CHOREOGRAPHY :
Before Choosing a TEACHER, SOME OF THESE GUIDELINES SHOULD BE REVIEWED WITH YOUR TEACHER OF CHOICE BEFORE TAKING ANY CLASSES WITH HER.
BELLY ROXS CHOREOGRAPHY SUGGESTIONS FOR MIDDLE EASTERN DANCERS -
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CLASS CHOREOGRAPHY : Students pay for choreography the teachers teach in their dance classes. Any teacher claiming that they have copyrights to it, ask for the copyright year and legal name used for the copyright and then ask your teacher why she is charging you for the class. If she wants to teach it to you but does not want you to perform it anywhere, then what did you pay for?? I personally do not like to waste my time learning something that I can't do a thing with but forget I learned it.
- WORKSHOP CHOREOGRAPHY- This is a paid for by the attendants. You can perform any choreography learned at the workshop.
- TROUPE CHOREOGRAPHY - Belongs to the director of the troupe with verbal agreement. A troupe member should always ask permission to perform the piece by the director. Never are verbal agreements binding. Should written contracts be given to troupe members to sign? I would personally never sign any contract with any teacher for any reasons without an attorney to review it. Directors like to own you once you are in their troupe.
When using someone's choreography, it is common etiquette to give the name of the choreographer whether it be yourself, your teacher, whomever, if you are using music, then the same goes for musicians, the title of the song and who its by should be listed after choreographed by: if you changes to some of the choreography your name and the original choreographers name should be listed.
DANCERS CULTURAL ETIQUETTE
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♥ALWAYS KEEP YOUR COSTUME COVERED UP UNTIL YOUR PERFORMANCE. COVER YOUR COSTUME AFTER THE PERFORMANCE AS WELL.
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♥FOR AN ETHNIC CROWD, COVER YOUR STOMACH WITH A BODY STOCKING.
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♥NEVER ALLOW TIPS TO BE PUT IN YOUR BRA OR BELT AREA OF YOUR COSTUME.
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♥DO NOT OVER DO IT WITH CHEST LOCKS ALL AT ONE TIME, NEVER THRUST THE PELVIS TOWARDS THE AUDIENCE.
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♥WHEN PERFORMING, AVOID: HERE I AM! BEING MODEST & DISCREET IS A VIRTUE AMONGST THE ARAB COMMUNITY.
STAGE DIRECTIONS:
- Upstage is behind you (toward the back of the stage) when you are facing the audience. Upstage is in front of you when your back is to the audience.
- Downstage is in front of you (toward the audience) when you are facing the audience,. Downstage is behind you when your back is to the audience.
- Stage Left is to your left when facing the audience, Stage Left is on your right when your back is to the audience.
- Stage Right is to your Right when facing the audience, Stage Right is on your left when your back is to the audience.
EFFORTLESS EMOTING:
Music: Life experiences influence your ability to connect with the dance. Pick music that you can relate to.
Go beyond the heartbreak: Pain is an easy emotion to express because it is visually load and violent, search for other dramamtic challenges like: redemption, peace, friendship through movement, these emotions may require more subtlety and nuance as well as impress the audience when portrayed effectively.
Start with a story, you learn your story as you learn your choreography. You are the storyteller.
Keep a journal after each rehearsal. write down thoughts and ideas of the choreoegraphy and the story.
Mix up facial expressions: if you are stuck with one expression thorugh the song, you will lose your audience.
Stay natural. the transitions between expressions should be fluid or you risk having an automated face. Audiences can tell when you are working to hit facial expressions on every 8 count. do what comes natural as a performer andyou'll be more comfortable letting those emotions sweep across your face.
Tape yourself. Once you have mastered choreography and interpreted your story record yourself performing and use it to adjust facial expressions and hand movements, posture. etc.
acting 101- jennifer edmonds expression exercise:
Pair up with a friend and sit facing each other. Name an emotion, such as jealousy, and ask your partner to make the corresponding expression. Try rage,doubt,delight,apprehension,shyness and anything else you can think of. Then, switch so that your friend names the emotionsand you have to make the facials. You can also try it in class, have everyone face the mirror and make expressions while one person calls out emotions, or ask one dancer to make expressions, while the rest of the class guesses what they are.
STAGE FRIGHT SYMPTOMS:
- DRY MOUTH
- TIGHT THROAT
- SWEATY HANDS
- COLD HANDS
- SHAKY HANDS
- NAUSEA
- FAST PULSE
- SHAKY KNEES
- TREMBLING LIPS
- ANY OUT OF THE ORDINARY OUTWARD OR INWARD FEELING OR MANIFESTATION OF A FEELING Occurring BEFORE OR DURING A
- PRESENTATION OR PERFORMANCE.
Controlling stage fright; (it is a phenomenon that you need to learn to control)
· That you must be ready to perform before you can learn how to perform.
· Most of the fear happens before you enter the stage and disappears once you are on stage.
· Think of fear in a positive way. Fear is your friend, it makes your reflexes sharper, it heightens your energy, adds sparkle to your eyes, color to your cheeks. When you are nervous you are more aware of your posture and breathing. You actually are more aware of your posture and breathing, with all these side effects you look healthier and more physically attractive.
STAGE FRIGHT -NO HAS EVER DIED FROM STAGE FRIGHT. Always remember this. Stage fright is actually good for you. It makes you better looking!
Strategies for reducing stage fright:
Visualization (can be used any time)
- Pretend you are chatting with a group of friends,.
- Close your eyes and imagine the audience listening, laughing and applauding. Smile.
- Remember happy moments of your past
- Think about your love and desire for the dance
- Picture your audience naked!
Advanced Techniques
- Be extremely well rehearsed.
- Get individual or group coaching
- Listen to your music day and night
- Absolutely memorize your dance
- Organize
- Get in shape, it really helps stage fright
- Practice, practice, practice. So you can put your dance on auto-pilot
Just before you go on stage.
(remember stage fright usually goes away after you start)
BREATHING TECHNIQUES TO CALM & DE-STRESS YOU.
Alternate nostril breathing from yoga.
1. Sit in a comfortable position. Hold your right palm in front of your face, with your middle and index fingers curled toward your palm. Place your thumb next to your right nostril and your ring finger next to your left nostril. Close your right nostril with your thumb & inhale slowly and deeply through the left. Pause. Release your right nostril, close your left nostril with your index finger, & exhale slowly and fully through the right nostril. Pause. Keeping your left nostril closed, inhale slowly and deeply. Pause. Release your left nostril, and close your right nostril. Exhale slowly & fully. Repeat 5-10times.
CALM BELLY BREATHING
Lie on your back. Empty the lungs without force while watching the navel fall. Practice breathing in and out through the nose for five minutes, while meditating on the rise and fall of the navel.
Tips for Dancing with a live band.
(I found these quite useful, I obtained this info on discoverbellydance.net before habibi took it over)
- Familiarize yourself with the band's music before show time if possible. Listen to there cds or attend shows to get an idea on how the band works with dancers.
- Best is to rehearse with the band before showtime.
- If not possible to rehearse with the band before showtime, make a written outling of your music requests for the band. This may include names of specific songs if you are sure the band plays them.
It is good to prepare something like the following:
1 minute - Enter to ney
Short segment dedicated to the sacred qualities of what we are creating together as musican and dancer.
4 minutes - party song! upbeat happy music
2 minutes - kanoun takism with masmoudi rhythm
3 minutes - tip song -upbeat music that makes everyone want to dance.
return to stage - end song. take bows, then grande finale ext iece. 15-30 seconds
for a simpler routine -
entrance piece upbeat, beledi rhythm 2 1/2 min; Slow chifi telli rhythm, veil dance 2 1/2 min; Drum Solo 2 min. Exit Music 1 min. total time: 8 minute.
Having a written outline gives you credibility with the band, it clearly communicates your musical request to the band. Ideally have the wriiten outline for the band IN ADVANCE . all requests might not be available for the band to fullfill.
When arriving at the show -
- greet the band members if possible.
- be on time and have a cover up on when not dancing.
- avoid last minute changes in your music requests
It helps to know the names of the rhythms, ad you can get by specifying 4/4 rhythms only, or no 9/8 or 7/8 if you just haven't mastered those odd rhythms.Bands really love playing something other than the maksoum (aka beledi backbeat or the mother of all rhythms) all the time. They like it when a dancer enjoys 6/8 or other unusal rhythms.
Dancers - you can cue bands members while dancing to let the band members know your needs. Eye contact. a nod, a spin can cue ending of a section -but allow the band to wind down the music.
you should be able to find out how the band works through phone conversations with the band leader, email or other dancers or visiting their web site to glean clues about their attitudes and ideas about dancers.
LOCAL RATES FOR MIDDLE EASTERN DANCERS IN METRO DETROIT AREA.
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(local dancers suggest on rates posted below as a minimum. If your area does not have a rate card, consider forming a group of local dancers to agree on lowest suggested rates. Michigan Dancers, Opinion on rates??? Please email me!
Please take note that holidays, distant in travel for the dancers, how many daners, all are taken into consideration for rate changes. The rates listed below are the minimum charges.)
Venue: Rate:
Restaurant/Club $125.00
Private Party
with 2 sets of dancing from (1-30 minutes) $200.00
with a costume change $225.00
Wedding
Zeffa Only $150.00
Dinner show only $200.00
Dinner show and Zeffa $250.00
Belly Dance Lesson Parties $150.00 - $175.00 packages
HIGHER EDUCATION LISTING FOR DANCE IN MICHIGAN:
(source from dancespirit magazine)
ALMA COLLEGE - Theatre & Dance Dept
Alma Michigan,
Director/Contact: Carol Fike - 989-463-7242 or fike@alma.edu
alma.edu/academics/theatredance
DEGREES: BA, BS, ed. cert., minor
CALVIN COLLEGE
HPERDS DEPT., Grand Rapids,MI.
Director/Contact: Dr. Doug Risner 313-577-4273 dance@wayne.edu
dance.wayne.edu
DEGREES: BFA, BS, ed. cert., minor
EASTERN MICHIGAN UNIVERSITY - Dept of Music & Dance
Ypsilanti,MI.
Dance Program Coordinator/Contact: Sherry Jerome - 734-487-7120 x2711
sherry.jerome@emich.edu
emich.edu/dance
DEGREES: BS,minor
GRAND VALLEY STATE UNIVERSITY - Music and Dance Dept.
Allen, MI.
Director/Contact: Jefferson Baum 616-331-2548; baumj@gvsu.edu
gvsu.ed/music
Degrees: BA, minor
HOPE COLLEGE DANCE DEPT.
Holland, MI. Chair: M. Linda Graham, Contact: Stepaqhnie Brumels 616-395-7700 graham@hope.edu
hope.edu/academic/dance
DEGREES: BA, ed. cert.,minor
MARYGROVE COLLEGE department of dance
Detroit, MI.
CHAIR/CONTACT: Jordeen Ivanov-Ericson 313-927-1307 jivanov@marygrove.edu marygrove.edu
DEGREES: BA, BFA, ed.cert.,minor
MICHIGAN STATE UNIVERSITY department of theatre,
East Lansing, MI.
Chair: George Peters Contact: Sherrie Barr 517-355-0329; theatre.msu.edu
Degrees: cert., minor
OAKLAND UNIVERSITY Dept of Music, Theatre, and Dance
Rochester, Michigan
Director/Contact: Gregory Patterson 248-370-3009
patterso@Oakland.edu Oakland.edu
Degrees: BA, minor
University of Michigan Dept. of dance
Ann Arbor, MI. Chair: Bill DeYoung Contact: Sara Grosky 734-763-5460 saramin@umich.edu
music.umich.edu/departments/dance
DEGREES: BFA, MFA
WAYNE STATE UNIVERSITY- THE MAGGIE ALLESEE DEPT OF DANCE.
DETROIT, MI. Chair/Contact: Dr. Doug Risner 313-577-4273, dance@wayne.edu dance.wayne.edu
DEGREES: BFA,BS,ed.cert., minor
WESTERN MICHIGAN UNIVERSITY Dept.of Dance
Kalamazoo, MI. Chair/Contact: Nina Nelson 269-387-5830 nina.nelson@wmich.edu wmich.edu/dance
DEGREES: BA. BFA,minor
en pointe - www.en-pointe.com - flooring, sprung, portable,touring, mirrors, etc.
www.dancemanager.com for windows.
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