How to achieve that enchanting quality of lightness.
This is a quality we all need to work on all the time. So how do you acquire that appearance? Lightness is an elusive quality that makes a dancer seem to float across the floor. As with all dance, these things take an enormous amount of work behind the scenes. Then it looks effortless on stage. Whether you are striving for that fast on your feet look or lightness in your arms, here are some tips to help you.
Contrast: – Contrast gives the illusion of lightness versus heaviness. You have to go back and forth between heavy & light. This is what the two are, both visible elements. The key to this is being grounded. You have to push from the floor. This gives you the easiness to lift. Once you have found oppositional energy, which comes from the legs, the core, the back, then you can lift up and move into lightness. If you are already lifted it is hard to go higher. How do you achieve this? Learn how to plie properly Strengthen those legs! The bottom half of the body is more rhythmical.
Raks el Anwar
Strong, Light Arms: – The upper body is more melody. Arm placement, holding the carriage correctly with endurance not, compensating gives you better strength and control. This will make your arms and hands lighter. Will also aid in shoulder stability. Hold your arms up with ease. Soften the elbow as you exhale. Never let it hang on the bottom. The arm is held shoulder down, elbow next facing back wall and lower than shoulders. then hands float down from there. The elbow leads the port de bras. This achieves a look of synchronicity with the body rather than the arms looking separate from the body. Or, moving on their own.
Learning to Float: – Coordinate the breath with what you are doing. Hold your breath a moment at the top of the move and then exhale when finishing. Have a clear picture of the picture you want to create. Then take a little breath at the end. Do not drop the arms down immediately. Try this with small weights, then put the weights down & try without.
Elena Lentine
Breathe Through It: – Breath control is so important to your moves. You never want clenched or stiff hands, a tense jaw, or muscles that are tense. Gripping muscles is a sign of core weakness. A good cardiovascular system and strong core go hand in hand. Practice breathing! Having a better use of breath & pressure (plie) management gives a better sense of ease and lightness.
When dancers use their breath onstage you can feel the energy and dance with them.
Morwenna Assaf Dance Director of Art/Dance Academy New Market, TN
No matter whether you are into fitness, dance or tennis you need to make sure you are taking care of your muscles. You do want to strengthen but nor over strain them. Know there is a difference between muscle soreness from use and a strained or pulled muscle. Both, do need a balance of rest and strengthening. A pulled or strained muscle has distinct symptoms. You know it is not just a back from a vacation soreness.
Muscles like to be warm. Coming into class and not doing a warm up before dancing is asking for trouble. So. take the time for even a quick stretch before starting full out. There are three levels of muscle tears. 1. This level is where a few fibers have been torn and stretched beyond their natural resting spot.
2. Level three is where All or most of the fibers have been severed.
3. Level 2 is somewhere in between.
SYMPTOMS: 1. Pain When Stretching: If it is painful to move, minimize the range of motion. If still painful you might have a muscle strain.
2. Lack of Strength: Soreness accompanied by lack of strength distinguishes soreness from strain.
3. Redness, Swelling & Bruising: Any combination of these three can indicate a a strained muscle. The onset of symptoms can develop itself differently.
TREATMENT: It is important to see a medical professional. Get it diagnosed and create a treatment plan. Muscles DO repair. It is easy to push the muscle too much or too little. To repair properly it must be used. So think walking. If not the body will create a scar tissue instead of rebuilding. Scar tissue is weaker and less pliable than regular muscle tissue. Then, one becomes weaker and less flexible. If you push too hard you will end up with a worse injury.
PREVENTION: The best way to prevent a muscle strain is to warm up before dancing, sprinting etc. Avoid static stretches when muscles are cold. A static stretch is one that stretches beyond its flexibility and holds it there. This produces the muscle to decrease its ability to contract and use force. These static stretches should be used t the end of class to cool down as your muscles are warm. Dynamic stretching, where muscles are moving through a range of motions but not stopping at the end point for too long. You are moving the muscles back and forth like an accordion.
DYNAMIC STRETCHES: 1. HAMSTRING BOTTOMS UP: 1.Feet in parallel, hip distance apart 2. Bend knees, Put forearms on thighs with flat back. 3. Straighten knees. Lean forward pressing weight into forearms 4. Keep the back long reach out with sitz bones up to the ceiling. 5. Only straighten legs to point where you can keep back flat. 6 Squat down as deeply as possible keeping weight on knees. 7. Repeat 10 times slowly.
2. HIP FLEXOR: 1. Stand with left leg front & right foot back in a wide lunge with back heel lifted. Keep hips square. 2. Keep back straight and body centered. Slowly lower as you bend both knees. As you lower bring right arm up over head. Keep left knee of left ankle . You should feel a lengthening of the back thigh and hips into belly. 3. Bring arm back down as you slowly straighten up to starting position. 4. Repeat 5-10 times before switching to the other side.
For an extra challenge lean slightly forward and do a contraction. Do this with one hand on the barre for support.
Do not hold any position. Move slowly to the end of your range of motion and then back out of it. NO BOUNCING EVER!!
Morwenna & Walid Assaf Art/Dance Academy East TN 37820 760=715-2276 ArabiDanseAcademie@sbcglobal.net https:://ArtDanceAcademy.webs.com
Teach them how to count the music and where the accents are. This is a basic given. Most Arabic music at a student level is counted in 8s. Learn to recognize what a beledi, masmoudi etc rhythms are. There is only so many rhythms we use to dance. Start at the beginning. Always make sure your movements are centered. Always step on the down beat of 1. Using different music in class will help keep students engaged so they do not zone out.
As s instructors we have t help students to hear, understand and show the music when dancing. What does that all mean? Not all dancers are musically inclined. Some dancers even have trouble keeping or even hearing the beat. They need basic training in the music. Most of us did not grow up with an education in Arabic music and dance so we all have to learn. Without a basic understanding of the music those dancers will never understand the what and why of their dancing. But, they can can develop musicality. There are strategies to help students find the beat, recognize the rhythms, and better reflect their dancing.
Bring a drummer in. Let them hear the music live. Live music vibrates differently in the body than recorded music. Canned music is predictable as it is always the same but a live musician helps produce the right response to the muscles. As a beginner it is always the rhythm that students have to hook onto. Have students listen and stamp to the music with one foot or clap. I usually start with just one count like #1.
Always count 5,6,7, 8 before going across the floor. Then they know that is a down beat. I also use straight 4/4 music of different speeds. Then I have them practice a short combination. I never teach just steps after an 6 week Intro class. They need to think in terms of music not steps. Make a combination , then count it. They need to understand where the down beat is and that it is stronger than the other beats. If you do not explain it they do not understand it. Listen to the music, it tells you what to do. Learn how to play the derbecki.
Once all this has settled in, the dancer then needs to move into the melody and instrumentation. The melody gives you the feeling. But the instrumentation tells you which part of the body to move and . One simple step can be done in a hundred different ways to evoke the feeling needed. Finally there is staging. Most club dancers do not think of staging as they just play to the audience. But, any other types of setting you need it.
You need to make patterns on the floor for a reason. Otherwise it all becomes mundane. Choreograph a theater piece and you will see what I mean. There has to be a reason in why you are going where you do. You need advanced training. Not just average training. When you choreograph you have to listen to the music. Do a viral show on camera and then critique it. Or better still have someone else, in the know, do it. You cannot just stare at the camera. That is like dancing for 1.
So get with the program. Do your students and yourself a favor. Learn about Arabic music.
Some dancers seem to stand out beyond the others. They have it all. They have mastered what is needed to be a great dancer. No, it does not happen overnight. It is hard work. Getting someone to coach you is so very important. You need someone to guide you. A general studio teacher can give you a head start but is not necessarily the one who can make your rise to the top. Find a dance coach to help you be it in the studio or as so many are doing today find someone virtually. Do not stop your regular classes as they are important. Invest the time and the money into something special which is you. Here are some hints to help you until you find that special person
Dance Outside Your Comfort Zone: If you love Orientale, fine! Now work on Folklore. Folklore is people. There are so many different styles. You might find you like it. It will had depth and distinction to your dance. Pick dances you find difficult. Learn how to be comfortable there so you can express what the dances mean and be part of that tribe.
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Push for Tougher Choreography: Work on dance that is above your level. Work on those extra turns etc. That is what class is all about. Work beyond your comfort zone. Yes, you have to be comfortable when performing. But, in class and practice, if you do not extend yourself you will never grow.
Analyze Every Step: Not only steps but every single movement you make, in every way, shape or form. Make sure you are using the right muscles. This is the way you get longevity in dance. Clean up arm placement, yes. Then look at every step. Look at all the details. Ask yourself am I using my back to support my arms and and overall alignment Then, do this to translate everything you do.
Study your Transitions: This is the space between steps and timing. This helps with technique all the way around. This also helps with timing. Make sure you breathe. Make sure you plie when needed and that when you releve your placement is correct. Make sure your weight is correct when coming out of a turn.
Build Strength with Musicality: Work with the music. When the music swells make that movement juicier, this way your supporting leg will get stronger as you develope the movement. Play with the way you approach your arms. Your arms work with your movements. They are not an added flourish. port de Bras also help with upper body clarity if done correctly. This improves your total carriage and makes a full picture.
Fill In The Blanks On Your Own: If you are struggling with parts of a solo, pay extra attention to particular movements in class. Try working the combination that is giving you trouble on the opposite side. Emotionally connect to your work. Without emotion you have virtually nothing. Research the movement and get a full understanding of the work and of the movement.
Now you have a place for thought. Start here! Work on your own and in class on the above things. Find a dance partner to work with. Hopefully, someone at least on a par with you of better. Help each other. Then search for a coach. We can help you. It is what we do.For the past 20 years or so this is what we have done. We help with not only the movements in both Raks Orientale but also in different regions of Egypt and Lebanon for Folklore but also the musicality, choreography, improvisation and staging required in all forms of Arabic Style Dance. If we do not we can put you in contact with someone who is a leader in the style you want. If you are a teacher who needs help contact us. We can help!
At any level of dance there are certain thing you should know. You should include cardio and and weight training to prepare you for the demands of dance. This is true, no matter the style. This will make you stronger, have more endurance and better technique. You will not gain bulk but will have more developed muscles for what comes in your dance training. Do not stop your other activities. Have outside activities, than just dance. Try a yoga class, Somatics, or Pilates class. People who do keep healthier and can help make you a better dancer. So, have a life! Early retirement is no longer a given. Caring properly for your body will ensure that you can dance as long as you want.
If you are very supple, take heed. You must control your range of motion to prevent injury. If you are tight you have to be careful too. You are the other end of the spectrum. It is all about control. Be patient and focus on good technique! No one wants an injury. Always warm up before you dance. Dance training can become very repetitious. Do not let it become mundane. Listen to your body. Learn the difference between soreness that comes from working hard and getting stronger and pain from overdoing. There is a difference. Recognize it! Overdoing will affect your ability to perform and limit your future. Do not be afraid to try new things. Investigate any injuries. Do not ignore them. Plan your recovery. Ask yourself how you feel in your body every day. If not up to it, do not go to class. “Experience gives you more choices” says Risa Steinberg, so find them. Remember flexibility declines as you get older. Be prepared. Be realistic on how you need to adapt without losing your technique.
Make sure you eat properly. You need the energy. Under-nutrition can affect dancers of all levels. It creates a hormonal imbalance and a slow healing from injuries due to low bone density. Make the necessary adjustments to your classes. As you get older it is harder to dance with no discomfort. Make sure you are breathing properly. Breathe fully and think of moving with less force. Use your emotions and feelings while maintaining your technique. Make sure you have a health care team that understand your needs. Maybe, seek advice from a dietician. Maintain your body. Take two days a week off from dancing. Sleep at least 8 hours a night. Dancers usually have busy schedules. As you age you might want or should cut back. Be extra vigilant to rest and recover. Work with your body, do not ignore it.
CEDAR CAFE
Remember experience gives you more choices. Your years of study and good technique are there to support you. Rather than focusing on things you may not be able to do anymore, listen to your instincts and use other moves and feelings. “Play the instrument you have” says Gus Solomon. Remember when you first learned to do improvisation? Get that feeling back. Create! We are performing Middle Easter Dance of one form or another so pace yourself. We are always dancing! There really is no stopping. Follow your dream but just be sensible.
I was going through old papers and found an article from an Arabesque Magazine dated March/April 1994. This magazine was published by an old friend who was also my dance teacher for over 20 years the late Ibrahim Farrah. When I saw it I was immediately drawn to it as my friend Elena Lentini and I had just spoke. She had one of these statues and had shown me hers. I also because of her have one too. This statue is at the Metropolitan Museum of Art in New York. I will not be repeating the whole article. I am just giving you an over view of this fascinating subject. The pictures are taken of my statue so you can see the depth of the art here. If you have ever seen Elena perform you know that this statue is the basis of her veil piece. So, enjoy this synopsis. When in NYC go to the Museum make sure you see this beautiful piece of art handed down to us from the early Hellenistic age in Egypt.
Ancient dancers
This tiny masterpiece is only eight inches high has come to us from the ancient world. Scholars have placed the statue at around 225-175 BC. She is so exquisite and a rare example of both Hellenistic sculpture from Egypt and complex natural looking pose depicted in dance movement from antiquity. The ancient origins can be seen here for those interested in the in the origins of Middle Eastern Dance and historians alike. You get an enriched appreciation for this style of dance. Many Greeks absorbed many Egyptian cultural elements.
Most amazingly she has Egyptian eyes reflecting the distinctive enhancement of Egyptian eye makeup. This touch of the Orient raises the possibility she could have been an Egyptian dancer. He costume reflects the rich culture with beads ans spangles. Plus she is wearing a mantle or veil The naturalness of her movements, her shy demeanor and her garments all are the perfection of a dancer’s pose. The skillful handling of her draped veil to enhance her movements, suggest a professional dancer. Her large, beautiful eyes shown averting her glance and drawing the veil across her face as her glance suggests inaccessibility.
She always eludes us as she draws her cape/veil around her. She extends one leg drawing the veil around her to highlight the movement. She is caught mid-step. She is perfectly balanced. Could she be dancing a Hellenistic cult dance to one of the gods or goddesses? Or is she dancing a more generic type of dance? She has the artful combination of modesty and flirtatiousness. She subtly holds the material to draw attention her hip and the soft contours of her body. Maybe, hoping to attract the attention of the young men in the audience?
She looks like she is doing a traveling step. Possibly a glisse’ which was very popular in the ancient days. Her weight is evenly distributed while maintaining a pose. The extreme angle of the dancer’s body as she glances back over her right shoulder suggests she is moving in a circular manner. The sculptor may have chosen this from her entrance.
Today’s dancers often costume themselves in much the same manner with a voluminous skirt and diaphanous veil. Across the span of of two millennia, the little dancer from Alexandria is their antique sister, a timeless embodiment of the eternal feminine expressed in the dance.
The original piece written by Patricia Friedman
Written by Morwenna Assaf Tales1001, New Market TN https://Tales1001.webs.com Tales1001@sbcglobal.net 760-715-227
Another momentous occasion at the Rose Center in Morristown, TN. The one spot you can find culture in Eastern TN outside of the little in Knoxville. The Rose Center presented am Arabic musical group. They were from UT. (University of TN). The concert was one of a kind. It just happens to be led by someone we had met before several times at UT functions. This is the incomparable Lillie Gordon a former professor at UT.
Our Happy Place in Knoxville TN
Set up for music in TN
I remember her telling me a few years ago that she wanted to start a musical group of Arabic musicians. By this, I mean that all the music performed would be from the Middle Eastern/Arabic countries. Well, she has done exactly that! What a feat! Most of the musicians were Americans. They were trained well. The singers were amazing. Notably, the three women, who had very different voices. All excellent with true Arabic sound and feel. No competition between them. They were each wonderful
Lillie Gordon with Oud and and violin player
Walid, Sound man & Karim the singer
We invited some friends to be exposed to the real thing. There were six of us. I was afraid we might be the only ones in the room. The auditorium was filled. Out of curiosity, I believe! Most people in this area have no idea about the people or culture of the Middle East. Let alone the musical history. What is this Arab music? Aren’t they all terrorists? The room was filled and set up with tables. We had a center table reserved for us. We were obviously the only table with inside knowledge of the music and the traits of the people. There were several tables that came in from the Appalachian mountains. They love music and were curious. They loved it.
Candy doing introductions
Lillie made everyone feel welcome by explaining the instruments, and the type of music being played, the maqams and which country each piece came from. Everyone felt comfortable and understood. Lillie herself, besides singing, also played the violin and the oud. She also did all the announcing and explaining. She introduced each member. It was a spot of Middle Eastern graciousness. It was like being in a Middle Eastern home. Wonderful! The variety of of different areas was amazing.
Flier
Walid and I knew most of the music. Made me realize how much I miss the community and hearing the music live. It was like coming home for us. Even I, could sing along and I do not speak Arabic. It brought tears to my eyes. Thought of the days in Boston when we were out every day engulfed in this wonderful life of music and dance. Gone are the days of that Arabic connection that is so rich and tasteful. Even the big names in the ME do not get to come to America these days.
Beautiful female singer
What a wonderful evening. It was exhilarating and amazing. I thank Lillie Gordon for her excellence in training these people. The male singer we enjoyed the most was Lebanese. He is a student getting his MD at UT. His name was Karim. Then there was Sumer a Palestinian girl with an amazing voice. Of course, then there was Lillie who was amazing. She played the oud, violin and sang. What an amazing treat. The music covered the areas of Egypt, Syria, Turkey, Sephardic Jewish, Iranian and Lebanese. A great blend of new and old from the areas.
I certainly hope that they will be back in our area. This corner of the world needs to feel the presence of people from other areas of the world. Or, even other areas of North America. It educates so people understand all people are human. Not to be afraid of people who think or play music a little differently Brings us all together as one family of humanity.
The Rise of the Phoenix
Until the next concert, we will support The Rose Center and the musicians and artists who frequent the center. It is a little piece of heaven for us in this place we call home after traveling the world. We have settled here and but so enjoy the culture of others.
Morwenna & Walid Assaf
http://Tales1001.webs.com tales1001@sbcglobal.net 760-715-2276 or 760-715-2220 Next concert at The Rose Center will be Fri, February 28th 7pm. Free and open to the public. Help us support the artists.
After being in the business of Arabic Dance styles for over 45 years this business of appropriation has become a huge subject. It puzzles me. When I started it was not even suggested. I lived in a primarily Lebanese community and danced in every club in the Boston/Rhode Island/New Hampshire area. They were clubs where the Middle Eastern people attended any night of the week. I was never accused by the natives of Lebanon as appropriating their culture. They helped me in every way. Even after moving away across country in 1996 we are still friends. I am British by birth and my husband is Lebanese and a percussionist. I believe that no one of our era in the area ever got accused of this. Today it is everywhere by native dancers and non-native dancers. In those days we were a community. We were all one.
Onstage Beirut Lebanon
Yes, I still have friends who are of the culture who are dancers. We all respected each other. So, now I have delved into this subject I will try to unravel it. Let us start with hip hop. This dance form has made global impact and a voice for so many around the world. Yes, sometimes it is used in ways the culture does not benefit from it. This includes marketing, including products, music, videos, classes to sell an attitude. It has become an energy that has been stripped of its history and significance. It is sprinkled in everything including Broadway shows to fashion and even spices. Sound familiar?
Morwenna & Walid Byblos, Boston
People think all they have to do is have certain steps, wear certain costumes, dance to certain music and that makes it a cultural dance. Donning toe shoes, and a tutu and dancing to Swan Lake music does not make one a ballet dancer. This is a disconnect from the origins of the culture and the people who created the style. This is problematic.
The Magic Lamp of the Future
This shallow aesthetic of borrowing and disconnect is “cultural appropriation”. It has a long history in dance. Ballets like L Bayadere, Le Cosaire, tap in vaudeville. Even Ruth St Denis who found inspiration in Egyptian and Indian cultures. Cultural appropriation is taking the external trappings of cultural traditions and using them for decorations on your own history without developing mutually supporting relationships in the community that you are taking from.
It is not a matter of ethnic dances as all dance forms are an ethnic dance form. This includes ballet, modern and jazz. What matters is the power of dynamics. It should not be from a position of privilege to just borrow from a marginalized community. That is imperialism! One has to enter a cultural identity in a respectful way.
There has been a history of America appropriating cultural forms of dance and then enacting cultural imperialism. One has to study not only the movement but the culture around the movement and to build relationships in that culture. Even if you cannot move abroad, visiting a dance country’s roots is important. Go and experience the country and learn from different teachers so you understand what the culture is all about. Gain first hand exposure to the culture. Have continuous recognition of the dance forms pioneers and the teachers that have guided you. Always give recognition to to where dances come from and where you learned it.
Crediting teachers and trail blazers on social media, in program notes, and in interviews is a way of acknowledging a lineage of the culture and gratitude and humility. This is often a step people miss and it leads to conflict that is not intended. But immersion and recognition is not always enough. Often it is the entertainment business, cultural institutions, and private dance studios that do not uphold high enough standards for incoming and upcoming dancers.
Ibrahim Bobby Farrah
Mahmoud Reda in San Diego
Study with teachers who know the culture and the dance. Study with those willing to share the culture and the knowledge. Not just the pretty young girl at the local club. What is her history? Just taking a few classes or being born into it is not enough. One has to understand dance, the culture, the costuming, the mannerisms and the music.
I hope this article helps in some way. When I started we were committed to all of the above. We know we had to keep on learning and striving. This has to be a way of life. Not just a fun excursion. We are missing a big piece of the equation if we do not have better intent. Think about what you are creating and the audience/students you wish to attract.
ROOTS: The story line has to change. When on stage we have to get rid of the stereotypical style of a exotic body .
Ancient Phoenician Dancers
CHANGE OF NARRATIVE: Encourage productive discussions for everyone including instructors, staff and students.
TRUST THE NEXT GENERATION: Let new dancers have an enhanced vocabulary. The training and teaching of dancers is not the same as what we brought with us when we came as immigrants. We are all valued.
I am appalled at the lack of knowledge that the average student get from their instructors. This is a complex business. We need to know the culture the dance and more. We have let people with no background in any of these areas. A few lessons with a teacher who knows no more than they do. Workshops are not studying. This is exposure to something. This is wrong. We need to raise the barre and keep it high or this beloved dance form will die away.
Yallah Lebanese Debke
Morwenna Assaf has run Art/Dance Academy for almost 40 years. She is married to Walid Assaf one of the finest percussionists in the USA. She studied in NYC for 20 years under the tutelage of Ibrahim “Bobby” Farrah. She has taught internationally in Canada, Mexico and Lebanon plus across the USA. C Contact information = Tales1001@sbcglobal.nethttps://tales1001.webs.com Morwenna Assaf = 760-715-2276 Walid Assaf = 760-715-2220 Art/Dance Academy = 865-375-0446
Middle Eastern dance styles are made up of both choreography and improvisation. Theater dance and group are done with choreography. Restaurant and night club dance, commonly called belly dance in America but is really Oriental Dance or Danse Orientale in the rest of the world is done by improvisation. Winging it is actually a misnomer. It is planned! Why improvisation when in this situation? Mainly because you as a performer are working with musicians. This is the ultimate in performing for this style. Today many clubs have closed as owners do not want to pay musicians and dancers. This is a travesty and harming our business. But, if you are lucky enough to live in an area where live music is available or you get the opportunity to work with musicians, take it. It is so worth it.
After being in Los Angeles and seeing a theater performance with live music where 9 out of 10 dancers just did not know what they were doing. All dancers were excellent, not just students. After analyzing and talking with musicians around the country, I realized it is because most dancers do not have the opportunity to dance with live music. Everyone, choreographs and then cannot deviate. This was sad to see. It is a test for individual artistry , a test of decision making skills in a high pressure environment. Improvisation is rooted in spontaneity but needs to be fine tuned to make it ready for the stage.
Most dancers have spent years perfecting their technique and learning how to execute the choreography with exact detail as to the instructors demands. Improvisation, on the other hand encourages free thinking and artistry. It adds a bigger picture of of elements. Dancers have to think how the audience will perceive the art and the dancers have to shape the piece in the moment. The challenge of improv is different for each dancer. Shy people will be timid. Technical dancers will fall back on their generic favorite steps. Outgoing dancers may try to overpower the music.
You really have to check your ego at the door. One needs to feel the people around them while still working with the music. You need to know how to improv in a high in a high pressure environment. You have to put yourself inside your dance. You need to make the audience forget and not realize it is improv.
A huge part of improvisation is connecting with the music From entrance to finale connect with the music. Use movements that are unique to you or are your favorites. Be individual! Do not just string steps together. Be an authentic dancer from inside you. Make sure you include build a movement with intensity or structure. It is no just a free for all. Not every time you dance will be wonderful. Practice performing depends on trial and error.
TIPS:
Have a beginning: Plan your entrance. Not choreograph but planning where you are going to be where you need to be to start the dance.
Think of what makes a dance successful: Use the whole stage and vary the heights- on the ground to the space above the head. Have texture in your dance.
Set goals for the dance: It is always a good idea to come into the dance space for specific tasks. Do not move for movement’s sake. Have a purpose. Include slow and rhythmic moves. Have a loose checklist. Cover the ground in all aspects.
Less is more: Sometimes you are part of the dance by not moving by just being in the space and standing there. Let the energy guide you.
Work with musicians: Ask for music you are familiar with. If you are polite with the leader and the guys, they will help you. Also, know your instrumentation as this will tell you what type of moves to use.
Stage your dance: No, you do not choreograph each step but you plan where you are going at different points. First plan your entrance. Plan your drum solo. Then plan your finale. The rest will come to you.Do not let an opportunity pass to not dance this way. It is the ultimate for this type of dance.
The work does not end when you bow at the end of a piece. It is not over! It is the beginning of getting better. Post performance analysis can help you progress and grow. After show take some time to calm down and be grateful for what you have just done. Taking time to reflect gives you a chance to recognize the full value of the work you just did and take control of how you want to proceed in the future. Use each show as an opportunity to evolve. It is only a means to an end, not the end. Learn how to calmly evaluate your work will make sure you do not turn into a machine that dances by rote. You will actually learn and improve each time you perform. Real growth as a dancer comes once you have learned to evaluate productively. Just give yourself a chance to calm down before trying to figure out what happened, good or bad.
Start With the Good Stuff:
Yes, start with the being positive! Think about all the things that went well before dwelling on the not so good. Have a moment for yourself. Pat yourself on the back a little. Have a feeling of gratitude. Feel positive, it will help you have more momentum and energy to improve. Did you enjoy the show? Also reflect on the things you did right in leading up to the show. The preparation you did. Even diet and before the show rest. Think about what went well in the performance. Where you improved? What you nailed! What can you learn from this performance? People are naturally inclined to reflect on the negative. Being overly negative is not productive.
Morwenna & Walid In Beirut Lebanon
2. Put Your Thoughts on Paper:
Get in that positive frame of mind. Writing gets problems good and bad out of your head and onto the page. From there be an outsider and be honest with yourself. Then you can move on.
Make three columns: 1. Things that worked. 2. The things that did not work. 3. Things to work on. This way you will not just fixate on the things that went wrong. Seeing all sides and a place to work and will help you not to fixate on just what was not up to par.Always ask yourself, Is this a productive thought?
Having fun performing
3. Take Criticism Calmly:
Getting others opinions is essential. You might not like what you will hear but it gives you thought. Your own subjective thoughts of what you did, do not give you the full picture You might feel something went wrong but not why. Someone else’s perspective may give you insight. Then you can work in fixing it! It is very easy to get defensive. Remember you are a performing artist. How many times have you heard “Breathe”? Develop the skill of deep breathing. Breathing deeply occupies space in your brain and allows you to reset. Yes, feedback can be overwhelming. Decide on a few people to really listen to.
Theater Performance San Diego East County. El Cajon, CA
4. Watch A Replay:
Seeing yourself dance is really important. Get comfortable using video as a tool. Video helps you understand what sort of dancer you are. Just, try not to focus on all the things you do not like. You have to look at yourself and understand how to make things look better. Step back and think less about yourself and more about the whole thing. You are just part of it. Be able to understand your role in the big picture is important and helpful. Trust that the sky will not fall. You are part of a bigger experience. That is art!
f setting you need it. 
tales1001 