person to deal with, whether in class or dancing professionally will result in:
1. The troublesome student being kicked out of class.
2. The rude, impatient, ill-tempered instructor possibly losing really good promising dancers, if not most of the class.
3. The dancer, paid professional or otherwise, not being asked again to perform anywhere.
Note #3: The troublesome dancer will be alienated by the belly dance community and chances are, not just locally, either.
Word gets around in this business. Who wants to invite a dancer (even a good one) to a performance they know is difficult
to deal with, unreliable, condescending and nasty to others and even in some cases have exhibited behavior that
comprimises the respectibility of belly dance?

- Vashti, Hinton, May 2006

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

Why take up Belly Dance?
I've never asked each individual student in my classes why they've joined belly dance, but I'm going to ask the Hinton and
Edson classes to volunteer this information. I will also ask the ladies who have stayed with it, to tell me why they've stayed
with it. I'll input the results in this section before the end of September. Of course I do know some reasons why people
join, but maybe I'll get a few surprises too.
I started Belly Dance in 1979. My girlfriend and I saw that classes were being advertised in the local newspaper; we
joined from curiosity. Neither of us had ever seen a belly dancer in live performance; I believe the only time I'd seen a
"belly dancer" was from a couple of old movies. My girlfriend and I have stayed with it since (go to "links"; check Jamilee
Abir's website in Calgary; that's my girlfriend!) The reasons I've stayed with it:
*It's a marvelous and safe way to exercise while learning a beautiful and ancient dance form.
*Belly Dance can be practiced and performed well into your "later" years. (Also read the article further below titled
"Preconceived ideas of what a belly dancer should look like".)
*It keeps you fit and young, inside and out. Many, many belly dancers look far younger than they are.
*You've just have to love the Middle Eastern music and rhythms!
*I like to meet new people. I've made friends for life both in the instruction and performance settings.
*It's quite simply, well, fun!

Vikki Potter of Grande Prairie, Alberta, contributed the following when asked why she started belly dance:
"I started dance class as it was something I had wanted to do for a long time; my mom had a friend 'who danced' and she
always had an air of self that radiated and to this day that sticks with me. I joined a class with my girls to have fun one
summer and I found the truth within myself. As cosmic as that might sound I think those who enjoy the dance would
undertand the statement."

I asked the Hinton beginner students why they joined belly dance. Most said they heard it was good exercise, and it was
fun. One said she saw a belly dancer on a video by the band U2, and thought it was pretty good and it would be
something she'd like to try. Another said she heard belly dance was "calming". The Edson ladies stated they joined for
the exercise and the time off from home.

- Vashti, Hinton, Alberta September 28, 2006

What is a professional belly dancer?
For an excellent article on professional belly dancers, please see the excellent article written by Jamilee Abir of Calgary at
www.abirscasbah.com in the "Links" section. You can also check Aldiya of Edmonton's web site in the "Links" section. She
has reprinted Jamilee Abir's article and added some comments of her own. This article will give you a good insight of what a
professional should be. Students, take note; your instructor should have these attributes and more. So I'd like to add a few
comments on instructors:
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 basicMiddle Eastern rhythms by the counts, name and accent beats.
-Vashti, Hinton, September 28, 2007

The following from Aldiya, 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.

Costume accidents!
I cannot stress enough how important it is to make sure your costume is secure before performing. I've never lost
a bra or skirt while performing, but I've had three or four very close calls. Whenever I'd heard of costume
accidents, I'd thought it was always the dancer's fault for being careless, or not practicing enough in the costume
at home before performing for an audience. Yes, it's mostly due to carelessness, but not always. Despite our best
efforts, accidents happen, and we all hope we get a warning first, such as feeling something coming loose or
tearing, and giving us a chance to leave the dance floor.
Sometimes you can practice for hours in a new costume and everything's fine, then all of a sudden... this
happened to me recently; the
whole clasp of the back of the bra just ripped away. I had practiced in this costume, but it just happened, and I lost
the bra before I went out to perform so I was extremely fortunate. I didn't have an extra clasp on the bra; taught
myself a lesson. I didn't feel I needed an extra closure; I hadn't before! Here are just a few costuming tips:
* Always have more than one fastener for bra and belt. And front closure bras can never be trusted; one or two
extra fasteners are a must.
*Always test that costume out, especially with the routines you have planned for that costume (floorwork, props,
etc.)
*If you feel something is coming loose, don't just hope it holds out; it often won't. If it's bra or skirt, leave the
dance floor. If it's just something like a piece of jewelry or a headband, it's not so bad.
*Please make sure your costume fits properly. Size DDs will not work in a B, if you know what I mean.
Breasts can and will pop from the top of a bra, and can make their escape out the bottom of the bra too.
*Make sure your skirt is not too long. You will step on it and consequently the skirt will be pulled down, or torn.
*If you have a costume that shows a lot of leg, do not wear a thong. 'Way too much information for the audience if
they get a glimpse, and they will think you aren't wearing underwear at all.
*If your skirt is stitch-hemmed, the stitching must be very small and tidy. Toes and heels will get caught in loose or
sloppy stitching, as well as loose, raggedy fabric on the inside. Trust me on this one. Also, avoid trimming skirt
hems with loops of trim or loops of beads; looks great, but the same thing can happen.
*If you're doing floorwork and you're wearing a headband, bobby-pin the headband beforehand so it doesn't slide
off.
*Costumes trimmed with rhinestones are beautiful, but most rhinestones and their clasps are nasty little creatures
that destroy any other fabric that comes in contact with them. In other words, the rhinestones may catch and tear
your veil.

-Vashti, January 27, 2008

I'm welcoming thoughts on what's been viewed on "You Tube" concerning Belly Dance
I occasionally browse You Tube and view a lot of belly dance performances and instructional "bits". I'm sometimes pleased
and impressed, and sometimes shocked and dismayed. People are allowed to voice their opinions of the videos, and
sometimes they're good, honest, kind, and tactful opinions, and many comments are foul-mouthed, and biased in regard to
everything; gender, race, politics, and some eventually end up not being related to belly dance at all!
And here's my opinions (for what they're worth!) about what I've viewed on You Tube:
*Please don't add "Belly Dance" to "Burlesque". Burlesque is burlesque.
*I am only confused over "Gothic" Belly Dance. I've tried to come up with a definition on what this style is trying to get across,
viewed many different sites, and viewed a lot of "Gothic" belly dance. Some of it I don't mind, but it doesn't give me that happy
feeling somehow...
*So you're a contortionist...congratulations; I really wish I could do the things you can do with your body! Now, how about some
dancing?
More comments to follow soon!

- Vashti, March 2008

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