Thinking about Belly Raqs

Reaching the Belly Dance Market

2012-01-30T19:20:00.001+13:00

I’ve just finished doing yet another poster run for my next beginner course. All up for Term 1 I have clocked up over150km. Why? Because I’m trying to reach those who are not already in the loop. All my students’ friends and colleagues have been informed of how much fun belly dance is. Yes, I have a web presence (and have since before I started teaching on my own). Yes, I do Facebook – and to a lesser extent Twitter. I pay for advertising in print media and on the web – and it is more expensive than the numbers responding.

The number of belly dance classes are growing in Christchurch. When I started belly dance in 1991 there was only one teacher – Farida. There was one – then two – classes held in her back shed. I think we could fit four people in there if we were not doing veil.

A couple of years later Gendi started teaching; first from home then hiring a studio and talking on another teacher (me) and finally buying her own hall. Now she’s gone – but there are over 10 other teachers in six groupings – there were more but the earthquake took its toll of teachers as well as venues and students. We have been pretty fortunate so far in that most of the teachers are experienced in both belly dance and have had some training in teaching. Not all cities are so lucky.

Each teacher has her own niche and generally the classes are spread by time and space – but Christchurch has less than 400 000 people. Many people like to give it a flutter then move on to other interesting tasters. Literally thousands of people have tried belly dance and the pool of new beginners (with the interest, time and discretionary spending) is becoming more difficult to fish every year.

Many years ago there were many places for people to put up notices for classes. Many of these were independent small retailers who were a part of the community. Now, many of these have been replaced by international consortiums whose image does not include a noticeboard. Some malls forbid tenants from displaying posters.

For a brief moment, the Christchurch City Council came to the rescue providing bollards for community notices but these were soon taken over by a commercial poster company who put up lots of the same very large posters on commission and instructed their staff to remove any poster not paid for through their company.

The there was Google Ads. When I started teaching, this was an economic way to reach interested people. Then another teacher in the area joined the program. Then another. Next thing you know we were in a bidding war. The only winners were the Google shareholders. I am now paying 20-40 times the amount for a click than I was initially. In addition to local competition, international retailers with deep pockets and big margins can pay highly to get the attention of New Zealanders.

Now, the best I can hope for is someone will spot a small poster for a belly dance class and be inspired enough to sign up. Nothing so far.

Misnomers

2011-09-22T16:00:00.007+12:00

My last blog touched on the use of “stretching” when there was no actual muscle elongation happening. This is just one of a number of misused terms that grate for Madame Pedant.

There is also the misuse of “warm up” to just mean the start of a class. No. A warm up is meant to prepare your body (and mind) for dancing. Stretching is not a warm up. In fact, for real stretching you need about 15 minutes of warm up first.

A physiological warm up is understood to be something that includes continuous action of large muscle groups of sufficient intensity to elevate the internal muscle temperature by a couple of degrees; to allow more efficient energy production in muscles; increase flexibility of tissue; increase joint lubrication; allow for faster muscle contraction and increase speed of messages along the nerves. It prepares the body to work and decreases the chance of some types of injury.

How you do it is another issue. A drill with lots of big muscle movements and lifting arm movements can work fine (I think this is why barre work may work - assuming you are not having to stretch to do it - ie you are working well below you own limits). Basically, just avoid small muscle work early on or anything that uses extreme ROM or force.

Then there is the term “belly dance”. A misunderstanding of this phrase’s history has led to pulsating bellies and coin rolling. It is not the belly that dances but the torso – especially the hips. And yes, in modern belly dance there is also footwork.

People have a range of ideas on alternatives. I’ve explored them in the past www.raqs.co.nz/articles/naming.html and I have also looked at what the various terms can mean - www.raqs.co.nz/articles/terms.html. No point in rehashing that all here.

One that grates but does little harm is the misuse of “stomach” as in “use you stomach muscles to do this move”. Pretty hard. The stomach is an organ of digestion and its only real action is squeezing the food along. In most cases the word wanted is abdominal. Although often it is not all (or any) abdominal muscles and may be a group like the lateral flexors – obliques (one set of abs) and the quadratus lumborum (a back muscle).

Now we wander into “style X generates movements using muscles (good), style Y uses the skeleton (bad)”. Wrong. You cannot move using just the skeleton. Movement is generated by muscles contracting. These are connected to bones via tendons and with the help of joints and ligaments and a nervous system generate movement.

What can vary between styles is whether the pelvis is moved by the abdominal muscles or pushed around by the legs. Beginners often initially have to use their legs to generate hip rocks, circles and eights. This is not desirable long term for reasons of safety (watch what happens with your knees if you do a horizontal eight this way), texture (leg driven is pretty much on or off – there isn’t much subtlety), or balance (leg driven often hangs off the ITBs at the extremes). Experienced dancers tend to migrate to abdominal generation in most styles – look at some of the old Egyptian footage. Decades before Tribal was invented and all core driven.

Another difficult term is “hips”. It can mean a number of different things. For most English speaking general public it is the part of the body from the waist to the legs. And in class I will use this – knowing it isn’t quite right. Basically we are moving our pelvis around – which is a complex bony bit – covered in muscle and fat. The top of this is the ilium.

The “hip joint” is where the leg bone meets the pelvis – and it is in your groin! The socket is the acetabulum and its exact configuration long with the length and angle of the neck of the femur will determine whether someone can ever achieve 90 degree turn out or the lotus position.

Lastly there is “efficient”. I frequently hear people say they are thin because their bodies are so efficient. Actually it is exactly the opposite. Their bodies are inefficient and are wasting food. In today’s obese society, thin is good and because “efficient” is good the two must be equivalent.
But efficiency is the ratio of useful work to energy input. Thin people use all their input energy. Rounder people store some of the input as fat – so they need less energy input to survive – which means they are more efficient.

Words are our tools to communicate. If we use them in a sloppy manner our communication is less efficient; there is more misunderstandings; people go off on tangents. So let’s try and use clear and unambiguous communication.

Thinking about stretching

2011-09-20T20:30:00.008+12:00

The term “stretch” gets bandied around in a very sloppy way. It seems to have at least four quite different meanings – depending on who is using it.

Some people (wrongly) use it to mean a warm-up. A warm-up prepares your body for dance (or exercise) and involves raising your internal body temperature. The muscles get more blood; the joints get more lubrication. The most effective way to warm-up is to move the big muscles of the legs and lift your arms above your heart.

Some people use it to mean a cool-down after exercise. Yes, you should cool-down and stretching is a useful way to do this – but not all cool-downs are stretches.
Some people use it to describe what I’d call “mobilization”. That is, moving your joints through their range of motion by moving gently.

Scientifically, a stretch is a way to elongate your muscle fibres. You do this to increase your range of motion – it is not needed to prepare for dance – but is a way of improving what you are capable of doing while dancing.

You can think of a muscle as a stack of interleaved cards. Normally they are partially overlapping. When you contract the muscle they overlap more. Your resting length depends on how much they overlap when they are not working (contracting). This length can be increased by moving the cards (fibres) apart and holding them for a while. All going well, next time they are relaxed they are a little less interleaved. (click the muscle fibre sketch to see what I mean)

A stretch is done with a warm body and holds a specific (and non-working) muscle (or muscles) at their extreme limit. You release and repeat as required.

So what can go wrong?

If you try and stretch a body that is not warm (think of trying to bend frozen toffee) or push too far by using force or bounce the stretch you may tear something. Of you are lucky a muscle. If you are unlucky - a ligament or tendon. (Bouncing is a problem due to the body’s reflex to resist the stretch – if you push and release too quickly the body responds by contracting the muscle)

Next, although people may tend to be “tight” or “loose”, it is not uncommon for a person to have some tight bits and some loose bits. To make the most of your stretches you need to target the muscles which are actually tight rather than do general stretches. If your stretch involves several muscles what will tend to happen is the loose ones will get looser and the tight ones don’t change.

Finally bad technique. For instance, not aligning yourself correctly or trying to stretch a contracting muscle (this can some times be done but takes training). The most common ineffective (and potentially damaging) stretch is a standing hamstring stretch. When standing the hamstrings have to contract – so they won’t relax and stretch. Instead you are likely to stress your lower back; possibly tearing ligaments and in an extreme case damaging the disc.

Best Practice:

Assess what parts of your body need increased range of motion and identify which can be helped by stretching and what needs to be tackled first.

Find suitable exercises for each individual muscle group.

Then, over a period of weeks or months, stretch at least every second day.

Make sure you warm up first (increase internal temperature by a couple of degrees by walking, cycling or other big muscle group exercise)

For each muscle group:

Ensure your technique and alignment is correct.

Hold each position just where you start feeling it in the muscle.

Breathe – increase the stretch as you feel the muscle soften.

Repeat a few times.

Cool down

After some weeks, retest your range of motion and adjust your stretch program to reflect new priorities. If you have not made significant progress after 6 weeks get a sports physio or similar to check you are doing the stretches correctly and there are no other issues. For instance, some hip configurations mean some people will never be able to achieve significant hip turn out – let alone a lotus position - because the bones get in the way. Stretching will not help this at all.

Belly Dance – Anyone Can Do It

2011-08-10T21:25:00.002+12:00

Yes, our local dance network sent me a link. “Bellydance Comprehensive” – yes, in six weeks you can learn Orientale and Tribal and be up to doing a Fusion choreography. I guess I’m a slow learner. And a bad teacher – I certainly cannot teach a class Orientale in ten weeks – let alone six. Let alone Tribal.

This is probably because I have the wrong training. I have been learning Middle Eastern belly dance and folkloric for 20 years. The one who will get you up to speed in six is trained in Contemporary Dance. But she is Latin American – so it’s in the blood. Everyone knows the Egyptians migrated to South America when Atlantis dropped below the waves. And they took their fertility Goddess dance of the Sultan for painless childbirth with them.

The other kicker is that it is linked in with a mundane dance studio; lots of easy publicity. I wonder how they would react if I said I was qualified to teach Salsa because I like Mexican food?

Yes, yes, I’m getting my bedleh in a knot – everyone knows belly dance is really simple – you just drape yourself in bling and shake about a bit. If you can’t get it first time – have a couple of drinks.

Sigh!

Past Beginner – Beginning to Perform

2011-07-28T16:43:00.004+12:00

Having just seen the amusing animation "Why Yes, I Am a Professional Belly Dancer!" – I had to laugh but then started to think about just how much there is to learn. Or alternatively how much I need to teach those in my care.

Go onto most belly dance bulletin boards and there will be lists of things a beginner needs to learn. Most of these centre around movement generation – basic isolations, shimmies, undulations; the vocabulary of the dance. What makes that list will depend on a person’s style and experience. Some will also add props such as veil or zills. Some add some background knowledge of the culture and history of the dance.

So, let’s assume our student has all that – and now they are going to perform – in public. Hopefully those first forays are in a supportive environment of family and friends with something safe to dance. By that I mean, a piece within their technical ability, that they know well, and in an appropriate costume. Around here that is usually a 3 minute choreography in a group.

As teachers we often have to balance the chance to let someone perform who still hasn’t quite got it but who is really keen with our own reputation and the audience expectation. In a clearly student show you can cut them some slack. But I worry if a see a piece that none of the performers can handle – for instance something with lots of shimmy where none of the students can do more than flop around out of time to the music or a cane piece which tries to do tricky stuff but canes let loose, fly across the floor or injure other dancers. In these cases, the teacher needed to pull back her expectations and choreograph something that suited her students and made them look good.

Costumes can be tricky too. Students need guidance. They are students. For instance – “this item will require bra, belt and skirt. The skirt needs to be opaque under lights. The bra needs to fit and support your breasts.” In some cases suggestions on cut and colour are appropriate. For stage shows I now buy bolts of fabric or have class groups go out and pick material that suits them all. For galas and fairs I usually have a more relaxed approach but the general look needs to be similar.

Quality can be an issue. Here there has been an influx of cheap, nasty hip scarves. Personally I won’t have one worn in an Orientale piece – and only better quality ones in folk, shaabi or fusion pieces. Worst look I ever saw were students with one worn as a hip belt and another wrapped to (almost) hide their underwear bras.

This becomes even more of an issue as students start to do their own work. If a teacher doesn’t tell her student bedleh is not appropriate for beledi how are they going to learn? With student troupes, some times intervention is needed for the overall look and balance; for instance costume colour, physical shape and ability needs to be considered for the final presentation.

And it is when the students get past those first simple dances to pop pieces that things start to get tricky. Especially when they need to know their cultural references. “Your solo music is old style beledi – I suggest you wear a dress – forget the veil – and stop waving your arms in the air”. “This music is sa`iidi – why are you dressed as a harem slave?”

But the hardest thing to get across is the feel of a style. I recently saw an Orientale piece that was appropriately choreographed. The students did all the movements correctly – yet didn’t. The problem was they didn’t seem to get the styles being referenced. Was it nerves? Lack of preparation? Unfamiliarity of the underlying styles? This is one reason I believe any one other than a hobbist needs solid folkloric performance experience before tackling “grown up” belly dance. This is what sa`iidi is meant to feel like. This is how you move in khaleegi. This is beledi. This is debke. Then when 32 counts need to be slotted in they will know what they are trying to do.

Another issue that is hard to get across to students (believe me I have the same problem) the need to appear to engage with the audience: relaxed faces, smiles when appropriate; relaxed upper bodies. I think many of us over emphasise the isolation needed and instead of working hips and shoulders independently they end up holding their torso rigid – often with rigid hands as well. One teacher (Elenie) once said to me that the shoulder girdle communicates emotion – and I think she is right. The plastic Barbie look occurs with a plastered on smile and cold unmoving shoulders. And this year Momo repeated the idea by saying that the face and shoulders expressed the soul.

But of course, many skip all these boring lessons and go straight to being a pro belly dancer.

Teaching Insights from Workshops with Momo Kadous

2011-07-14T20:09:00.003+12:00

This was the 16th Brisbane Winter Warm Up and the first with Momo Kadous. I admit I signed up a little unsure of whether I was making a mistake in times when every dollar needed to be carefully placed. I knew nothing about him other than he was Egyptian and recommended by Dr Mo Geddawi as a replacement when he, himself, was unable to take his planned workshops and teacher training. And it looked like too much Orientale and not enough folklore.

But I am so glad I went! His dance style was interesting, his approach to the dance on my wave length, he added a session on shaabi flavoured dance – and I was reminded a lot about teaching from watching him teach. I intend to make more of an effort to incorporate some of these aspects:

His philosophy that a dancer should dance for herself – but present for the audience. So, we were being continually being pulled up on the awareness of where the audience was; what they could see. Right from the first hour when we were just learning some new combinations; head, torso, arms, hands.

Humour – Momo was happy to use humour to release tension in the class (who wants a tense belly dancer!) – even when he could be seen as the butt of his own humour. Sometimes belly dancers get just too precious about themselves and their art. Laugh!

Repetition – we learnt it at Teachers’ College – the “broken record” technique – and I thought I was doing it. But I’m a rank amateur. More repetition needed. There were some points he made every few hours over the four days. Not because we were particularly slow, but, he stressed, he wanted to make sure his changes had become habits that would be hard to break.

He also demonstrated using different learning methods. For instance during the drum solo. We’d sing the rhythm then tap it out and only then use our hips and feet.

Mixing individual and class correction (yes, this was a workshop teacher who would come down and ask if you’d “left your left hip at home? Why not bring it to class?”). And yes, I do correct – but I find I self censor – “she won’t want me to say that again”, “they just want to get to the end of the choreography” – yet, as the student, I found those interruptions valuable.

He closely targeted some corrections, staying on the target until she had made a reasonable attempt to change what she was doing. Or he just did the eye and the gesture which would get half the class checking their hips, or their footwork or their flapping hands. Or he would stop what he was doing completely to go over a particular point: varying from a makeshift creation of a barre to practice lifting our legs like dancers not like footballers to repeating a short sequence over and over to a drum track.

All obvious. All stuff I know. But it was good to see someone using it in such an effective way. And the content of the workshops? Also excellent. We had classes in technique, drum solo, Khaleegi, shaabi and Orientale. In each class, in addition to the dancing, Momo explained the music, the lyrics if there were any, and any relevant cultural and staging information.

Momo Kadous is well worth keeping an eye out for.

Monday 13 June – Earthquakes Again!

2011-06-14T15:33:00.010+12:00

My next blog was meant to be about stretching – but another earthquake has pushed itself into my consciousness. You’d think after over 7000 odd since September we’d be over them – but this one was very pushy.

I’d finally decided to tidy up and put away. After all we’d had nothing significant for a while. The last three magnitude 5 pluses were on the west side of town so were no big deal in Brighton. (For those of you not blessed by earthquakes the magnitude is logarithmic and measures the energy at the epicentre. A 7 is about 30 times as powerful as a 6 and a 9 is about 900 times as powerful as a 7. But a 7.1 several km away can have less effect than a 6.3 right under you. It also makes a difference how deep the fault is. Christchurch’s little darlings were only 5-15km below the surface.)

So Monday the 13th arrives. I’ve arranged to cook for eight people for dinner at a friend’s. No need for the gas cooker I was lent in February – power’s been up for weeks. Ditto the water, in nice heavy pots in the kitchen. Won’t waste it but pour it into plastic containers and put it in the laundry (spoiler alert!). Now, start with soup – I’ll complete it and microwave it when I get there (spoiler alert!).

Across town to get the meat I want (my local shops are open but didn’t have the right cut and closer possibilities are still munted). I’m making pörkölt – a Hungarian stew with lots of paprika. Right, it’s underway. I can replace some of my ornaments on the shelves. Will still keep the heavy ones on the floor but the light stuff should be safe enough.

Next job: bookshelves. All but one have been screwed to the wall – but the books still fly out with the shaking. I’d decided to lace the front and fill in the sides to reduce this. And I’d come up with a method to secure the last bookcase. I’ll tackle it once I finish the lacing etc. (spoiler alert).

So, I’m crouched down with my screwdriver when another aftershock hits. At first I didn’t pay it much attention. But there is something about feeling like you are on a giant waterbed, while suspended over the cavity which is a garage and under another storey made of heavy beams, that give you pause. And what’s more it is continuing and I can here things crashing. It’s a big one. (5.3M as it turns out)

Poor Isis. Light and tall she’s hit the floor for the third time – very undignified for a Goddess. A bit of bluetack will fix that. What about the rest of the stuff? Pretty heavy; still on the shelves; just push them back a bit (they’ve moved forward a few centimetres). No real damage. Fill in a GeoNet report. Update my Facebook status with something light and time to start the potatoes.

Not too keen to go back into that bedroom though. Empty the chemical toilet? No, not while cooking. Maybe wash the kitchen floor now I’ve had reliable water for a few weeks. It’s pretty grubby after 4 months and won’t take much water – but maybe I’ll wait until I finish cooking. Potter, potter. … Wham! Thump! Thump! (that’s the stereo speakers) Crash! (CRT monitor) Thunk tinkle! (1 litre of olive oil from bench to floor – with plates)

Egyptian reproductions? Isis is standing firm – but the fake stone carvings are scattered across the floor. Books? Most still on the shelves with only some on the floor. Bookshelf? Yes, crashed over the bed – sans books (now on floor, again) With a broken water main outside my neighbour’s, how’s my supply. Trickle … and gone – but I do have 10l on the floor of the laundry.

Off the check the neighbours. Pat and calm their dogs. Now, how’s the bridge? Traffic is flowing both ways but I want to see if it is passable with my little car which doesn’t take kindly to 200mm steps in the road. Never made it on foot between the new liquefaction and broken water mains meant I needed gumboots – and nerve (some of the liquefaction holes can be very, very deep).

I get a text that the dinner venue while without power (like me) – does have a generator and gas. So I pack up the food – soup, pörkölt, vegetarian alternative, potatoes (uncooked). I’m giving desert a miss. Oh, and spare clothes, a radio, torch, batteries, cash – and a camera.

Off I go. Only now there is a queue for the bridge – too late it’s closed. U-turn. Maybe the Brighton bridge is open. Opps, the flooding is a bit deep – I’ll go via the mall. Missed the worst of it – and it’s closed. Won’t follow the river – they still haven’t fixed the road from September. It’ll definitely be under water – but Bower Ave bridge was almost okay last time. Head back to the coast then cut back. Not this time – but at least they had someone on the roundabout. Anzac Drive? Nice new bridge? Nope – and this time I had to go the whole distance through the flooding which filled the bits of road that had slumped about half a metre – either this time or earlier. Nice young man says I have to go west – so I do and realize I’m heading into Dallington! River flooding to the left, cars back up ahead, liquefaction almost covering the crown of the road. I cannot risk a U-turn that may get me into the unknown – cars have been swallowed by liquefaction holes. So it’s a 3 (or 4) point turn. Onward.

Back via Stanmore Road, where only this morning this building – and that - were standing. No more. But now at least there’s little road damage, flooding or liquefaction. Then - at last – after only 80 minutes and 67km I have complete a trip that is normally 6km and takes under 10 minutes.

The dinner went very well. All but one guest could make it. We ate in the ambience of 17 candles and I wore earthquake chic – silt covered shoes and a head lamp. (The gennie turned out to be only for the server)

There was one surreal moment when I left the roar of the gennie to visit the Port-a-loo and heard a strange sound echoing around the hills. It almost sounded like a call to prayer – a drone with indistinct words. But it turned out to be an automated evacuation message “Please evacuate the building immediately. Do not return for personal possessions. Immediately make for the assembly point”. One positive side effect of the 5.6 at 1pm was that malls and most buildings had already been evacuated when the 6.3 hit at 2:20pm.

And the numbers? From 1pm until 2:20pm there were six earthquakes (5.6M, 4.4M, 3.4M, 2.9M, 3.1M, 6.3M – 9-11km deep). From then until dinner started at 6pm there were 24 more (varying from 2.9M-4.9M 2-12km deep). There were 10 more during dinner (2.9M-4M, 5-9km deep). Overnight, add another 14 (biggest was a 4.7M - which is what I think did in a few more things at home). In all over 24 hours we had 59 earthquakes. Oh, and there’s another.

PS Power now back on and bridge open. Main problem was washout due to burst water pipe – hence still without water over here. Guess the floor will have to wait a bit longer!

(And here is my thoughts back in March Reflections Five Weeks After the Earthquake)

When a Belly Dancer isn’t Belly Dancing

2011-05-11T20:30:00.001+12:00

I’m a belly dancer. I have been for many years. I spend time working on improving my technique and expression; I like to watch good dancers for pleasure and ideas; my leave is usually spent on belly dance related activities; my best clothes are belly dance costumes.

Yet, I am not belly dancing every time I dance. I take an exercise with dance class – yes, there is an occasional hip drop – but I’d say the class uses more Jazz aesthetic than Belly Dance.

Some years back I attended a gathering of women to celebrate the female divine. Arriving on a whim I didn’t know we were expected to bring gifts – some sang or recited poetry, some played music, - and I danced. I think I did a good job off the cuff to music I’d never heard before. But it is still slightly uncomfortable when I run into people who were present and get tagged as “that wonderful belly dancer”. I wasn’t belly dancing – I was just dancing.

Then, some times I’ve been at parties and asked to “do a belly dance”. Well, apart from the fact I normally charge to do that (are other people giving free medical consultations? fixing someone’s diff? perhaps, handing out samples of their merchandise?) – the music is all wrong. No, I don’t belly dance to “Copperhead Row”.

Belly dance isn’t just a bunch of moves. It involves an approach and musicality; it is tied to a culture. But more to the point, belly dancers are allowed to dance in other styles. There are belly dancers who also do Latin, Ceroc, ballet, jazz, line dancing, Highland … When they are doing these forms they may be still technically belly dancers – but they are no longer belly dancing.

Reflections Five Weeks After the Earthquake

2011-03-29T15:15:00.011+13:00

A break from dance related topics to give a personal view of living in Christchurch five weeks after the 22 February earthquake.

The news was initially filled with the shocking images of destroyed buildings, rescue workers and the army. Now most of the dead have been recovered; yesterday some business people were allowed back into the red zone to recover essential equipment and records; buildings are being removed, roads cleared, and life tries to get back to normal. But it isn’t – quite.

Here’s what it is like living in South Brighton – an area barely affected by the quake – very few houses are written off for example, but still …

Power
I was lucky and got power back after just nine days. Across the road they needed to wait a bit longer. The houses fed by the New Brighton substation are being fed via huge generators as the substation took significant damage (it sunk about 1.5m into the ground, all four incoming cables and the ten outgoing ones were “buggered”; they ran overhead lines several kilometres to another substation to try and get over the problems)

So, five weeks on we have power – but we are advised to avoid using electric heating – including jugs and ranges – unless absolutely necessary. This is especially the case from 5-7pm where a sudden switching on of appliances can lead to the power going off. This restriction covers all of the eastern and southern suburbs – I’d say at least half of Christchurch.

I was very pleased I had held out for replacing my log burner with another log burner – not the alternatives pushed by the council which required electricity to run. Only problem was, set in the middle of the house, there was no natural light and all cooking needed to be completed by dusk. Later, a friend lent me a portable gas stove. I continue to stash torches (with good batteries) all over the house – just in case.

Water

Next service to be reconnected was water – a trickle started coming through after 3 weeks – not enough to fill the hot water tank though. When pressure was restored my damaged pipes blew apart so I was off again until my father came over and capped the errant pipe (and at the same time fixed the four doors which no longer closed due to slight movement). At this stage we still have a boil water notice in effect.

What happened in the meantime? Well, only a day after the quake they had a water tanker at the local school. Hundreds of people queued for water with a range of containers – from empty 2l ice cream containers, to empty rubbish bins – and waited for a means of getting the water out of the tank (there was no fitting to release the water) - after 2 1/2 hours I walked home without any! One of my neighbours was singing “don’t have to live like a refugee”.

I had emergency water to drink – and some unbroken beer and wine for follow up. But had never considered how much water is needed for cooking – let alone washing dishes (I can now do a sinkful in 2l). Washing clothes and bodies were not even considered. We all stank equally.

Currently the whole city is on water restrictions – but my garden died in the first few weeks so I’m not tempted to try and bring it back to life before spring.

Sewage

This is still not operational for about 160 000 people. Many people have toilets that flush – but for many it doesn’t leave the property, or it may only to be blocked by broken or silt filled pipes further along. The overflow flows into the rivers and estuary – or are actively pumped into them. That’s the story here – but at least it doesn’t flow in the streets like in some places.

However, if they could get it all to the treatment station it wouldn’t help as it is running at only 70% capacity due to damage.

Needless to say you cannot swim at the beach – let alone do any water sports on the rivers or estuaries. People have already got sick. They are recommending to keep even dogs out of the water.

They started with thousands of Port-a-loos but since have handed out tens of thousands of chemical toilets as this will continue for 3-4 months (all going well). Note, to those who don’t have one – emptying them is not a pleasant chore.

Roads

Within days they had filled many of the small car sized holes in the road (no joke we are talking metres wide and half a metre - at least - deep). The 18 broken bridges are now mostly passable – although many are limited to under 3.5 tonne. Many of the roads are restricted to 30km/h – which can be too fast if you drive over a outstanding manholes (they rose with the liquidfaction) due to poor visibility. Potholes, waves, sinks, cracks are all a normal part of driving now. Trips take often twice as long as before. Adding to the traffic problems are the cordoned off parts of the city with rubble or danger of falling masonry.

Let me explain. A good route is one with about 50% gravel and only a couple of bone jarring ridges. Bad routes slow you down to a crawl. Detours and single lanes are common. “Water” on the road is not unusual – and you always suspect it’s raw sewage. But at least most of the silt has been removed.

Business
We are quite lucky here – we got our supermarket back up and running after only a few weeks. Many other suburbs around here are still without any supermarkets, fruit and vege or butchers – so ours has become a little busy. Still better than a 45 minute drive across town which I had to do for the first few weeks though.

Many of the big banks here are still closed.

The two nearest malls are closed (but who would enter a mall again?).

Obviously, central city is out of the question.

I have dropped half my dance classes due to students who have left town or are unable to get here – or are just too stressed due to losing their houses and/or jobs.

My day job clients were mostly based in the CBD and if they are working at all are just holding on and only calling on IT help for urgent issues. Forget pretty upgrades, new features or training.

So, we are still here and trying to make a go of it – but it’ll be a long time before it is anything like “normal” again. In the meantime – make sure you have at least 10 litres of drinkable water, containers for still more, investigate a bypass on your downpipe (and a barrel to hold the rain water), food that you can eat without cooking or water, torches, a battery or solar radio, batteries, portable cell phone chargers, direct plug in landline phones, gas or wood cooking facilties – and a pack of cards.

(And here is the June update - Monday 13 June - Earthquakes again)

Communication is the Key

2011-01-29T18:59:00.001+13:00

Do we live in a world now where because it is so easy to communicate often we don’t?

When I started belly dance teaching much of my communication was done by email. It was what I was used to (I worked as a software engineer and the directive was to email – even the guy in the next office – never interrupt by phone or dropping in). As more and more people got connected and everyone (in New Zealand) seemed to have at least one email address, I dreamed of the time when I could organize classes and shows totally electronically.

Sure I email out information. But does anyone get it? Does my vital email about rehearsal get lost in the spam box? Or does the student’s partner clear her email and “lose” mine? Or, is the PC down? Or does the student never actually check her email? Or is it seen and then there are no capabilities to follow up on time?

I rarely know. People often disable read receipts (I do it myself often enough – but I also respond to the text of the email instead). People often fail to say they are unable to make a practice – even rarer that they received my message and are all go.

Since November I’ve been tracking responses – less than 30% with my current students – 0% for students who asked to be informed when the next term starts. Does that mean on 8 February I’ll have no beginner students (unlikely) or 30 (far too many for my little studio)?

And it isn’t just classes. People book Hen’s Nights but never stump up with the deposit. Does that mean they have changed their minds or still expect me to turn up? An email inquiry very often gets no response at all – not even a “no thank you” or “we’re still thinking about it”. If there are people out there who are wondering why your belly dancer never showed – have you checked your email?

Even the EQC seems to have the disease. I paid for repairs myself (sorry, I really need my hot water to shower after a gig). They said they’d pay by beginning of December (well, three months isn’t too long to wait). They finally responded to an email and said it’d be by Christmas. Now, they won’t respond at all. Maybe I’ll try the phone and push all the silly digits and wait for 20 minutes. Email is such a much better means of communication – but you have to read it and respond to it.

Choreography vs Improvisation

2011-01-13T18:57:00.001+13:00

I love improvisation. Most of my own performance is improvisation. I believe that improvisation is at the heart of belly dance. I introduce it in the second week of my beginner course. But I teach mostly choreography. Why?

First, there is the huge resistance I have found from most of my students to improvisation. And, no, I don't start with expecting them to do a whole song. Choreography feels safe to them - even if it is harder.

Second, most of my students perform as a group so they need a structure to look good. I have a couple of numbers where pairs "improvise" for a few bars but in practice what they do is create their own small choreography.

Third, with good choreography you do learn. This year at the Winter Warmup I added six more from Aida Nour. There was something to learn in every one. Several things in some - from musicality, to combinations, to weight transfer, to gestures, to arms and hands, to folkloric knowledge, even facial expressions.

Yes, you can learn this using the follow-the-bouncing-butt method – but these days I have difficulty in remembering much of 20 hours of improvised dance – but a choreography – where you go over and over the same moves - will stick better; even if the actual dance doesn’t have the range of nuance of several interpretations to the same music.

Finally, choreography is a way to reinforce what is belly dance. Some times when I have had enthusiastic students improvising I need to pull them back when they step over the belly dance line. (I generally let the beginners go initially) You can learn the lines through watching lots of good performances - but learning choreographies from a range of sources is another way to learn what is and is not "belly dance".

That said, to get past being a beginner I think you do need to be able to improvise. Not necessarily to completely unknown live music but you have to be able to let the music flow through you. Then, I think, your choreographed performances will also be better. And as a bonus you won’t get thrown when a waiter or small child wanders through your dance space.

Value of Workshops

2010-07-16T15:55:00.007+12:00

I have just recently returned from the Winter Warm Up in Brisbane . This year’s guest teacher was Aida Nour. It was well worth the time and money – as it has been for each of the last 14 years I have attended.

Why I Attend Workshops

Every year I learn something new – which makes me smile at those who have learnt it all in a year or so. Am I just thick or did they really have better and more experienced teachers than Aida Nour, Denise Enan, Dr Mo Geddawi, Yousry Sharif, Mohamed Kazafy or Lubna Emam? I suspect it is a case of “unknown unknowns”. Seems many belly dance teachers today know only the surface of the dance. They don’t know its history, any folkloric styles, and have limited understanding of Arabic (or Turkish) music and how to interpret it. No surprise than that they soon run out of things to teach. Worse, when one of their students decides to start teaching …

I go partly as it is a chance to learn from the source of the dance unmediated by western bias. All the Winter Warm Up teachers (apart from Bobby Farrah) have been Egyptian born with a long history in professional belly dance. They can dance Orientale. They also know Egyptian folk styles – the movement vocabulary, the music and the costuming.

But also the format means you get a chance at depth you can never get with one or two short workshops. Over four (or even better eight) days you can begin to see patterns in the way a dancer works. Something you couldn’t get on day one, snaps into focus on the third day, for example. Some years we have worked on the same piece for two days. Ten hours concentrated work on a dance certainly helps cement it into your muscle memory.

There is also the sense of community. Once a year you get to met in person with those who share a passion for Egyptian belly dance. A rare breed. It’s great to be surrounded by people who can discuss the evolution of Egyptian dance or who understand that milaya lef was created by Mahmoud Reda and can compare different interpretations.

Finally, in New Zealand I have a very limited pool of teachers who I can gain much from. Either they are involved in styles I have no interest in or their own knowledge is less than my own. Attending workshops gives me something to stretch me and something I can work on for a few months.

Why Do So Few Attend (Challenging) Workshops?

So why don’t more teachers (especially) attend more challenging workshops? Access is an issue. The Winter Warm Up is in Australia which means a passport, time off work and family, money for workshops, accommodation and travel. There are few “grown-up” workshops for belly dance in New Zealand (with would be more accessible). Yes, we have had Cassandra’s Oasis Dance Camp – but only twice. Other international teachers do make it to New Zealand but invariably they tone their material down to reach as wide a catchment as possible. The problem would be that we are a small country and are unable to pull the numbers needed for a solid, extending workshop.

But wait a minute! We have thousands of belly dancers in New Zealand. I, alone, can think of 80 teachers here. True some of them would only be interested in Tribal workshops – but that is only a small proportion. If half of the teachers were willing to attend a workshop there would be the numbers to bring someone with a lot of experience to New Zealand. But you have to ask how many of those teachers would be capable of handling 4 or 5 hour days? I still remember my surprise at the Oasis Dance Camp when at least two teachers were buggered after about an hour’s dancing.

One must consider whether a desire not to be “shown up” is part of the reason some people don’t attend workshops. Personally, I rarely see anyone else in a workshop – I’m too busy working on my own stuff. With Aida I was surprised when she split the class in half so each could dance for the other and I discovered dancers I deeply admired had problems too. One had difficulty remembering the choreography. Another had a lousy shoulder shimmy. A third couldn’t modify her style to match the style we were meant to be performing. I don’t see them as any less a dancer, but it reinforces that we all have things we need to work on.

Another possible reason is that some dancers think they know all there is to know. They don’t attend workshops because they don’t think they need to. In some cases they may have a deeply flawed concept of what they do and do not know. For others they may have attended a workshop that was badly labelled – for instance a “professional workshop for advanced dancers” taught by someone with poor dance skills and no teaching ability. Correctly judging they could do better, they then avoid workshops in the future as a waste of time.

Meet the Challenge

To all of you, I say, you have to keep pushing the limits. It is extremely rare to improve without some outside stimulus. Talk to other dancers who have similar interests and find out what is worth going to. If you want to get out of the rut, start saving money and leave so you can do at least one challenging workshop every year or two.

Bouncing Breasts as a Turn Off

2010-06-16T14:36:00.003+12:00

All mammals have them. In many adult human females they are quite noticeable. So why are they ignored when it comes to physical exercise? Yes, yes, I know about sports bras – but honestly they are of limited use. In the short time I played soccer only binding with crepe bandages was really effective.

Two incidents have had me thinking about breasts again. One was a presentation I attended on introducing exercise to the community. One (male) presenter was extolling the virtues of jogging (as opposed to running or fast walking which causes a lot of leverage on the joints). Jogging was great. The feet stayed under the bulk of the body weight. The heart rate was raised because the body is lifted and moved slightly forward very rapidly.

Mmm, I thought, bouncing up and down for 30 minutes – do they really think this is going to take off with the under-exercised and over-weight in the community. Especially women? Even with a good bra, as an E-cup, I avoid anything that is going to lift and drop my torso for even a few minutes – let alone thirty.

I waited for someone to object. The only query was on the effect of jogging on the joints which let to a complex discussion on how fast walking can be more detrimental. Oddly enough most of the audience was female – but of the light lean variety. I am still unsure if the silence was due to a complete obliviousness to the issue or whether no-one wanted to mention “breasts”. However, as two of the other presentations by women were also the jump round turn around variety I suspect many in the industry have never lived with the reality of female breasts and vigorous exercise.

So maybe belly dance is the answer. If you avoid some folk styles such as sa`iidi and debke there isn’t a lot joggling up and down. Yet breast blindness appeared again recently on an internet forum.

The subject was shoulder shimmies. There are many ways to create a shoulder shimmy but the two main mechanisms is to articulate the shoulders back and forward very quickly or to twist the torso as a unit. (You can do a mix and you can also change how high the torso twists.) Personally I refer to the former as “shoulder shimmies” and the latter as “torso or bust shimmies”. The latter is more common in folk styles. The former is most often seen in Orientale.

The issue was many larger busted women found the bust shimmy uncomfortable, ugly, and made them feel self conscious. However a number of the other dancers and even teachers could not understand this. There was discussion on using well constructed bras and improving isolation – both valid comments – but few would be willing to change the technique to an (articulated) shoulder shimmy.

My point? When leading exercise for a group that includes women who are not (for what ever reason) washboard ribbed, consider the effect of the movement on the women’s body. Making your clients uncomfortable and unhappy is not going to encourage them to come back.

Challenging Yourself

2010-02-25T15:36:00.002+13:00

In belly dance there is so much to learn - even within a single style. It is a chance of lifetime learning. The first challenge most people face is actually taming their body. Learning that hip figure eight that does what you want it to do - staying horizontal or vertical or doing a combination of both and keeping it smooth. Getting a shoulder shimmy that moves only the bits you want to shake.

What might surprise many beginners is that "getting you body under control" doesn't really stop. You just add more difficult moves to your repertoire. (Not that belly dance is about having to master more and more difficult moves - but you don't learn it all when you can execute a flawless set of isolations on each part of the body).

For many people the next step is learning movement combinations, layering and transitions. Some then start collecting choreographies. Some then challenge themselves with improvisation. Both are valid. What both are working towards is learning to interpret the music - within the belly dance genre.

This step requires some outside assistance. Although a dedicated and talented person might be able to learn the moves, it is much harder to learn to belly dance. For this you need a teacher - or even better a number of teachers. Some may be people you attend class with. Some may only drop in to take a workshop. Some you might learn from by watching their performances. Over a period of years by watching good examples of the dance and being corrected by knowledgeable teachers you extend your ability to be able to be a good belly dancer yourself.

A student of belly dance (and by that I also include the best teachers) also needs to understand the different styles within the dance. They don't need to be able to do them all well but they should be able to recognize obvious examples of (say) modern Egyptian style, Lebanese style, old style Turkish, AmCab etc. They should also have an idea of a couple of major folkloric styles from the area of interest - Egyptian folk for Egyptian dancer, Turkish or Rom folk for Turkish dancers etc.

Another aspect of the dance is a range of props. A basic set would include veil, zils and cane but there are many others – again depending on the style(s) you are interested in - sword for AmCab and Tribal, shamadan for Egyptian, spoons for Turkish. A belly dancer needs to know not only how to use them but when to use them. What music works. What movements go with them.

Then there are cultural factors. A dancer needs to know about what his or her music means. Not only what the lyrics say (and many instrumentals also have lyrics) but what it actually means and also what it means to the audience. For instance some very upbeat songs can be about loss. And some songs are metaphors – for example there is a song which appears to be about a man’s mother but is actually a political song about Egypt. For Egyptians songs by Oum Kalthoum have a particular significance and need to be treated with sensitivity.

So, some understanding of the language (whether Arabic, Turkish or Farsi) is useful. But an understanding of the people’s culture and history is also important.

One problem with self taught dancers – or those that do not have a good teacher – is that you often cannot know what you do not know. Experienced belly dancers are forever stumbling across people saying they have learnt it all (after a year, two months or whatever) so have had to branch out into fusion or burlesque or whatever. They shudder – but often it isn’t the dancer’s fault. They often truly don’t know they are missing 90% of belly dance.

So, if you are feeling a little too smug. Look around and find a new challenge within the dance. After 19 years I’m still learning new stuff – and I really only have a deep knowledge of Egyptian and generic belly dance.

Belly Dance Hen's Nights

2010-01-10T11:14:00.005+13:00

After a particularly busy lot of Hens Nights, a friend commented how hard it must be. I pointed out belly dancing for three hours, while unusual for me is well below a full day at a workshop - and at a much lower technical level. But that wasn’t it. Rather, it was turning up at a stranger’s house and offering to belly dance for them. “You’re so shy. What if they think ‘Belly Dance – how silly. I’m not doing that!’”

Well, first up I’m not “shy”. True, I’m an introvert – which means interacting with groups of people drains rather than invigorates me – and I don’t do small talk. But give me a role or a task and I have no problem fronting up to any number of people – dancing, teaching, lecturing – even giving directions on the street.

But not needing the approval of other people, like my extroverted friend, means I don’t feel personally hurt if people don’t warm 100% to me and my interests. Yes, some times a few individuals at a Hens Night are too cool to belly dance. And there are people who are too shy, too tired, too sore, too pregnant, or too drunk. But even they often get something out of the entertainment.

And at a Hens Night – that’s what I am - an Entertainer. I’m not there to show them how well I can dance. I’m not there to be admired. I’m there to help people celebrate their friend or relative; I’m there to let them have a laugh, take some silly photos – and maybe, just maybe, pick up a few belly dance moves.

Hey, if you think some of your friends might like this – and they live in Christchurch, New Zealand – feel free to contact me! http://www.bellyraqs.co.nz

Belly Dance for Mental Agility

2009-09-17T10:43:00.002+12:00

Much is often made of Belly Dance being great for improving physically flexibility – but what about mental flexibility? It can give you a great mental workout as well.

Take last weekend. It seemed like a simple gig supporting the local International community. We’d come along and dance for their get together. First hurdle – did I have any Middle Eastern students? Ideally recent immigrants or children of immigrants? No, but I’m the child of Hungarian parents and some students are Dutch. So our support was declined – until 10 days before the event was to be held when they decided that my site included enough multicultural material for me to pass.

Next hurdle - no real timetable. Okay, I can adjust. I’m not totally anal about my schedule. But that meant some students who had firm commitments elsewhere were unable to take part. So, for a 10 minute performance we were on site almost two hours being part of the community. Probably good for us.

Then there was the choice of material. Nothing to alienate conservative Muslims. I bit my tongue as I knew we could do nothing right if any really conservatives turned up. However, we have a wide repertoire of folkloric items. Cane is always popular. Then I realised the venue was small with a low ceiling and people would be sitting up close. No cane. I suspected my beledi would be incomprehensible to non-Egyptians. No beledi. With those that I had available at short notice it would be ghawazee as a solo. Maybe. Ditto haggala – and as a woman well past the first flush of youth I’d not be a sensible choice.

Okay – khaleegi. Our stage piece is for 10 – but I could only get 4 at short notice. A good thing too. Did I tell you the stage was small? 3 by 10 – over here we think in metres – and that would have been small for the tableau. But the organizer was old school – this was feet. So, restage and reassign parts – this is a group framework with solos and duets not a choreography with everyone doing the same thing. Add two hours of rehearsal leading up to the show.

So, one student thought this would be a good time to refurbish her costume and she unpicks it and starts reassembling it by hand. (For those of you who have never made a khaleegi thobe there is over 6m of fabric – that’s 4m of sleeve hem to restitch with slippery sequinned fabric.) Three hours before we are due at the venue she rings to say she’ll never get it back together in time. Thank goodness for spare khaleegi thobes. Only, I made the class set out of cheap material and now it has to be ironed – by me. (Along with putting on make up and running a last minute rehearsal)

Our second item? I took the easy route and did a stock belly dance piece – covering as much skin as possible with body stockings, sleeves and gauntlets. The audience –Korean, Japanese, Indian, Welsh, Australian and Somali - were not at all offended.

Overall, it went down very well. The students got a kick out of not only pulling off a nice piece of dance performance but also realizing that what they learn in class is not definitive. They are being given tools. They can adapt. Now they don’t just know this in the abstract – they know they can do it.

So, Who’s Writing on the Net?

2009-07-18T14:10:00.002+12:00

Recently a student discovered a YouTube clip of Ranya Renee doing a great beledi interpretation. This sparked an interest in beledi which she initially asked me about. I love beledi – it is my favourite style. But I was overwhelmed by catching up after a week at the Winter Warmup and had a huge pile of exams to mark. So my response was a little brief.

No problem. She then started an internet search and came up with a range of information. Some accurate, some suspect, some off. The email correspondence that followed really got me thinking. The first issue was simple – “why do you think your information is better than X or Y’s?” Because I got my information directly from Egyptian dance teachers who lived, worked, and studied in Egypt – such as Raqia Hassan, Yousry Sharif, Denise Enan, Dr Mo Geddawi, Aida Nour. Yasmina and Lubna Emam. Although one or two may have grasped the wrong end of the stick – I cannot believe all would have.

I should have anticipated the next question “then why can’t I find any information by them on the net?”. Maybe because they have better things to do with their time? Maybe because they are professional teachers and are not inclined to give away huge hunks of information for free? Maybe because neither English nor the internet is familiar to them? Maybe because they have difficulty in putting into words what they know through years of living in a culture? Maybe because when they hear a mawal they just know that this is how you move and this – but not that?

The third issue is a little harder. “Beledi” is a big concept. It has many levels of meaning. There are numerous associated music and dance styles which change over time, place and society. A good explanation isn’t a one liner. It isn’t even a whole webpage. It is a book. Yet, so often, it is expected that a couple of paragraphs will cover it. The ‘net encourages a very superficial gloss over of complex topics.

Finally there is the expectation that you can learn anything on the ‘net. You can learn a lot about some aspects of dance through the written word – if you share a common language – but not all. Video clips and DVDs also provide another tool. You can (usually) see what a dancer is doing. You can try and copy their movements. Many people have a gift of being able to do this. Many people struggle. Many people fail and don’t even realize it.

But belly dance is more than a string of movements. You need a context. You often need to ask someone about something which is obvious to them but a total mystery to you. “Why do so many beledi improvisations sound familiar?”, “Why do you wear that crochet thing on your face?”, “Who is this Fifi you keep talking about?” Often the student is unaware they even are missing something, which is where a live teacher comes in.

Experienced dancers and teachers know this. Less experienced dancers may take longer to learn – and in the meantime they are reading websites by those often with more confidence than knowledge. Then horror or horrors, they get their own website and repeat all the crap.

What are the “Basics”?

2009-07-11T15:41:00.002+12:00

When designing any course of study a teacher needs to consider what are the basics that their students need to master. The basics will form the foundation of future learning. A poor foundation will mean that a student could be unable to reach their full potential.
So, with belly dance what are those basics?

There are several areas that need to be addressed:

Physical skills
Dance skills
Performance skills
Cultural and historical context

Physical skills

A basic requirement for a dancer is co-ordination and control. Without this they are unable to use their body to express movement. Tied to this is automatic abdominal control to enable many of the standard moves to be performed safely. This is the automatic response of the body to protect the back and use the deep abdominal muscles.

In belly dance flexibility is a lesser requirement. Most belly dance does not require extreme range of motion. However, balanced flexibility is advantageous. This will allow a student to maintain good posture with minimal effort. Reasonable range of motion in the hips and lower back is also beneficial.

Unlike many other dance forms raw strength is not an issue. Apart from some folk styles there is little jumping required and no lifting. However, physical endurance is useful to enable a dancer to train over long periods and maintain good quality movement.

Only once the body is in a fit state can the teacher focus on “moves”. A belly dancer needs to be able to move parts of their body independently from each other. They need a basic vocabulary which includes moving the hips up and down and in circles and moving the shoulders and torso in typical movement patterns.

The initial – or basic moves – need to be physically safe for the new dancer. Moves such as mayas which are standard in many belly dancer’s vocabulary are not safe for many new dancers with insufficient abdominal control to perform them safely.

Dance skills

Building from moves, a dancer can learn combinations and travelling sequences. These need to be more than just exercises in movement but also be an expression of musicality. With a new dance style many students will need to be taught how to interpret the music by their teacher.
Many teachers include the ability to remember and perform choreography in their basics. Others do not. For some it is the ability to improvise to the music that is important.

Some teachers consider prop use (eg veils, zills, and cane) to be basic. Personally, I’d rather see a dancer secure in their body before adding an extra layer such as playing zills.

Performance skills

Although in the long term, stage presence, emotional communication, costuming and make-up are important in the dance, I would not count them in the initial basics.

Cultural and historical context

I would however include an introduction to belly dance’s cultural and historical context as “basic”. Why? Because without that the students might be learning dance – but they are not learning “belly dance”. A lack of context leads to poorly informed students believing anything with an undulation in it is belly dance. It leads to people who are unable to distinguish belly dance from hula. It helps many of the inaccurate myths bred. Shining a bright light on the background of the dance and distinguishing between belly dance and creative movement is an essential part of a belly dance teacher’s core job specification.

Teaching this while keeping the learning fun and extending the student’s dance ability is really what it is all about.

What is this "Belly Raqs" thing?

2009-05-20T14:23:00.003+12:00

My (stage) name is Kashmir and most people would call me a belly dancer. I teach belly dance. I entertain using belly dance. I even belly dance. Most of my free time is sucked up with belly dance and most of my holidays are belly dance related.

So, why do I use "belly raqs"? It is not because I am one of the belly dancers who find the name "belly dance" demeaning and inaccurate, but rather that "belly dance" has too often become a sloppy label attached to any movement that includes undulations and bare bellies. Belly dance, real belly dance, may include undulations and it may be danced with a bare belly - but often is not. Belly dance can include these elements but far more importantly it is based on a social dance from (North Africa and) the Middle East. The movement vocab is torso centered; the belly often powering the moves rather than being the point of them. And it links back to the Middle East - in its music, in its approach, in its feel.

To make that link explicit I use the Arabic term for dance - "raqs" and place it after the Western term for our dance genre - "belly". This acknowledges for me that both cultures have given me my belly dance.

To those who wonder why I don't just use the term "raqs sharqi" - it is because that is actually a small sub-set of belly dance. Raqs sharqi (aka danse orientale) is a style that came out of Egypt in the 1920s and 1930s. Many people still dance in this style and even more dance in a style directly derived from it. But it isn't my preferred belly dance style. I tend to be a bit more beledi; a bit more folkloric.