How Does Appreciation Become Appropriation

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.net https://tales1001.webs.com
Morwenna Assaf = 760-715-2276 Walid Assaf = 760-715-2220
Art/Dance Academy = 865-375-0446

Winging It-Improvisation!

Winging It – Improvisation

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:

1. 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.
2. 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.
3. 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.
4. 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.
5. 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.
6. 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.

Morwenna Assaf- Director of Art/Dance Academy
https://ArtDanceAcademy.webs.com ArabiDanseAcademie@sbcglobal.netAuthor of Tales 1001 https://Tales1001.webs.com Tales1001@sbcglobal.net
Walid Assaf – Director of Cedar Productions https://CedarProductions.webs.com CedarRep@sbcglobal.net

Identity Crisis- To Be or Not To Be?

After being a professional dancer and instructor for over 40 years I realized the pain that I had been feeling for the past 5 years was not going away. I had been ignoring the signs of an aging dancer. I had never stopped dancing. Had never taken time off. In fact even vacations were always dance vacations. Then it dawned on me that this is the beginning of the end of my dance career. At some point in our lives all dancers face this in one form or another.

So, I cut back. Started just coaching instead of teaching classes. Cut back on teaching workshops when I broke my right big toe 3 days before a workshop in San Diego. Taught the first day in excruciating pain. The next day it was a no can do. My husband ended up running the class for me. Figured a rest and healing of my foot would take care of it. Guess what? I was wrong! The pain did get better with rest of both the foot and the Periphiral Neuropathy. I did learn that I was overdoing things and that by letting up some the pain eased off.

Morwenna & Walid

At first it was nice, no pressure but then I realized things were not getting done. I really had no idea what to do with myself. I felt lonely. I was terrified! Who am I? I felt like I had lost everything. I did not know who I was. I was losing everything. Or at least anything that meant anything to me. Although unplanned, it made me think seriously about my career and what I really wanted out of life at this time of my life. It has left me in a situation where I am dealing with insurance, doctors, and unable to pay bills. I realize I am not a kid anymore. Had my 79th birthday last week. So I have had to ask, what do I really want?

These are all questions that need to be answered.

1. What do I do with myself? – What other dance related things can I do? Movement classes like Pilates, Somatics or Yoga. Nutrition has always been a thing I was interested in. Writing dance books and blogging. learn podcasting and video casting. Prepare for retirement show in Ct next April
2. Give yourself space to rest. – Get healthy again.
3. Stay involved with dance in other ways? Writing is one way. Running things on line. Taking a trip to Lebanon again to do research. Help husband set up his side of the business. Talk to other dancers.
4. Remove yourself entirely? – This is not an option for me. How about you?
5. Stay on a schedule – As a dancer and teacher our lives are very regimented. Structure your days. This helps combat symptoms of depression.
6. Celebrate small victories? – Mentally maintain a sense of momentum. Somatics are my main source of exercises which keeps me sane. I need to move and it is healthy for me.
7. Find other creative outlets? – Write, blog, paint, podcast, sing. Use the same amount of energy you used in the dance
8. Cross-train? – Do something physical. Again somatics, pilates or yoga. Look for ways to keep your body in shape and moving forward. Use it or lose it!
9. Find a group? Do not allow yourself to get isolated. Find a friend or group that holds your interest. Even a book club.
10. Take advantage of the time off. – Take classes, socialize Build other parts of your personality regardless of age.

Yes, this is my future plan for my retirement. No more classes. Coaching instead. I am done running from state to state teaching. Yes, even country to country. I have loved every moment of it but now it is too exhausting. I look at what is written above and realize I have so many choices to make and still be in the dance I love so. I have had a wonderful career and do not regret one moment of it. It is time for family and loved ones. I thank God for my love of this dance form, my talent and the people it has brought into my life. It will always be a part of me.

So anyone who is going through a similar situation. Sit down and ask yourself the above questions. Turn yourself around and see where you can be aiming. By being calm and rational you can find the answers. Yes, sometimes one has to dig deep. But, the answers are there, inside you. The only thing I ask is that you treat dance with respect. There is a time when we each have to step aside and leave the stage and classroom to the younger ones we have trained. We leave its destiny in their hands. Our job is done. I have done my best and hope you have too. That is all that is important. Yes, I am still a dancer at heart.

Written by Morwenna Assaf, owner/Choreographer and Producer of Art/Dance Academy-El Fen, being located in Jefferson County, TN., Oceanside, CA & South Eastern MA and Rhode Island. 760-715-2276
https://ArtDanceAcademyElFen.webs.com
ArabiDanseAcademie@sbcglobal.net
https://Tales1001.webs.com Tales1001@sbcglobal.net
https://CedarProductions.webs.com CedarRep@sbcglobal.net

On Line Dance Classes?

I am a firm believer that dance classes at all levels should really be held in person. The student and instructor need to be together in the same room. Yet, on the other hand there are times and situations where this is impossible. So, yes, there is a need for on line coaching and classes. As time goes by and as I have moved from a city where cultural development was everywhere to a location where culture might as well be a foreign word. Today, I see a need for online teaching. While not a replacement for studio training, Online classes gain a particular following.

SOME OF BOOKS IN STUDIO

Musicians can learn from a score but dancers have always learned from person to person. The true work of dancers still remains solidly in the studio. A dance student needs personal feedback. It is the older generation of students not the kids who go for online classes. They are far less experienced and confident in their abilities but are fascinated by dance. So the appeal is there, especially for beginners. It suits their timetable, their level and held in the comfort and privacy of their own home.

These particular students find that they may make fools of themselves in a dance classroom. At home there is little risk of embarrassment. Afterwards they might sign up for an in studio class. These aging students are realizing a new consciousness of exercise, nutrition, and fitness. An adult beginner class is a big seller. For a lot of adults a beginner class in a studio is too advanced. Classes need to be developed for these people

TEACHING IN BOSTON MA

There are also adults who want to learn how to dance, but many of them do not have access to a studio who offers these classes for adults. It takes a lot from the instructor who already has to have the knowledge to teach good classes in technique and knows how to work with adults and not children and teens. An instructor needs to start posting instructional videos, teaching herself how to film, edit and post material. These classes need to be paid for. They need to be in an interactive format, where you can see the student and she can see the instructor. It needs to be a a completely judgment-free zone for the student. The instructor does not want the student/students to feel self-conscious or that they have to be perfect before even starting.

Classes can be run on Skype or Zoom depending on the preference. Chat boxes are great where students can ask questions, get answers and then can be saved saved to website so students in different time zones can watch later. Classes can be offered from 30 minutes to 1 & 1/2 hrs. I offer coaching sessions that work this way. Classes can be scheduled from weekly to anything the teacher decides.

Dance classes of all types are offered. Everything from Ballet, Yoga, and Pilates. International dance styles like Flamenco, Arabic Style/Belly Dance, Folk styles, and Hula etc. can all be found. Plus anything else you might be interested in. The technology can be frustrating at times but it connects with a global audience which is a bonus.

MAHMOUD REDA OF CAIRO EGYPT 2012

There are also platforms that offer on line systems. Research places like Yes Course, Teachable, Thinkific and Course Craft. Do your home work and decide from there if teaching this way or taking classes this way is for you. My studio is called Art/Dance Academy. I offer a variety of classes that are designed just for the student. YOU! I do coaching for students of any level on Skype or Zoom. My classes on a platform are based on my books. So, everything from playing Finger Cymbals to Choreography or Improvisation and everything in between. Contact ArabiDanseAcademie@sbcglobal.net for information. Check our website at https://Art/DanceAcademy-El Fen.webs.com. Call us at 760-715-2276 or 865-375-0446. Please leave a message. We are always expanding our services. Arabic Drumming and Musicality will be offered the autumn of 2019.

Egyptian vs Lebanese Style Orientale

In Danse Orientale, Raks Sharki or what ever you call belly dance. There are different styles in different countries. We will not discuss Turkish, Greek or Persian styles as they are just called Arabic Dance in those countries. So they emulate the two we will be discussing. Turkish is a much bolder style with little subtlety and grace. Greek dance and Persian dance just pick up the nuances of their countries. Now, Lebanon and Egypt have their own styles. They are the two countries that pass on their heredity to us as belly dancers around the world.

Debke Theater Dance Group in Lebanon.

The dance does not originate from either of these two countries. Strangely enough according to Amani of Lebanon in an interview with her in (2011). She stated that through her research the dance originated in Iraq. Think biblical! The hanging gardens of Babylon, Salome and very well educated people in the cradle of the world. This was also the spiritual and artistic center of the world back in the day for many centuries. From there it passed to the educated of both Lebanon and Egypt. Back in ancient times you had the Pharaonic (time of the Pharoahs) period and the Phoenicians. In Iraq (Mesopotamia, the Sumerian race .The Pharoahs were the rulers of Egypt and Nubia etc. The Phoenicians were the for-runners of the Lebanese and ruled at the same time as the Pharoahs of Egypt. Being so close in proximity they dealt in business one with the other. True Egyptians and true Lebanese will tell you they are not Arab they are either Pharaonic or Phoenicain. Have even heard Iraqis say they are Assyrian not Arab.

Ancient Phoenician Dance

So many people today think belly dance comes from Egypt. As I said earlier it did not originate in either country. There is a parallel between Egypt and Lebanon in ancient days. I believe it came from Sumeria into the two countries. In recent history we are led to believe it’s home is in Egypt. Not so! The conservatories and the arts were in Lebanon. The dance has always been in Lebanon, until their war in the late 70s. At that time the artists left Lebanon to be able to work and went to Egypt which was and is the film capitol of the Middle East. So the dancers, musicians etc all left Lebanon to be able to survive. Some turned to acting and films. Now the war is over in Lebanon these stars are moving back. Lebanon has always been where the music and dance reside. It is there in the hearts and minds of the people.

Raks Oriental in all Arabic speaking countries means the educated dancer. Not to be confused with the colloquial dancer who is a country dance and depicts just one area. Lebanon and Egypt have two distinct styles of dancing. Here are a few of the differences you can see right at the onset.

Bedouin Dancers of Lebanon

Lebanon:

Lebanese styled dancers usually wear high heels. They do not wear body stockings. Lebanese dancers use larger, more exaggerated movements and sharper hip work. More extensions and beautiful sometimes dramatic arm work. Veil work is used. Staging is used to make he dance more appreciated. Body line is very important. Grounded but lifted above the waist. The dancing is of an energetic demeanor because Lebanese music is happy music for dancing. The dancer lives the music and the music is part of her. The dancer is married to the music. The upper body is used to lead the movements. Everything comes back to the center of the body (solar plexus). Movements come from the heart. The Lebanese style is classy and refined in style. The Lebanese style covers the dance space and uses her stage. This is where theatricalized, theater dance originated. Lebanese dancers do veil work and use wings called Butterfly wings. Body line is on an angle for a more complete look. The dancer uses both plies and releves, to fill space. They use lots of level changes. The Lebanese style can also be influenced at times by the debke style of dance. The head is often used for accent.

Amani of Lebanon wearing a Lebanese Druze costume. Lebanon Theater Show.
We are the only ones from out of the country in this picture.

**The person who taught all of this so well was Mr. Ibrahim (Bobby) Farrah. It is from him we teach the Lebanese Style of dance. It is classy and refined in all aspects. Also he was a choreographic genius. Another famous dancer is the late Nadia Gamal. Today Amani of Lebanon and Margo Kalfeyan uphold the high ideals of the dance.

Ibrahim Farrah, Lebanese

Egypt:

Egyptian styled dancers usually dance barefoot, with flat ballet type slippers sometimes but rarely in heels. A body stocking is required by their government so as not to show mid section of body. The dance is more in the body with intricate body accents, locks, pops and hip work. It is contained. It is said an Egyptian dancer can dance on a dime. Languid relaxed demeanor they just let the music take them wherever. Very subtle though modern trends are getting away from that. Hands and arms even appear limp. Little if ever any head movements. Egypt has less locomotion, very brief veil in entrance, if any. Is much more linear or two dimensional. Straight knees no level changes to speak of. The dance may sometimes be Influenced by the saiidi (peasants) and the felaheen (farmer) styles of the country.

Mahmoud Reda of Egypt, Walid Assaf of Lebanon, DaVid of Norway
Oceanside, CA

**The exception to the above is the Mr. Mahmoud Reda style of dancing. Mr. Reda has worked all of his life to represent the dances of his country in a theatrical and very classy manner. He has achieved this. His style is the exception to the rest of the Egyptian dance style. It is very elegant and influenced with ballet and ballroom movements. Yet, he remains in the genre of the dance form. It is always Orientale. For this reason this is the style of dance we teach and follow from Egypt. Mr. Reda is the master. Oriental means eastern.

Morwenna & Walid Assaf Egyptian Style

Walid and Morwenna Lebanese Style, Lebanon 2011

Walid Assaf, Lebanon Tubl Beledi

Know your music and rhythms. Make sure you understand the music from which ever style you decide to follow, even if you do both. The music is different as the dance is different. The classical music is for all countries regardless. Do not use Egyptian folk for a Lebanese show or visa versa.

Using Your Upper Body in Dance

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  Walid & Morwenna Assaf
  Beirut Lebanon

Epaulement should be a natural part of your dancing. This term epaulement actually means shouldering in French. This is in fact a fallacy as it has nothing to do with the shoulders per se. Using epaulement can elevate your technical proficiency. It can be a be subtle dynamic and exciting. It is the punctuation at the end of a sentence. The head and eyes are the exclamation point.

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  Morwenna Assaf
  Boston, MA

Epaulement gives gives a third dimension to the dance. It shades what you are doing and gives it depth and color. It creates energy from the inside out. Yes, the shoulders move. But it is movement that involves the rib cage upwards. The whole upper body is utilized – ribs, shoulders, neck, head, arms, hands and even the eyes. Look a beautiful statue (say Venus) and flatten out the front, remove the angling of the torso and shoulders. Now it is just plain uninteresting!

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  Sahra Saeeda, Riverside CA

Tricks of the Trade:

1. Do a combination with a fan. This will give you the feeling of having to lift chest, shoulders and head in opposition. The pretend you have a fan and do the same combination.
2. Do not overturn your body to the corner. It makes you look like a washing machine, throwing yourself from side to side. Why? Because there is no opposition.
3. Do not let your movement end at the neck. Energy needs to run through your complete torso, lengthened waist, lifted chest, swan neck, and eyes that look and see.
4. Do not forget epaulement in fast work. This makes your work even more exciting.
5. Do not sacrifice epaulement for height in extensions. See where the head and arms should be. Put these in your muscle memory. Now extend!
6. Do not let your collarbone be parallel to the floor. Strive for it to be on a diagonal. This comes from having life in the waist, back and chest.
7. Do not overturn your chin to your downstage shoulder when on a diagonal/croise. Turn your face ahead, then tilt the head allowing the jaw to move in space as the chest lifts simultaneously.

Lucia of San Diego

Try these things and see how much better your dance will look. Any questions give me a shout at ArabiDanseAcademie@sbcglobal.net or by phone at 760-715-2276. We can even get together online on Skype at MoWalid22. We run Art/Dance Academy and have been teaching and coaching dancers for over 40 years.We will be glad to answer any questions about either Arabic dance or Arabic drumming.

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  Morwenna & Walid Assaf, Oceanside CA

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  Morwenna & Walid Assaf, Boston MA

GET YOUR MIND READY TO PERFORM

Last month we talked about ideas for improvisation. Today we will look further into this with how to get your mind ready to do those things we covered. You know you have to warm-up your body before you do any kind of exercising or performing. Well what about your mind? Yes, you have to be prepared there too. While waiting moments before performing your mind might be racing. In reality as you warm up your body you need to think of your mind too. Your mind readiness will dictate how you will perform.

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ENERGY: You need to be calm, relaxed and confident when stepping out onto the stage. You need to figure out what works for you. If you feel sluggish, jump up and down or shimmy. Or maybe you need to calm down, then do some arms or undulations. Tell yourself how wonderful it will be and how lucky you are to be able to perform for this group, whatever it may be. Experiment in rehearsal and find your key.

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  Mel’Keta

MAKE MINIMUM DECISIONS: Make decisions before a show as limited as possible. Clear your mind. Develop a before performance routine. Having a ritual frees your mind for predictability. Always keep your routine the same. This frees your mind.

CHOOSE YOUR FRIENDS WELL: Surround yourself with people who have the right mind set. Do not listen to complaining. Walk away. Control your environment. Use headphones to listen to your music. Think of the vibes you want and need at this time.

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DO NOT LET YOUR NERVES GET THE BEST OF YOU: Emotions, nerves, and anxiety are all contagious. Stress can actually work for you if in the right mind set. Positive=Helps your muscles to work better and stronger & your mind will be clearer. But, if your nerves are negative then you will just be more anxious. Get it under control. Use what is right for you.

PRACTICE: Backstage, visualize your choreography with as much detail as is necessary.Your brain does not know the difference between a mental version and the real thing.. You are creating a closer bond between what your mind and body wants.

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  Theater Performance San Diego East County. El Cajon, CA

BREATHE: How often do I have to say this word? Focus on your breath. I prefer deep breathing from deep down in the diaphragm just as i step on stage. It seems to release all anxiety

GOALS: Do not focus so much on the performance just let the movements flow. Be in the moment. Enjoy the movements. I usually have a goal that is something to accomplish that has nothing to do with the choreography. e.g Looking in a certain direction or making eye contact etc.

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WHAT IF ALL GOES WRONG?: No matter how much you prepare or how long you have been performing, things can go wrong. How do you recoup and quickly?

1. Self Evaluation: Do not dwell on the mistakes handle it right away, like the next day. Work those things out so you will not repeat them.
2. Quickly Move on: Get your mind back on track. Get in the moment. Breathe! It is ok. You are human!
3. Change Your Mind Set: Most people fear failure. Look at a mistake as an opportunity to learn and grow. You will improve faster. Your worst performances can be your most valuable.

Choose one of these strategies at first then try another. It will not ALL happen overnight.

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  Raks el Anwar performing Bedouin number Pala Casino CA 2006

INSPIRE INDIVIDUALITY IN YOUR DANCERS

Develop a sense of artistry in your students and dancers. Nothing is worse than cookie cutter dancers. Yes, group dances need to be synchronized but that does not mean they have no personality. Have them reach out and find answers. A true dancer has to find her own voice.

Lucia of San Diego, CA

There is so much emphasize on technique and yes, I feel good technique is very important. Without it you will not only abuse your body but you will also not be able to dance. Technique uses the vocabulary of the dance to tell your story. No technique would be like a story teller telling a story with no vocabulary etc. But, you have to go above and beyond technique. Do not let dancers lose their voice or not find it at all. Those will stay students forever. The lack of self-expression leads to robotic movements, lifeless and dead. Inspire individuality!

Sahra Saeeda of Riverside CA

1. Nurture Enthusiasm: Have them love dance. Yes, teach them well but do not be a task master. Our dance form especially is open to all peoples. No matter age, size or age. But they must also realize where they belong. Yes, to be a professional dancer there are guidelines but that does not mean everyone will reach that level. Have things for the student dancer, be it: recitals or any student shows, that they can perform in. As they grow, let them advance.
2. Encourage Ownership: Let students articulate themselves verbally and physically. Establish their identity and learn that dance is not about imitating their teacher. I tell students to tell themselves a story to learn. It is their story. No one else’s! No one needs to know it. It is their secret. It does not matter what others think or feel. It is about you.
3. Include Improvisation:Dancers wh create movement on their own get a deeper understanding of how their bodies move, what feels good to them and how to express themselves. For the club dancer or anyone working with live music this is a must. It is creating movement off the cuff, off the top of your head and just freely dancing. You have to have an individual style ( this is you). You can free style from given combinations. I always start students with 2 movements. First a moving or traveling step. Then a movement in place Then repeat the first traveling step. Then switch them. This way they get to move between moving and being in place by themselves. Hopefully learning choreography has instilled this in them. Most new dancers are afraid to experiment so this eases them in. Help them find their individual voices. Gradually lengthen the exercises. I have everyone dance together at first.
4. Develop Stage presence: Personality in dance is part confidence, part vocabulary and part showmanship. Facial expression is is an important part of the equation. Without facial expression there is no story being told. Do not train robots. Gradually after the last exercise, I do 2 things. Number one is I have dance captains (this can rotate every class) who create the exercises for the others. Number two is dividing into groups and having each person perform a chosen exercise for all. Being complete is part of the job.
5. Observation: Dancers sometimes need to get out of the mirror image to find themselves. Encourage them to observe other dancers. This can be done in the studio at class, in performances and also on line. The one who touches their heart is the one to watch as they will recognize themselves. Ask students what it is about the dancer that excites the student and inspires them. Dancers cannot give their best if they cannot even find themselves. When they do they will start to shine. There is no competition here. Each is an individual.
6. Outside Inspiration: Have students bring in a piece of art that speaks to them. Talk about it. Art is art! Then have them create a short piece that defines that art piece. It can be anything. A couple of counts of 8 will do. Music is great.
7. Exposure to Other Instructors: Studying with another instructor cn also inspire an new approach to movement and help students learn more about themselves. Learn other styles of dance to become versatile and well rounded. Have them work well with others and gin confidence. Build their vocabulary. It will help them find themselves.
8. Be Real: One last note. Taking workshops and seminars is not studying. It is exposure! That is all. Now go and study. Dancers and students, find your passion and go for it!

Amani Beirut Lebanon

NOW! What Really Is Ethnic Dance?

NOW WHAT IS ETHNIC DANCE – As Americans we are made up of a combination of cultures and nations. With the dance you can visit the culture without leaving your home town. Deciding what class to take is often much easier than finding a good teacher. Most cultures in a community have ethnic festivals. Go to the local Greek festival or Lebanese Festival etc. Some are run through Colleges and Universities. Others are run through the local churches. Everyone wants to run an International Festival. In New England every Lebanese church runs one and in San Diego we are lucky enough to have the Houses of Nations at Balboa Park. Every weekend another House is represented and there is often wonderful entertainment. Some polite inquiries could easily provide you with the names of instructors etc. The local Tourist center might be a place to check also.

Bedouin Performers Lebanon

Ethnic restaurants can also be a good source. If they have entertainment, ask the dancer who her teacher is and where she/he is located? Musicians are a good source for finding teachers as they work with them. Good, working musicians are at a premium. This is a great idea if you are in a big city that has ethnic clubs with good music. Everybody knows everybody in this business that is for sure. Then of course, let us not forget, the internet. Google Belly Dance Teacher in your city or area. That should come up with some leads. If all else fails contact me and I will help you. I know just about everyone in this business.

Fadi el Saadi. Ranin CD

MORE QUALIFICATIONS – Ethnic dance is much more than just learning steps and movements. You cannot take the history out of the dance, nor can you take the dance out of the history. The class should be so much more than just movement. The instructor has to be knowledgeable in much more than steps but also as to the origin and significance to the culture. The history and the ritual behind each dance is what gives it uniqueness and substance that needs to be passed on during instruction from teacher to student is a priceless legacy.

Folklore Scene San Diego CA

Authentic costuming should be introduced. The real thing if possible! If not, then at least by pictures and DVDs or other visual aids. Musical instruments need to be recognized for the sound and the look. In the Boston area it was easy to get people to go to the local restaurant or club to see and hear the instrumentation. But in Southern CA and Eastern TennesseeI have had to resort to other means. Now a word about props Finger cymbals should be learned. I wait about six weeks to introduce them. Before that people have enough to grasp the steps to straight 4/4 music. If you wait longer it gets too hard to add them as they are locked in to what they are doing. Right now finger cymbals or zills are not so much in vogue. That does not mean you should not learn how to use them. Not only are they added to a show but they help with rhythm and counting. The same goes for castanets for Flamenco or Ipo gourds etc fro Polynesian. Plus a few weeks down the road you will be introduced to the different rhythms that make up belly dancing. Other props that can be used are scarves, shawls, veils, canes Isis wings, shamadan ( candelabrum) swords (American idea)and various other props come into play.

On stage in Beirut Lebanon Amani in Druze costume

As for music, let me say. The instructor should make every attempt to use native music for their classes. It is plentiful and beautiful. Something for everyone! Of course, the music must relate to the dance being covered. Commercial Arabic music is great for warm-ups and fun stuff but not for a full solo performance. You need something with more structure and fullness.

So now you have an idea as to what to look for. Now go out there and dance! Enjoy and learn all you can about the dance of the Middle and Near East countries or any other country you are interested in.

Morwenna Southern CA

The Ancient Phoenicians and Roman Dance

💃💃There are several forms of the dance in Lebanon today which originated from what it was called back in ancient times, Phoenicia. The Debke, Raks Sharki and the Andulusian Moushahat just for starters. There are several forms of the dance in Lebanon today which originated from what it was called back in ancient times, Phoenicia. The Debke, Raks Sharki and the Andulusian Moushahat just for starters. The origins of Raks Sharki/Belly Dance also found in the Ancient Egyptian background as they were neighbors and often traded across the Mediterranean Sea. The Ancient Phoenicians were spiritual people and danced to worship their gods and goddesses. Astarte was the goddess of life. They believed the female body was sacred.

The Rise of the Phoenix from Phoenician times

Rhythm was the basic element of the dance. The dances were ritualistic. Simple loud, rhythms, had effect on the human psyche. The chorus dance was performed in a circle to honor a god or goddess. Dance was also a display of rejoicing in celebration.

Phoenician, Canaanite engravings from as early as 1400 BC depict another appeal of dancing. Dancers accompanied by musicians. This requires no elaboration. Dance was used as a political ploy.

There is a striking similarity in the below picture to modern day Debke. It predates the Arabs and most other invaders of the land of the Phoenicians. In Lebanon today the Debke is still danced and is one of its most famous traditions. It has been passed down from generation to generation and is performed by all. It is the National Dance of Lebanon.

The Andulusian Moushahat is a court dance in Lebanon and Raks Sharki/Belly Dance are also still performed. Raks Sharki is still in almost every household. There are remnants of a woman doing a skirt dance. Whirling dances were also performed. Acrobatics were also added for enjoyment.

The artistry of Belly Dance continues today in most Lebanese communities

The island of Crete which is now considered Greece but is just off the coast of Lebanon and was considered Phoenicia. It was also where the Phoenicians lived so they are included in this piece. It was a stepping stone between Egypt and Greece. Each civilization borrowed from the other with Phoenicia in the middle. The Phoenicians built boats from Cedar that grew in Lebanon. Gave us our first alphabet and discovered the color purple. Ancient Phoenicians worked the entire Mediterranean Sea from Lebanon to Malta. Lebanon is the first country in Asia on the east and sits at the west side of the Mediterranean Sea.

Rossini Festival, Knoxville, TN April 2015-Moushahat Costume

ROMAN DANCE

The Phoenicians along with the Greeks from Crete brought their culture, architecture, mythology, institutions and art to the Italian peninsula which provided the foundation for the development of Roman dance. Plus, the largest Roman ruins in the world are located at Baalbek in Lebanon. The 41 year of Roman reign by Augustus (The Golden Age) led to 200 hundred years of peace. During this time art and literature flourished. Visiting teachers taught music and dance. Tolerance of cultural differences was one thing the Romans taught us.

Professional dancers, flute players and acrobats were imported from Greece and elsewhere. The dancers were called “crotalisterias” because they wore bells and clappers (early finger cymbals). (Note finger cymbals on the modern dancer above. Also there are ancient pictures from Phoenicia with girls wearing brass cymbals.) Strolling players performed. Pantomime came into being. Burlesque was born. The Latin word for dance was “saltio”. The root word “sal” came from the Phoenicians. Their priestly leaders were called “salii”. Dance elements yielded three elements: 1. Motion = An all-encompassing term. 2. Posture= The dancers or actors’ attitude.  3. Indication= Gesture.

When the Roman empire fell in 476 AD the world was plunged into a long period where only the church and powerful nobles provided structure for society. From history you can tell the quality of a country and its leaders by the quantity and quality of the country’s art.