Take Care of Your Muscles

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

Become Musical and Get Rhythm

This piece is written to help the average dancer at any level understand the use of rhythm and musicality in the dance. Today more than before most dancers learn choreography. But you have to be able to make it yours. You are not a puppet on a string. If you are lucky enough to be able to work with musicians or even work in a club doing long solo shows then you might be doing improvisation. Either way you need this information.

RHYTHM:

You have to listen to a piece over and over again before you can choreograph or improvise to it. Absorb every piece you want to dance to so you can translate it. Sit sown and let the music be your focus. Try to open a sense of awareness to the sound. Study, the different rhythms that are used and the instrumentation. Is it a keyboard, derbecki, tambourine , tar or tubl beledi giving you the rhythm? If you are unsure of the instrument etc try the following ideas.

GET THE RHYTHM

1. Find a role model: Look for someone who knows more than you. In class find that person to go across the floor with. Make it a project to improve your timing.
2. Research the score: Do the intellectual work. Who wrote it? Does it have a particular musical form? A 4/4, 6/8, A Beledi, A Masmoudi, Folkloric, Classical, Debke. Which country does it come from?
3. Practice dancing in silence: Find your inherent sense of phrasing is, absent of any influence. This might allow you to hear the phrasing a little differently or at least to get it right. Try it!
4. Now tap into the musicality: Pretend you are in a group, get in sync. See the space you are in. You cannot just look at the audience and hope you are doing it right. Feel the space. Here is where staging gets into the picture. Now work on becoming a more musical dancer.

MUSICALITY:

Musicality like any facet of dance, can be developed and honed over time. This takes dedicated and detailed practice. It is absolutely respect for the music. Music is your partner. Or consider it a marriage. It is an interpretation of the score. It is executing on the right note and with the right accent. If the dancer feels the music, you know it. She also interprets the music with her body. That is probably the first thing you would notice. It is about a dancer’s ability to dissect the rhythm.

MUSICALITY MISTAKES:

1. Do not let your back history with music dictate to you: Exercise restraint. Otherwise, you might rush, or just fall to a flat-line beat that you think you hear.
2. Do not over rely on the counts: Try just doing it. It is not just the counts. There is such a thing as movement phrases. Sing or hum the melody to figure out how the phrases fit. This helps you interpret the music.
3. Forget the in-between moments: Ignoring the space in-between would lead to a monotonous quality in your dance. You have to breathe. Find your internal song.
4. Think about musicality last:You cannot add it on later. Has to part and parcel of your piece. You have to start though by listening to the music and paying attention to the rhythm. Now you can work on the musicality.
   
   Morwenna Assaf = Author, Choreographer & Educator
   Walid Assaf = Percussionist, & Educator
   Art/Dance Academy, USA 760-715-2276
   ArabiDanseAcademie@sbcglobal.net

Consistency in Adult Learning Part 1

Consistency is key for building knowledge and improvement in any activity you undertake. All adult students, and we are all students of something, across all aspects of classes. This will set them apart and put them on a success path. In this article I am referring to dance or movement classes but can be used for anything you are interested in.

ATTENDANCE: – Attendance is the most obvious way that consistency will make a difference in your work. Turning up every day is so important for learning and retaining knowledge. It also means that skills can be continued and be honed, which means you will enjoy your classes or practices so much more.. Being consistent means there is more opportunity for self expression and less scrambling to keep up. Now I am speaking of just dance technique as technique is the basis for dance quality. Having consistency means your technique is constantly being refined. It gives you the freedom to dance your heart out.

APPROACH:- So now you attend every week. Now, we will turn your attention to how you approach your class. This can swing from being very easy on a good day to very difficult on a day you are having a bad day. Often class is the silver lining- to an average day. But, what happens when it is not that simple?

Consistency in approach can help. Promote a routine for when you arrive. This will put you in the right frame of mind for class. This helps your teacher as well. It might be sitting quietly for a few moments, taking a couple of deep breaths to become centered in the space. It might be instigating a related chat before the warm up. However every approach should incorporate a solid warm up. Warming up is physical and mental preparation, and should not be underestimated. If you can achieve this every time you attend class, you will be perfectly prepared for what ever you get in the studio.

ADDED TIP:
Do It Right. Borrow a move from ballet for a beautiful lower body. It is no secret we would all love to have well toned buns and inner thighs. Ballet dancers know how to do this. A turned out second position plie. It is a variation on a squat that also works out your inner thighs. This utilizes the muscles of the buttocks, back of thighs, front of thighs, and inner thighs. All of these muscles control the movement of the body. You do not have to overdo the turn-out. Your feet are in a turned out position. The degree of turnout varies with each person. Do not let your feet turn out past your knees. Weight is evenly distributed.
Only lower to the point where your thighs are parallel to the floor. Keep abdominal muscles tight and upper back lifted. Go straight down with back in natural curve. Tail bone moves straight down and up. Do not allow weight to sit in butt. Hold weight in mid section. Lower only as far as is comfortable

Morwenna Assaf, Educator and Choreographer of Arabic Style Dance
ArabiDanseAcademie@sbcglobal.net https://ArtDance Academy.webs.com
760-715-2276 El Fen = OnLine Studio
Walid Assaf, Rhythm Master, Musical Director

GET OUT OF A DANCE RUT

No matter what your situation or your level of dance, this is inevitable at any stage of your career. Maybe you just got a job? It has been fine so far but you do not feel like you are growing as an artist. You are in a rut! These slumps hit hard no matter at what level you are. They are difficult to shake but with the correct mindset you can and will find your love for dance again. Now, as we face this pandemic that is affecting all of our lives we need to readjust.

The way of a dancer’s life

Why does this happen? Maybe you are focusing on the things you have given up for dance and not focusing on your accomplishments. At first you are really excited, then at some point you lose momentum. You start looking at what you left behind and not on what you have accomplished. It can be frustrating. You feel stagnant. You are in a motivational hole.

Initially you are grateful but then the excitement wears off. The mind-set changes. You want more out of this life. It is a natural part of the developmental process. Dancers need the tools but also the strength to be able to face all the challenges that come with the territory. You have to be more independent to be successful. It is part of the education and journey. Sometimes you will feel invisible but that does not mean you are doing something wrong. You are just not the main topic of conversation. At times you need help adjusting to a move or a situation. At other times you do not.

• 

OVERCOMING:

With practice you can overcome this set back and get back on track.

1. Set Reasonable and productive goals:
Focus on what you put into your work. Not, what you get out of it. Goals should be centered on things you can control: Applying corrections. Etc. Work on it.

2. Sit in on rehearsals and classes:
See shows – you need to be inspired. Look for other inspirational outlets. Take a class in another style. Another teacher maybe. But, make sure you take classes even if it is on line.

3. Expand your horizons:
Most people start dance as a hobby but then it becomes work, the joyful escape is gone. Find something else for a hobby. I happen to write.

4. Do not forget your value:
Realize you are needed where you are. You are valued.

Hopefully, these suggestions will help you. Even after 40 plus years in this business I have my days. After a week or so of doing nothing, I realize I am here for the long haul and will always be a part of the dance world. It is who I am!

• 

  A working artist at that!

Morwenna Assaf
Tales1001

Tales1001@sbcglobal.net
https://tales1001.webs.com

865-375-0446 or760-715-2276

ADA -EL FEN TALES 1001 CEDAR PRODUCTIONS

WINTER QUARTERLY NEWSLETTER:

This year is almost over. Walid and I are looking forward to a prosperous and healthier 2019. We are making many changes to our schedules. We will keep you notified with monthly News updates as well as a quarterly overall rundown.

2018 has been an interesting year with some ups and downs.There has been disappointments and high points. Our lows have been due to some health issues that will not go away. Because of this there will be changes to our schedules. Life here in TN is quiet. 2018 found us in both Jacksonville, FL to visit dear friends and Orlando, FL to teach and visit with peers from up north. Thank you Donna Salem and Melanie LaJoie along with Milly and Neva. Was great to be there and rekindle old friendships and new. We also went to New England. Vermont , to be precise. Enjoyed a fabulous time with Kay Campbell and old friend from MA and author of the best selling book “Caravan of Brides”. Plus Samantha Burnstein from Montreal and Alia Thabit author of “Midnight at the Crossroads” The workshop was excellent and we thank Amity Alize for that. We then proceeded to go to Montreal and visited old friends from San Diego. My old alma mater. Loved it. We then drove back to Upstate NY. Forgot how beautiful the Adirondaks are. Stayed in a summer place and taught a one on one. Very pleasurable. Visited in New Bedford MA, Taught Origins in Worcester MA. Finally arrived home completely wiped out after visiting with family friends (both dancers and musicians. Finalized the year with a visit from long time friend Linda Berry aka Nezera. We spent a great few days checking out the local place here. Like I said TN is a quiet place.

In 2019 we have plans on staying put so we can get allergies under control. There are plans in the works for us to be in Los Angeles the last week of March into April. Our friend Fadi el Saadi of Lebanon will be there working with his drummer Diana Rash of Mexico City. Time to catch up again. Plus Enheduanna formerly of Rhode Island and Lucia of San Diego will both be in the show. Cannot wait. Then off to San Diego to teach a workshop. The dates for that are tentatively April 6^th & 7^th. More on all of this later.

Later in the year we will be teaching again in New England. This time in Rhode Island for Kanina. The dates are not set yet. Either the end of May when we are there for a family wedding or in the fall. Of course going to New England means visiting our dear friends the Matzens in CT.

Am very happy to announce I have been asked and I said yes. I am honored to be on the Board of Directors of the Beledi Dance Company of Rhode Island along with some very prestigious New England names. These ladies are fantastic and I am thrilled to be included.

As our direction changes due to the logistics of the dance at this time, we will be doing more on line and locally. We will be continuing the Blog posts on WordPress and expand. We will be adding Podcasting the beginning of the year Possibly later more on line and Videocasting. All of these are run through Tales 1001 but include the studio of course. Still doing some research in the above areas. But am sure it will keep us busy and close to home but still helping to share the dance with those interested.

That is our aim as it always has been, to educate and help dancers achieve their wishes in our dance.

We will be running several things through Cedar Productions. Since there are no other musicians or venues to perform in the area. We will be starting several things to bridge this gap:

1. CEDAR CAFE: This will be held the last Thursday of the month starting Jan 31^st. It will be held in our studio and covered on Skype from 7:30-8pm. This will be a chance to listen to your favorite songs. Learn a few rhythms with Walid. Learn to Debke and just generally have a good time. Come and ENJOY!

   

2. ADA-EL FEN: Open Belly Dance Classes will be held on a monthly basis on Saturdays from 1:30-3pm. These will be a mixed level class. Every month will be a different theme..g. 1. Back to Basics. 2. Zills & Rhythms 3. Veil Work. These will be Skype classes so no one has to leave their home. These will be dance classes and will be informative too

3. R.A.I.S. TRAINING:This will be a quarterly. Class will offer Certification classes to all attendees who are interested in being an instructor of belly dance. This is open to new and experienced teachers. A definite MUST for instructors at all levels.The first class will be held Tuesday February 26^th from 7-9pm on Skype. Then again in May, August & Nov.

4. QUICK START – BELLY DANCE: This is for the new or want to be students of belly dance. The curious ones who do not know really what it is all about. We will cover a little background on the dance, costuming and how to take class. Find out the truth about belly dancing. We will cover basic movements and steps and maybe a short combination. This is also run quarterly. Tuesday January 29^th at 7:30-9pm. On Skype.

   5. LIFE IS MOVEMENT: This class is for those who need basic moves for health and welfare. Do you need help , want to move better? Have more confidence and self esteem. This will give you the basics of Unity Yoga, Petite Pilates, Somatics and a Basic Ballet Barre. This can be done in the studio or on Skype. Time slots can be anywhere from15 minutes to 1 hour, depending on your needs. Open days are Mon and Thurs 1-4pm. Book your time segments.

   

6. REGULAR BELLY DANCE: Classes and coaching available on a regular basis. Available days Mon & Thurs 11am -12:30pm. Plus Tuesday 5-7pm Wednesdays 1-5pm. Grab your slot before they are all gone.

7. CREATIVITY – Checkout our daily blog on Creativity starting Jan 3^rd on Facebook. This is something I started Jan 2018 and swore I would do daily for a year. I did take time off in July and then came back. Roughly 100 days to go. Checkit out. Can be used to help any creative endeavor. FB=Morwenna Assaf

8. BLOGGING – Daily on Facebook under Morwenna Assaf starting January 3^rd. Complete the year I started. This one is all about creativity as an artist. Check it out. Regular bogging will be the 1^st and 3^rd Wednesday of every month. Check out WordPress and our website (https://Tales1001.webs.com) . You will get notification of other places as we progress.

9. PODCASTING – This will be broadcast the 2^nd and 4^th Thursday of every month.

Thank you all for a wonderful and exciting 2018. See you next year.

Choreography and Improvisation in Belly Dance.

I would take the easy way out and give you some insight to a question that often comes up. That is Choreography vs Improvisation in Belly Dance. Both are valid and both should be used in your dance. There is a time and place for both in the dance. It is just a matter of using the right one at the right time. If you do just choreography you are limiting yourself to only half of what is open to you. The same if you only improvise. Both have benefits for your physical  and emotional well being. Be a wise dancer and learn both techniques.

There are many discussions on whether Belly Dance should be choreographed or not. Coming from the world of classical dance I was used to choreography. That does not make it right or wrong. I had to learn how to improvise. Some people believe you should just improvise from the start. I personally find these dancers very boring as they just repeat what is the most comfortable for them. I believe choreography has its place in training to teach patterns and shifts of weight for a vocabulary in dance. When working in groups or theatrical setting choreography really works best. When working in restaurants and clubs and doing 15 -25 minutes shows you have to be able to improvise. So, like many things in this dance form it is not just one thing or the other. You need to be able to do both well. Here are some ideas on how to handle this. Some things work in both fields. It is all dance after all!

Choreography needs to be learned and remembered. Here are some suggestions to help with this. I find this also helps in teaching choreography.

1. Work on the big picture first then bring it in for details. Macro to Micro.

2. Group sections together that make sense to you. Do this at your ability. Have sign posts. Have chunks and set markers.

3. Say steps and have mental images.

4. Talk to yourself.

5. Tell yourself a story.

Improvisation This list will probably work with the ones above.

1. Listen to the music. It is true, the music tells you what to do.

2. Do what your body tells you.

3. Have linking steps and combinations.

4. Have slow and fast content.

5. Have emotion an body and form.

6. Be in the moment.

7. Relax!

8. Do not compare to others.

9. Be confident.

10. Be you!        

    ALSO! And these things DO work for both!    

1. Choreograph-Patterns help you know where you have come from and where you are going.

2. Imagining-Dance is story telling.

3. Know counts this equals a blueprint. Muscle memory works if set up correctly.

4. Be observant-Know where feet, head, arms etc. are supposed to be. Keep your eyes and ears open.

5. Track shifts of weight. Ask where is my weight? Practice weight transitions a lot.

6. Write it down. This helps organize thoughts and retention.

7. Sleep on it.

8. Practice makes perfect. Teaches us to pick up quickly.

Now How Do We Add Feeling to this Mix?

1. Take an acting class to get comfortable.

2. Perform enough so you get comfortable.

3. The music needs to be inside you.

4. Only one you, do not imitate!
   5.Practice one thing at a time.
   6. Once you put a costume on, your show face goes on too.

   7. Make a point of focusing.

   8. If looking in the eyes is unnerving then look just over the head.

   9. Look at specific things in the room, stage, theater etc. to focus on.

   10. You can do it, Yes you can!

Hope this list helps you. You know you can do it but yes it takes work. Always be the best you can. Why be good when you can be great! 

Theater Show from wings

HELPFUL HINTS FOR YOUR PERFORMANCE

Being a performer is more than just knowing steps. That is just the beginning. Here is a list that will get you on your way to giving a more professional show..

BE ORGANIZED so that when you leave for your show you do not have to look for hours for all of the items you need. Store your costumes in the same place all the time. Put everything away after a show (after airing) keep everything in its place. Do not procrastinate.

Maintain your costuming on a regular basis.    

Raks el Anwar performing Bedouin number Pala Casino CA 2006

If you are wearing a costume for the first time, PRACTICE in it. Even if it is only a skirt & leotard. You need to know how it feels & reacts as you dance. You do not want it falling apart on stage.

Get the most out of your dance investments, take care of everything. They will last for years if you do.

MAKE UP & HAIR:

Try to have separate performance make up bag. In it keep all that you need for make up, cotton balls, q-tips, cleanser, towel & handy wipes.

Performance make up is different from your everyday look. A large theater has a different look than small intimate setting. Be sure your make up is complimentary to your venue & that is complimentary to the costume you are wearing. Save your false eyelashes for the theater or night club they do not belong in a restaurant on Sunday afternoon. Use discretion with wigs also.

Use good quality brushes & liners. Try to get make up advice on coloring. Research theatrical make up before trying.

Make sure you have a comb or brush on hand. Have a mister & spray. If you wear hair accessories practice with them on to make sure they don’t fly off. Be careful with your hair. Hair all over your face is distracting but so is too much hair that looks like a 1970’s pin up with every hair in place. Your hair should move naturally. Your hair should be a shining example of health not a prop. It should look finished without looking phony. Even a prop on stage should be an extension of you. You don’t want to be known as the one with the big hair or awful looking wig. If you do wear a wig make sure it is styled & cut to suit your face. If it looks like a wig it is a no go.

COSTUME:   

Costumes & veils should be clean & wrinkle free. They should smell good or not at all. Be careful with perfume, someone might be allergic. It should create an aura not be overpowering. If it is could be distracting. All of your costume including scarves etc. are part of your total look. Jewelry is the finishing touch to your costuming. Look after it.

Carry safety pins of all sizes.

A travel size sewing kit is a plus.

The costume does not a dancer make, but it can detract from your performance if it is not right.

Garment bags are a good investment or better still get a small suitcase on wheels like the airline stewardesses use. They hold everything & keep it clean. An excellent investment. Or a great gift.

If you have to wear a costume to a performance. Make sure you do not sit or travel in your hip belt. They are uncomfortable & you will shorten the life span of it. Also make sure no one sees you in costume when not on stage. It is very unprofessional. You want to keep the mystery of the stage where it belongs. On stage.    

Keep all beaded items in a towel or pillowcase. Do not put them in plastic as it ruins the glass finish on beads & the color finish on sequins. Always keep you street clothes appropriate to the venue. Always look neat & professional as possible. Every time you perform you represent all other dancers. Remember this in your behavior also. You want to make a good impression. The little details do matter. Every detail counts. Your finger & toe nails, hair, make up, grooming, costuming your smile, every scarf, skirt, tassel, ring, necklace, & shoes make the difference.

Good Luck!!

Have Fun, Enjoy & have a great Show.                                  

Rossini Festival, Knoxville, TN April 2015

Having fun performing

HOW TO AVOID DANCE INJURIES the Specifics

Sixty -two percent of all dancers felt injuries preventable. Risk factors included constant repetition of difficult moves, tiredness and undue pressure. Dancers, work the longest hours with the least recognition and careers are notoriously short. But, there are definite steps and lifestyle changes that can prevent injuries and prolong dancing careers.

Dancers and researchers have some suggestions for preventing injury.

1. Dancers should be more physically fit-.

Make sure your body is strong before you start a performing schedule. (don’t start a job without preparing first). Don’t do anything beyond your capabilities. Have a long term commitment to cross training to increase stamina and counter injuries caused by fatigue. Don’t push until you are really ready to.

2. Eat, drink, and live for a performer’s needs-

Avoid smoking, Athletes have been quick to change their eating and drinking habits to advantage performance but dancers have been slow to change. A dancer’s diet needs to be carefully planned and structured that fit into work, class, rehearsal and performance schedules but provide adequate nutrition. It is critical that dancers have great nutrition. A dancer’s long term nutritional needs resemble those of any athlete; an adequate supply of fluids, calories matched to work demands, good quality protein, and vitamins and minerals in the correct amounts.

3. Warm-up and cool-down training-
   
   

   Class in Providence RI

    

Dancers should exercise 30-45 minutes daily plus a short warm-up period prior to performance. Daily workout might include relaxation exercises, body alignment exercises (Pilates) flexibility exercises, balance and coordination and breathing. Cross training in ballet, jazz, Flamenco or West African ( some other type of dance classes)a couple of times per week if possible.

A warm-up prepares and focuses the mind and body for performance. A good-warm up 10-15 minutes (A) raises the body temp. not through clothing but actually working, (B) raises the heart rate and increases the circulation of oxygen, nutrients and waste materials from the body. (C) improves the viscosity of the sinovial fluid in the joints. As the body temperature rises, the ability to stretch increases, so stretching should begin after the warm-up. Warm-ups are also a learning time for the dancers to better understand his/her body and take a personal responsibility for needs, such as special stretching or strengthening.

Since most classes cannot devote enough time to complete warm-up, stretch, and cool-down periods you have to be responsible for yourself and do your own. This is especially important for amateur performers.

4. Stretching-  

A brief physical warm-up should be done before the stretching. At the end of work-out or class is an excellent time to do some more stretching. Stretches allow the muscles to stretch to the maximum. Also use deep breathing and visualization in stretching.

5. Better awareness of anatomy and how the body works-

A clearer knowledge of how the dancing body works can often cure the problem before it occurs. Avoid ballistic stretching because it generates microscopic tears and elicits muscle contraction in response to sudden stretch. Teachers and coaches must insist on proper technique, strengthening and conditioning. Watch for repetitive compaction of the lower extremities this leads to chronic fatigue of the area. Failure to absorb the shock of impact can be a result of weakness, fatigue or lack of flexibility. Achilles tendinitis is related to fatigue.

Mahmoud Reda and Morwenna Assaf in San Diego August 2010

6. Less pressure and overwork-

Injuries can be prevented by allowing sufficient rest in your schedule to prevent fatigue. Appreciate your physical limitations.

7. Dancers’ psychological needs should be considered alongside physical ones-

Dancers must learn how to relax and pace themselves, allowing time for rest, managing time and stress. The high stress in performers may be related to the highly competitive nature of the profession and the fact that our livelihoods are dependent on our bodies as our instruments. If tension is held in the body flexibility may be affected unless specific countermeasures are taken.

8. Better flooring and stages-

Boy we could go on about this forever. We have always been looking for ways to create better conditions. People who hire us need to know dancers’ needs. This isn’t being demanding it is being realistic of our needs, from floors and stages to dressing rooms. Dancers need to take control of their surroundings and their lives.

9. Breathing-

Dancers are not generally known for their aerobic fitness. Most dance classes are anaerobic in nature. Muscles can work this way for a short period of time but over the long haul (20 min is a long haul) then the body must replace the oxygen. With insufficient oxygen, lactic acid can accumulate causing fatigue or aching and cramps. Good breathing techniques can aid the proper execution of dance movements, add dynamics and add a pleasing quality to the upper body. Remember this is a dance of people and people breathe.

10. Learn how to learn- 

By repeating movements in class (hopefully, technically correct) the dancer learns to use the minimal amount of muscular contraction and tension to reproduce the movement required….. and makes it look easy. By eliminating excessive tension the movement becomes ingrained in muscle memory. Rehearsals can be much more intense than actual performances. Strengthening exercises are very important before performances. Quick study is necessary not only to keep up in class, and with other dancers but to avoid overuse injuries that are most common to professional dancers. Dancers must learn their own natural learning style and make use of all their senses. Visualization and iedokenises can also be useful skills.

HOW TO AVOID DANCE RELATED INJURIES

HOW TO AVOID DANCE RELATED INJURIES

by Morwenna Assaf

Wherever I have traveled in this vast county of ours and overseas I constantly hear dancers complain of an ailment of one kind or another. I felt it is time to face some of these things and get them out in the open. Most ailments and injuries can be handled by common sense. Now I realize what is common sense for one might not make sense at all for another so I will discuss a few things.

Dance is all about line and form, and the movement of that line and form with relation to time and space. Now, how do you accomplish this? “Dancers are athletes of the arts” states Jacques D’Amboise. Dancers have a discipline of constantly working on themselves, toward achieving a goal. The key thing is to believe the achievement of goals is not that important. It is the process of attempting to achieve the goal that should be primary. Enjoy the process of learning to dance. The process, and not the final achievement, is the heart and soul of the dance. Time and circumstances decide the facts, not you.

One has to have a sense of feeling control over your body but also a sense of physical and mental well-being that comes with dance training. This is derived from taking class regularly. It is therapeutic. You don’t have to worry whether you are young or old to participate. Dancing can keep you young through its constant challenge and activity. You feel good when you are dancing, and an interruption of it makes one more sensitive to the dull aches and pains of inactivity. It is after you stop dancing you feel the aches and pains.

Dance must be a supervised exercise and it is important to get the right supervision as well. It is an excellent, satisfying form of exercise and recreation for people who enjoy movement to music, or for anyone in search of a structured physical activity.

DANCE IS SERIOUS EXERCISE       

After making the most personal decision of your life, to be a dancer, you are committed to the ritual of classes for the duration. In the world of ideals this should be a t least one dance class per day. Now I realize most of you hold regular day jobs and this becomes a bit of an impossibility. But still you should do something for your dance training every single day of the year. If not class, then a thorough self -conducted workout. Watching videos doesn’t count. The rules are remorseless and ruthless. But that is the name of the game. If you are a professional and working you also need to rehearse. Class is not rehearsing . Two different animals. If on vacation don’t stay away for more than a week. A week’s rest never hurts but after that, everyday not dancing is like a ball of wool unraveling. Little by little, you are ceasing to become a dancer.

If you don’t “feel” like taking class-tough! If you feel rotten -go! Work within your limits, but work. The ritual of class defines the dancer. The confrontations, with the limitations and possibilities, make it all come together. When finally onstage, all the thinking and studying makes it possible, to think less and dance more. A day missed is certainly not the end of the world, but a pattern of days missed is a matter to be checked into. If your inner self is saying “I love to dance but I don’t want to work at my craft” then stop now. For the chances of injury are multiplied and misery is guaranteed.

PERFORMING CAN BE HAZARDOUS TO YOUR HEALTH    

Dancers come in all shapes and sizes. Performing can become hazardous to your health. Know your limitations. Knee and back injuries, sprained ankles, fractured heels, pulled muscles, laryngitis and exhaustion come from the rigorous demands of shows. A rigorous performing schedule can lead to fatigue related and overuse injuries. But it goes even further because of the time and energy it takes to sustain a lifestyle around performing. A conscientious performer arrives well before a performance to physically warm-up and mentally check props, costumes and floor conditions.

As we have already stated, dancers need to continue studying while performing either taking class, teaching or both. Also doing fitness, strength training or body work of some kind as often as possible. The result is today’s dancers should be amazing and versatile performers. One needs classes as much as possible to retain the quickness in learning what dancers must display. Preparation with classes, rehearsals and maybe preparing future shows place time and energy demands on the performer that far exceed stage time. All these demands and pressures take their toll and frequently leave a performer to sustain a variety of injuries. According to a recent survey every dancer will be injured at least once in their career. For every 1,000 hours of performing 5.1 injuries and 8.4 for shows on a stage.

Most frequent injuries diagnosed were strains and sprains. Most frequent sites were lower extremities. For dancers the most common injury was the knee, then ankle, foot, hip and then calf. Various environmental causes have been implicated. Cold and drafty rehearsal, and performance space, and backstage areas like dressing rooms. Also smoky places and unsuitable staging areas and floors.  Female performers are more likely to sustain injuries that their male counterparts.

Sixty -two percent of all dancers felt injuries preventable. Risk factors included constant repetition of difficult moves, tiredness and undue pressure. Dancers, work the longest hours with the least recognition and careers are notoriously short. But, there are definite steps and lifestyle changes that can prevent injuries and prolong dancing careers.     

Dancers and researchers have some suggestions for preventing injuries. Next week we will delve into this so you can help yourself be a better dancer and performer with less chance of injuries. In the meantime dance and dance well.     

 

 

THE ELEMENTS OF DANCE/FUNDAMENTALS AND MOVEMENT

THE ELEMENTS OF DANCE/FUNDAMENTALS
AND MOVEMENT
by Morwenna Assaf, Director
Based on works by Robert Cohan “The Dance Workshop”

In the world of Arabic dance so often these elements are forgotten. In a truly trained dancer these elements are the basis of the dance. When you start dancing, it is important to recognize the tools a dancer needs. There are eight (8) elements in dance that are most vital. As you progress your understanding will change as you discover what they mean to your body. The total sum of these elements is what is meant by technique.

CENTERING: This is fundamental to your ability to dance well. This is maintaining a sense of your own body center that holds you together as you move. It allows you to move gracefully and freely. This means you have to have the ability to move, to hold, to organize yourself around your own physical body. If you are centered you can eventually learn how to do anything. If you are not centered you may develop beautiful looking arms and legs but never be able to move well. Liken your center to home. If you don’t have a sense of home you will probably get lost every time you go out.Your body needs to be balanced like a see-saw. Position fluctuates between individuals. Center for Middle Eastern Dance is in the solar plexus. Every movement has to go through center. This is what makes it Orientale or eastern. Your natural base is approximately just below the navel but the movements for this dance form come from the solar plexus. Everything emanates from there. Start by feeling how your arms and legs work from the same central point in the back. Moving from your center will make movements easier to control.

GRAVITY: This is the force that holds you to the earth. It is a force you have to work with because it constantly inhibits movement. Try to become aware of the pulls in your own body. What points are taking the most weight? When you push on these points can you feel a rise up from them? You should be holding yourself better. When you dance you want to feel as if someone is pushing you under your buttocks and the base of your spine and directing the energy up through your breastbone.

BALANCE: Balance is concerned with more than balancing on one leg. Your aim is to achieve and constantly maintain an inner balance of the whole body. It is tension of mutual support among all parts that brings the whole together in a new way. It is an inner relationship between all the points of your body which you hold in your awareness. It is not something you do once in awhile. It is constant. A sense of balance whether you are moving or standing. In the actual act of balancing, if you can find inner balance , you are nearly there. If you are aware internally the need for the sensation of balance, you should be able to get it. * Remember, balancing in both states is an active state.

POSTURE:

To achieve this element you need to change your perception of your body, there is often a wide discrepancy between what feels right and what looks right. Dancers work all their dance live on their posture, also called alignment. It is the key to balance and movement. Your posture not only reveals your feelings but can also reveal feelings in you. Learn how to stand properly. You will actually feel brighter and more aware.

GESTURE:

Gesture involves using the body as an expressive instrument to communicate feelings and ideas in patterns of movement. With subtle gestures and postural attitudes we show cooperation, give confidence to friends or display aggression to enemies. Arms crossed over chest are a protective wall. Hands on hips mean “show me”, fists on hips is even more challenging. Anger patterns are depicted very differently form joy or sadness. Weight on one hip -waiting. Hands out in front you ready to give or receive. Raising shoulders is a gesture of not knowing or caring. Shoulders forward expresses pain. Tapping foot boredom. Observe! Recognize what the body is saying.

RHYTHM:                                                       

Finding rhythm is largely a matter of paying attention. It is something everybody has, though, some people are not as aware or sensitive to it. Our hearts beat to a rhythm, our lungs breathe to another. Rhythm is essential for a dancer. Pay attention! Generally the beat is carried by the drum. Make sure you are right on the beat, not slightly late. All the work going into making a beat has already been completed by the time you hear it. In fact to get it right, you have to anticipate the beat slightly. Feel as if you are making the beat with your body as well as hearing it. Try to be at one with it, rather than dancing to it. It is the rhythm and the beat of the dance that form the “threads” which allow you to memorize the structure of the dance.

MOVING in SPACE:

You need to be as aware of the space around you as a cat. You have to move with care and awareness, gauging the space. Space is not just empty air but a tangible element that you move through. Consider the space an area you must go through. Consciously go through space. Feel your accomplishment as a journey through space. You will express thoughts and emotions. Actually press your feelings out through your torso and limbs in such a way as to show other people how we are feeling and to satisfy our desire of movement. Our muscles feel better when they are used, and once we get used to moving them, the whole body will respond by working in harmony with itself; to dance.

BREATHING:

Breathing is crucial to dance. Not only does it bring oxygen to the body but it also gives your movement fluency and harmony. It is an expressive tool. Calm slow breathing suggests a certain degree of self-control. It denotes a specific quality of movement. Also a movement with breath has a controlled and considered extension of time. A clear beginning and end no matter how fast or slow the phrase. A phrase without breath looks stiff and mechanical. It is important to learn how to do two or three things at the same time. You frequently have to divide your attention while dancing. You must learn to breathe deeply expanding your ribs at the back of the body rather than from the front. This will also give a more emotional, organic look.        

Here then are the elements of dance which make up the word TECHNIQUE. This is a dirty word in a lot of circles. This is the sum total of the tools of DANCE.