I know that those of us who have danced professionally all have stories. And those who haven’t but have thought about it can certainly benefit from a little foreknowledge about what might happen.
Please post your stories and insights on dancing for a living (or at least for money).
Hey everybody,
I just finished filming a brand new mat yoga DVD that will be perfect for dancers. I’ve been teaching yoga nationally at bellydance festivals, and have really gotten to appreciate how valuable yoga can be for dancers’ health.
Almost a year ago I tore my calf tendon and was benched for about four months - unable to walk, dance or even stretch. I got back into yoga rather fanatically after I was back on my feet and really have felt a huge difference. When I first started, I couldn’t sit cross legged and fold forward far at all, and now my hips are open enough that I can fold down and touch my forehead to the floor! Yoga is helping me create a stronger core, greater balance and increased flexibility, plus it gives me a chance to really focus on breath, stretching and relaxing into various poses.
If I could pass a law :), I would make yoga mandatory for dancers. I truly believe that doing yoga regularly will help prevent accidents and injuries like the one I had, and I’d love to see more dancers do at least a simple mat yoga routine. That’s why I made this DVD.
I’ve done this routine the morning before a big performance, and was able to dance much better with just a basic before-dance warmup, and felt fabulous afterwards, not sore and tired. I really recommend yoga for anyone. I don’t care if you use my DVD or one of many other good ones out there, I’d just really love to see dancers take better care of themselves!
You have one body. Treat it as your temple, take care of it, and it will serve you much longer and in much better health.
By Jana Beeman
Here are some of the basic movements for drilling. It’s always best to refer to this along with a video class or live class to be sure you understand the movement. These descriptions are optimal movement, and you should pull in some if any move is uncomfortable. It may take time to develop strength, loosen hip joints, etc. as well as getting control of all the muscle groups when you are first getting started.
Always work moves really slow to start, stretching fully into the range of movement, then speed up incrementally as your muscles warm up and joints open. Slow drilling will improve your movements much quicker than doing the moves faster.
Ribcage - Hips are anchored and isolated
Slides
Slide ribcage straight across from left to right, reaching with the fingers.
Ribcage position can be neutral to lifted.
Lifts Pull down between the shoulder blades and lift with the upper abs to pick ribcage straight up. Keep shoulders down and relaxed.
Circle Combines above moves: slide ribcage to right, lift in front, slide to left and release neutral back. Do not round through back, just go to natural relaxed position. Lift as much as possible coming around front to elongate the torso. Round into even circle.
Eights:
Vertical down to up
Drop R side of ribcage, push out to R and bring up, circling back into center, repeating to left. It should look like a laying down 8 moving from down to up. No twisting, no shoulder involvement.
Vertical up to down
Lift R side of ribcage, push out to R and drop (shoulder will follow but don’t push) then repeat to L. This is an 8 moving from up to down. No twisting or shoulder involvement ( other than natural drop).
Horizontal front to back
Twist R side of ribcage forward, push out to R side, pull back (staying pushed out) to back R twist, repeat on L. This creates a flat 8 with no lift.
Horizontal back to front
Twist back R, push ribcage out and move R side forward (staying pushed out)
Hips - Keep heels down on all moves for basic drilling. No upper body.
Single hip shift
Standing in Egyptian posture (see separate entry), straighten one knee slightly (going from more bent to less bent NOT straight), bringing hip joint up and in, then release that knee and straighten the other knee slightly. Shift directly from one hip being up to the other. To get a ‘pop’ in the movement, clench the glut muscle on the side going up, releasing quickly).
Do not twist hips or allow pelvis to drop. Upper body is disassociated.
Pelvic drop
Tighten lower abs, bringing pelvis up and in (tucking) – tighten glut muscles to support movement. Release all muscles and allow pelvis to drop back to neutral. Do NOT arch your lower back – make it more about tucking front (up/in)
Umy (circle)
This circle is very ‘interior’ and does not push out at all. Bring your R hip up and in like the hip shift. Tuck front, roll over to L hip up/in, release to neutral. Hips will move up and in all the way around except for the release.
Taxim
Taxim is a vertical hip 8, from down to up.
Drop R hip, push out to R side, move hip up (while pushing out) and repeat on left. This movement does not tilt or twist at all. Upper body is dissociated.
Maya
Maya is a vertical hip 8 from up to down. No tilt or twist.
Bring R hip up and in toward your center. Push out to R, bend R knee and pull R hip down, and repeat on L side. Keeping knees bent is crucial.
Flat 8 front to back
Twist R hip front, push out while pulling back, repeat on L side. There is very little lift on this movement but doesn’t have to be completely flat.
Flat 8 back to front
Twist hip to R back corner, push out to R side, bring R hip forward while pushing out. Repeat on L.
Arms
Snake arms
Start with R arm, lifting shoulder, elbow (back of elbow), wrist (back of wrist) & back of fingers. Pull R shoulder down, lead down w/back of R elbow, inside of wrist, palm of hand. Repeat on L side. When you can do each side separately, then do L side down while R side is going up and vice versa. Upper body is lifted, neck pulled up.
Posture
Egyptian Posture
Stand with heels together, feet slightly turned out (adjust turnout to your personal comfort level). Knees are bent, tailbone pulled down so lower back is straight and lower abs are tight. Lift the ribcage, pull the shoulders back and down. Extend neck up, arms out and relaxed, smile and breathe.
This will feel very awkward at first but gets to be a natural pose in time. It protects your back and your knees from injury.
I really believe in using music that motivates you. If you’re doing a bellydance performance, and you want to really shine, pick the kinds of Arabic music that really make you smile. You know that drum solo that’s so cool it makes your mouth water? The oud solo that just makes you want to turn out the lights and dance it over and over… you get the idea.
What moves you will show in your dancing. What you feel in the music is what you will reflect as a dancer. Belly dancing is especially personal, and so is the perfect way to express what you want your audience to feel.
Me, I love a juicy drum solo, a great kanoun taxim, and some fabulous classical Egyptian orchestral pieces are at the top of my list. For a youger crowd, a bit of Pop Arabi – maybe even with Rap segments – adds a bit of spice.
You can also match your music to your costumes to a certain extent. Don’t wear a tight fitting skirt slit to the thigh if your dance has a ton of fan kicks in it unless you’re just dancing for a loved one! Full skirts work best for kicky dances. Think about these kinds of things when deciding what to put together for your performance.
I really believe in using music that motivates you. If you’re doing a bellydance performance, and you want to really shine, pick the kinds of Arabic music that really make you smile. You know that drum solo that’s so cool it makes your mouth water? The oud solo that just makes you want to turn out the lights and dance it over and over… you get the idea.
What moves you will show in your dancing. What you feel in the music is what you will reflect as a dancer. Belly dancing is especially personal, and so is the perfect way to express what you want your audience to feel.
Me, I love a juicy drum solo, a great kanoun taxim, and some fabulous classical Egyptian orchestral pieces are at the top of my list. For a youger crowd, a bit of Pop Arabi – maybe even with Rap segments – adds a bit of spice.
You can also match your music to your costumes to a certain extent. Don’t wear a tight fitting skirt slit to the thigh if your dance has a ton of fan kicks in it unless you’re just dancing for a loved one! Full skirts work best for kicky dances. Think about these kinds of things when deciding what to put together for your performance.
To get great looking snake arms takes a little practice.
First, start with this progression: lift shoulder, elbow, wrist then fingers. Lead up with the back of the elbow and lead down with the back of the elbow. Keep energy all the way out to your fingertips.
Start with the right arm and practice until the movement smoothes out. Then work the left, and understand the left side is usually harder to control, so be patient.
When you’re ready to start putting both arms together, start on the right, then left, then R, L…then as you get both sides working one at a time, do the R, then start the L before the R movement’s finished, and keep moving up the starting pace until one arm’s going up and the other down at the same time.
To make it pretty, add some tension to the movement like you’re swimming in a thick gel. Make sure and keep your ribcage up, neck extended and hands holding some tension.
Give yourself a few weeks to really master this move, and work it at least a couple times a week.
Questions? Let me know.
Amira