From The Hip - Bellydance Tips

1. Being A Bellydance Student

2. For Bellydance Performers

3. For Bellydance Teachers

4. For Those Who Are Bellydance Teachers And Performers

5. If You're Thinking Of Becoming A Bellydance Teacher Or Performer

6. Bellydance Troupe Performance

Being A Bellydance Student

To begin with:

• Know that you're suitable to be a Bellydance student regardless of your age, shape, fitness level, or background.

• Give yourself a chance to learn by committing to weekly classes for an extended period of time.

• Realise that learning is an ongoing process and that you'll never outgrow being a student of Bellydance no matter how experienced you get.

In looking for a class to attend, remember that a good teacher:

• Can dance well.

• Is able to break down techniques and explain them clearly.

• Demonstrates a caring, patient and accepting attitude.

• Fosters a friendly, non-competitive environment.

• Encourages you to not only do your best, but to extend and challenge yourself.

Clothing advice to help prevent injury:

• Never wear a skirt in class. Wear dance pants or leggings. This allows your teacher (and you, via the studio's mirror) to see what your lower body is doing and therefore avoid injuries to the ankles, knees, hips and lower back.

• Because cold weather means a higher likelihood of torn muscles, wear lots of thin layers during the winter months to keep your muscles toasty warm.

• Do your feet a favour by wearing flat ballet shoes or jazz sneakers.

Technical tips to help prevent injury in class:

• Always arrive in time for the warm up at the beginning of class, and stay for the cool down at the end.

• While dancing, help protect your lower back by maintaining a slight pelvic tilt.

• Never completely lock out your knees and elbows. Even at their straightest, there should always be a tiny bend at those joints to protect them from undue stress and possible damage.

• Inform your teacher if you feel a stabbing or sharp pain during a particular movement. With any luck, it will be a simple issue of incorrect technique that can be promptly fixed.

• Avoid backbends. It's a blanket rule, but if you're desperately keen on doing them, I advise you to practise lots of Yoga with a qualified instructor. Get your Yoga teacher to show you how to backbend correctly so that you don't crunch into your lower back, and always be sure you're very warmed up before doing backbends in a Bellydance class.

As you continue on your path of learning:

• Don't listen to your own lame excuses to not go to class. All such excuses (it's too hot, it's too cold, I'm too thin, I'm too fat, etc, etc) will lead nowhere. Successfully learning to Bellydance will only come with consistent and sustained effort.

• As soon as you think you know it all, you'll stop learning immediately, so it's important to always approach any class you go to (regardless of how advanced you are) with an open mind, ready to absorb what you're taught.

• Remain humble, no matter how experienced you get. Be smart by keeping in mind that that the more you learn, the more you'll realise how little you know, and how much more there is to learn. Keep this wisdom in the forefront of your mind so that you're always growing as a dancer.

Show respect to your teacher by:

• Being on time to class and staying for the duration.

• Listening carefully and following instructions.

• Not chit-chatting to other students during class.

• Practising at home.

• Displaying gratitude for any extra help your teacher gives you in or out of class.

For Bellydance Performers

Getting the show on the road:

• Never accept shows that you’re not comfortable doing. If you get a funny vibe from the person on the phone and your instinct tells you that something's not quite right, politely tell them that you're booked out.

• Set your prices according to the industry standards of the time. If you undercut other performer's prices, you might get more jobs, but you'll lose credibility among your colleagues.

• State your payment procedure and cancellation policy on your website.

• When you get potential clients trying to beat your price down, firmly but politely explain to them that yours is a business like any other, and for fairness to everyone your prices are the same for all.

• Be sure to sign a copyright agreement for any professional photographs you get done for your business cards and website.

• Create a checklist for performance nights to make sure you always take everything you need.

Costume talk:

• As a performer, your feet are one of your most valuable assets, so protect them with ballroom dancing shoes. Almost all costumes will go well with platinum (pale gold) coloured ones.

• Buy coarse sandpaper from a hardware shop to scrape off the dirt that accumulates on the soles of your performance shoes. I advise that you scrape before each show because when they're dirty they're slippery.

• Costume malfunctions have been known to happen, so put extra clips and fasteners at every opening point of all of your costumes.

• Costumes should be well-fitting, professional, and not too revealing (honestly, bum and boobs pouring out of your costume is NOT a good look. Ever).

• Leg hair and armpit hair are NOT part of any Bellydance costume. Get rid of it.

Zills:

• Zills are an important part of being a Bellydance performer so you must learn to play them.

• Playing zills as you dance means you're truly part of the music you're dancing to, because you're not only making the music visible with your body but also taking part in creating it. Learn to play zills and use them in your shows.

• Also learn to play zills while you're holding your veil. Here's how you do it: rather than holding the veil between index and middle fingers, hold it with the ring and pinky fingers instead. That way your middle fingers and thumbs can play zills. You won't be able to do any complicated veil work when you use veil with zills but it's a good skill to have and use during performances.

• Another reason to learn zills is that they're handy for creating music to dance to if the sound system either isn't loud enough or breaks down mid-show.

Essential purchases for a performer:

• Zills, stick, veil, wings, fan veils, tambourine, sword.

• Professional business cards.

• Stage makeup.

• Portable mini makeup kit with mirror.

• Dance stockings.

• Performance bag.

• A hairpiece (unless your natural hair is right for the stage).

• Two galabeyas (one for winter and one for summer).

• CD booklet (while we use iPods these days, it's wise to take CDs for backup).

Suggested show structure:

• NOTE: Before going on stage, get staff to put your props somewhere easy for you to access.

• Dynamic and attention-grabbing entrance piece.

• Upbeat song/s for audience participation.

• Dancing with whatever props your client has requested.

• High energy drum solo.

• Short finale to dance your way off stage.

• NOTE: leave your props on stage and ask the staff to bring them to you.

Smelling the part:

• Shower before the night's performing so that you're smelling and feeling fresh, but don't wash your hair as it sits better when it’s not squeaky clean.

• Raw onions and garlic are OUT on the day of your show. You might not be kissing your audience, but you will need to speak to at least one person that night, and if your breath smells like it comes from the bowels of hell, then you can rest assured that you won’t be asked back to that venue to perform.

• Take deodorant and breath-freshening spray to use before going on stage.

• Take a small towel for wiping off sweat between shows.

Dressing the part:

• Be completely dressed for your show except for your skirt - which goes into your performance bag - and instead wear dance pants (ones that won't mark your waist).

• Wear a galabeya on top of it all.

• In cold weather, also wear a button-up shirt and cardigan underneath your galabeya (or any warm clothing that comes on and off without messing up your hair or smudging your makeup).

• In the venue's change area, keep your galabeya on for modesty while you change into your skirt.

Getting to your show:

• Arrive at the venue ten or fifteen minutes before the start time of your show. Lateness is NOT fashionable. On a business level it's unprofessional, and on a personal level it's just plain rude.

Just before you go on stage:

• Ask the staff to put your props somewhere that will be easily accessible during your performance.

• Check your costume to ensure all clips are clipped and all zips are zipped.

• Confidence is good, egomania is not. You're only as good as your last show, so make every show the best one you've done so far.

Body carriage is all-important for grace and fluidity. Remember to keep:

• Ankles strong with feet massaging the floor as they move.
• Chest gently lifting and shoulders drawing down.
• Arms in elegant curves with fingertips relaxed but alert.
• Chin slightly raised and the crown of the head drawing up.

Safety on stage:

• Sometimes people get up to dance with you without your invitation. For safety's sake it's important that you put a stop to this and hold the space as your own. The person in question could be completely harmless, but you don't want to give the message to someone in the audience who's not harmless that anyone else is in charge besides you.

• However, you must get the person off the stage in a polite way. Do it like this:

  • Dance with them ever so briefly (a few seconds will do).

  • Stop dancing, thank them with a big smile, and clap for them.

  • Use your best game show host arms to show them that it's time for their grand exit, and clap them as they go back to their seats.

  • Start dancing again.

• This makes it clear that you, not the audience, are in control of the situation and that boosts your level of safety during the show. As soon as the control is out of your hands, things can get out of hand, so keep safe by holding your space and controlling what goes on during your entire performance.

• There are exceptions to the above: sometimes your audience is just plain festive - they're not being sleazy, and they're not out-of-control drunk, they just love to dance and everyone wants to get up and boogie. Really, you need to use your instincts to judge what's best to do or not do, but at least you now know (via the above step-by-step) how to regain control if an audience member tries to take over the show.

Adding texture to your show:

• Use the whole stage by travelling:

  • Backwards.

  • Forwards.

  • Sideways.

  • Diagonally.

  • In a zig-zag pattern.

• Remember to alternate between:

  • Moving about, and being stationary.

  • Spreading yourself out, and staying in a small space.

  • Accented techniques, and smooth techniques.

  • Powerful movements and soft movements.

  • Dynamic movements and introverted movements.

• Add more variety by:

  • Changing height (ie. going onto demi pointe, or into plié).

  • Layering techniques with a hip or shoulder shimmy.

  • Varying arm positioning and arm movement.

  • Facing different directions.

  • Doing turns to break things up visually.

Quick tips for the stage:

• A good rule of thumb for new performers to remember is: if in doubt, do a figure eight or a shimmy. One of those two will definitely suit the music and will tide you over until you get back on track.

• When not playing your zills, stop unnecessary dinging by placing your index finger underneath the middle finger zill (so that you're sort of crossing your fingers). That will keep one zill away from the other and stop random dinging until you're ready to play again.

Going from show to show:

• Be super-careful going from car to venue and venue to car.

• Sometimes you'll be late for shows for reasons beyond your control (eg. traffic, being stopped for random breath testing). Venue owners might freak out about it, but don't speed or break the road rules or endanger yourself in any way to try get there quicker. No performance is worth dying for.

• If you're doing three or more shows in a night, take snacks and drink with you. For minimal mess and maximum nutrition and hydration, take: water, pure fruit juice, nuts, seeds, grapes, berries, bananas, and crackers.

Keeping your self esteem in tact:

• Take sweeping compliments like “you’re the best dancer I've ever seen” from audience members and venue owners with a grain of salt. Smile, enjoy the compliment, thank them graciously, and move on. Being hostage to sweeping praise (or sweeping criticism for that matter) is harmful. It’s merely an opinion - an individual’s version of the truth which can (and does) change. For your own sake, don’t rely on the shifting sands of opinion to define you as a dancer.

• While it's easy to enjoy shows when the audience reacts with enthusiasm, don't depend on that for the vitality of your show. Audiences can be as unpredictable as the weather, so relying on them for how well you perform is a mistake. Being a professional means putting on your very best show no matter how the audience does or doesn't respond.

Leaving the venue:

• Get the staff to retrieve your props from the performance area.

• Be sure to take your music (ie. CD or iPod) with you.

At home, just after the show:

• It's important to dry your hair after shampooing it - in my experience, going to sleep with wet hair can result in a stiff neck and/or headache the next day.

• Don't just fold your costume up and put it away - hang it up and air it out at least until the following morning.

• Performing is hungry work, but try not to eat too much after you get home.

During the week after the show:

• Send a thank you email to the people who hired you to dance at at their function. Not all that many dancers do this (I know I certainly didn't in my early years - it simply never occurred to me). Doing it will display how courteous and professional you are and put you in a league above the average dancer.

Other dancers:

• Be careful who you choose to befriend among other performers.

• If you're lucky enough to find an experienced performer who's willing to mentor you, listen to what she has to say by way of advice so that you can learn from her mistakes and successes.

• If you become a mentor to a new performer, don't be surprised if you have the unhappy experience of having your mentee turn her back on you when feels she no longer needs you. It happens all the time.

• If you encounter nastiness from another performer, don't retaliate. She is clearly insecure, so walk away and let her wallow in the filth of her own meanness - you don't want to be down in that swamp of malevolence with her.

• Remember what it's like to be new in the industry and give new dancers a chance when it's you who's experienced and them trying to get a start.

• Don't join in on conversations where divas are showing off about how many zillions of shows they do. Stay away from such insecure interactions.

• Warn other dancers of any perverts that you might encounter.

• When a dancer doesn't return your call after you leave a message about a gig, give her another chance. But if she does that twice, cross her off your list of dancers to call. If someone can't pick up a phone to let you know whether they can do a gig or not, they not only don't deserve you to pass on gigs to them but you can't possibly trust them to reliably turn up to the gig.

For Bellydance Teachers

On the business side:

• Decide on and stick to your payment and refund policies.

• Sign contracts with any assistants, trainee teachers, or new teachers.

• Be a professional - start and finish all your classes on time.

On the creative side:

• Stay at least ten steps ahead of your students. Achieve this by continuing your own study of dance. Attend classes and workshops of not just Bellydance, but of all different types of dance so as to keep learning.
• Choreographing is a craft that requires practise, so always have new choreographies in progress.

On the teaching side:

• Your attitude will determine the atmosphere for your classes, so be warm, friendly, and down-to-earth to create a welcoming class environment.

• Gain your students' confidence by:

  • Learning their names.

  • Using positive language.

  • Being reliable and reassuring.

• Keep your students motivated by:

  • Making classes fun.

  • Being enthusiastic.

  • Praising them liberally.

  • Finding new and interesting ways for them to practise old skills.

  • Giving options for people at different levels so that no one feels left out.

  • Helping them reach big dance achievements via small steps.

  • Acknowledging effort, even if it doesn't lead to success.

• Help your students reach their dancing goals by:

  • Planning your lessons.

  • Having well-structured classes.

  • Working them hard from the beginning to the end of the class.

  • Finding a balance between drilling old skills and teaching new ones.

  • Correcting your students. They're not there to be mollycoddled and falsely flattered with non-stop praise. They're grown adults who are there to learn - teach them well by kindly correcting their mistakes.

• Communicate with your students effectively by:

  • Being clear, consistent and concise.

  • Using not just language, but facial expression and body language.

• Teach your students how to use props. (NOTE: So many teachers neglect teaching zills, but it's an important aspect of Bellydance. When teaching zills, wear yours but have your students either just use their fingers or only have a zill on each middle finger. That way you're the only one making noise and they'll be able to hear and follow your playing.)

Relationships:

• As the saying goes: befriend in haste, repent at leisure. Choose your Bellydance friends wisely.

• Steer away from making friends with students. However, friendships can sometimes develop (you are all adults, after all) so if you end up being friends with a a student, set some ground rules about how the friendship is to be conducted during class.

• Be prepared for the disheartening experience of training advanced students as performers and teachers only to have them turn their back on you or act ungratefully in some way. It's a sad reality and happens all the time.
• If you're lucky enough to find a more experienced teacher who is willing to advise you, listen to her carefully so that you can learn from her experiences.

• If you become a mentor to a new teacher, you might have the awful experience of having your mentee turn her back on you when she gets to the point of feeling independent. This type of thing happens all the time - unfortunately most people are very ungrateful once they feel they no longer need your help.

Look after yourself:

• As a Bellydance teacher, you're in the health and fitness industry, so it's important that you're the picture of health and fitness.

• The feet of a dancer are where movement starts and finishes. Your feet are one of your most valuable assets in dance, so don't teach barefoot. Protect your feet by wearing flat ballet shoes or jazz sneakers in class.

• Too much of a good thing can be detrimental. With Bellydancing specifically, I'm talking about over-flexibility in the spine caused many hours of Bellydance every week. Counter this by strengthening your core with Pilates and Yoga.

• When teaching many hours of class back to back, take a towel to wipe down sweat and deodorant to keep fresh. Stay hydrated and energetic by drinking and snacking between classes. Teach 55 minute classes so that you have five minutes between each class to have a quick drink and/or a little food. If you're teaching a full day workshop, instead of a big break for lunch, have a ten minute break at the end of each hour. This also prevents you and the students from becoming ravenous by lunch time and having a big meal which does nothing but make you feel heavy and sleepy for the remainder of the workshop. For minimal mess and maximum nutrition, the best drinks and snacks are: water, pure fruit juice, nuts, seeds, grapes, berries, bananas, and crackers.

For Those Who Are Bellydance Teachers And Performers

Transitioning from teacher to performer you need to:

• Go from a practical look to a glamourous one.

• Be less of an athlete and more of a goddess.

• Be much more on the ball (there's no room for error when performing!).

 Transitioning from performer to teacher you need to:

• Go from show-off for the audience to showing students how things are done.

• Alter posture and alignment due to the change from heeled to flat shoes.

• Go from stunning enchantress to elegant athlete.

If You're Thinking About Becoming A Bellydance Teacher Or Performer

There are upsides and downsides to teaching and performing Bellydance, just like every other job. So do consider both the positive and the negative before embarking on the journey of being a Bellydance teacher or performer.

Consider the following:

• Teaching and performing are not simply dancing. So loving dancing doesn’t automatically mean you should teach or perform. They are both skills unto themselves, and not everyone is made to be a teacher or a performer.
• If want to teach or perform for the money, don't bother. Bellydance is, for the most part, an expensive labour of love - between CDs, costumes, clothes for class, ongoing dance study, etc, it's a fun road, but not a cheap one.
• Teaching and performing work is tiring, and mostly nocturnal. You work when everyone else plays (in fact, your work is everyone's else's play) and your social life and sleep patterns will be adversely affected.
• Once you start teaching or performing you’ve immediately turned your hobby into a job. While that’s good on the one hand, no longer will Bellydancing be a matter of ‘want to’ but a matter of ‘have to’ and adding those two little words to the equation is a huge shift in your mindset. Think about that carefully.  

If you're thinking of teaching or performing full-time, bear in mind:

• As with any other industry, there is politics in Bellydance. Furthermore, as we're talking about the dance industry, you'll come across people who are divas with massive egos and insecurity problems. (You've been warned!)
• A full-time Bellydance teacher and performer is no different from any other small business owner - you must run things like a business and consider aspects such as insurance, licenses, marketing, bookkeeping, basic accounting, money management, technology, advertising, customer care, etc.
• Like any small business owner, your work days will be very long. You'll have to find a way to strike a balance between rest and work otherwise your health and personal life will suffer.

• It’s easy start up classes or get gigs, but sustaining the business for years and years is the tough bit. So you must gain some business knowledge, develop a solid and workable long-term plan, and then work, work, work!

Bellydance Troupe Performance

For the teacher (troupe leader):

• One of the trickier aspects of being a troupe leader is finding a balance in your role: being firm but kind, organised but flexible, tough but friendly.

• Work the troupe hard while at the same time make rehearsals fun.

• Praise often and keep the atmosphere upbeat and positive.

• Always sandwich constructive criticism between two positive comments.

• Find a balance between drilling old choreographies and teaching new ones.

• Choose troupe members wisely. For example, if a student who is a talented dancer is slack at coming to class, it's a good indication that she'll be slack at coming to rehearsals too, so it's best not to invite her to be part of the troupe.

For the troupe performers:

• Choosing to be a in a dance troupe means that you put yourself in a position where you'll receive constructive criticism both from your teacher and other troupe members. And while it's a necessary part of being in a troupe, even the most gentle critique can be confronting. Work at your self-confidence so that you can deal with it in a positive way.

• Performing (like life) is ups and downs, so be prepared for the fact that some gigs will fall through. This might seem obvious, but a troupe member once got extremely upset with me because I had asked about her availability for a gig that didn’t end up happening.

• If you’re consistently not practising at home, either start now or consider an early retirement. If you’re going to be part of a troupe, you need to act like you’re part of the troupe, not just dangling on the end of it.

• There may be personality clashes within a performance troupe. If you don’t like someone in the troupe, keep it to yourself. If you want to get it off your chest, tell your teacher in private. As much as possible, remind yourself of that person’s good points (they’re bound to have some!). You don’t have to marry them, so there’s no need to go to great lengths to become best friends, but do find a way to get on with them for the purpose of having peaceful and productive rehearsals and enjoyable and successful performances.