30 Days to a Better Belly Dancer?

...okay, technically May has 31 days and I know that I cannot guarantee how much someone can accomplish in one month but I do know that I posed a challenge to my students to drill and practice each and every day for 5 minutes.  I even set up a handy-dandy spreadsheet to help track their progress and mine.  Now I know that even if someone completes the minimum of 5 minutes a day, it only adds up to 155 minutes, or 2.58 hours.  And yes, I acknowledge that to become a better belly dancer you need to work more than 2-3 hours a week.  But my goal was to simply create a regular belly dance practice. Consistent...daily...focused...practice.

I'm certainly guilty of waiting until the last minute to work on performance pieces or to work on technique.  I dream of having a schedule and a life that would allow me 1-2 hours a day to dance, to sweat, to learn and continually grow.  Although I have the best intention in the world, my schedule and my life seems to supersede  those aspirations and goals.  I've also learned something about myself over the years.  I tend to be an all-or-nothing kind of gal.  I can either spend all afternoon working on something...or I can't seem to find a few minutes.  This is less about my schedule and more about my timing, my personality and my daily habits.

I trick myself into doing housework by breaking up tasks into 15-20 minute segments.  I set a timer, and then head off to the kitchen to wade through dishes.  When the timer goes off, I can either continue my work or go do something else.  Even if I head off to another task or distraction I still feel good about having 15 minutes less housework looming over my head.  So I thought, I should apply this to my dance practice and see what happens.

And here we are...5 minutes a day of drills or focused practice.  My goal was not to see who could outlast the challenge and hit every single day, but rather to see who could start carving out time in their schedule to work on a move or a combination or a technique that has been on their mind and not in their body.  I chose 5 minutes because it was: (1) the smallest amount of time that seemed reasonable, (2) an attainable goal, and (3)  the equivalent of a short performance piece.

One week in, my students seem to report mixed results.  Some nearly made it through the entire week, some only managed a couple of days.  The only common theme was the dejected look on their faces when they said they didn't hit the goal every day.  I myself have danced every day, but certainly not with the focus on drilling or refining technique...I've danced but with a little less than the intended focus.  I realize that after one week of the challenge that I too, feel a bit dejected, as if I have failed in the process.  Maybe I wasn't really leading by example..  Especially today when I have to admit that I did not dance, did not practice and put off crawling into bed tonight simply because I'm not caught up on my to-do list.

All too often we set our sights on wonderful goals and we feel optimistic and energetic going in, but quickly lose steam.  Especially if we feel that we failed early on.  I've seen several people advertise various belly dance challenges, and although I didn't join in...I watched from the side, curious to see how far they would go, and quietly cheering from the sidelines.  For me, this simple challenge is not about making leaps and bounds in my dance practice, but creating a process...a ritual...a habit, not a rushed frenzy at the last minute.  It helps me to think less in terms of what I missed out on, and focus on what was accomplished...the knowledge that every day I focus on my dance is one day more than I did a week ago...a month ago, or a  year ago.  So, although I'll hit the pillow tonight with fewer shimmies under my belt, I do hit the pillow with renewed faith that tomorrow I can regroup, refocus and keep dancing.

Top Ten Characteristics of an Excellent Belly Dance Teacher (Part 3)

Okay, here’s the last of my three-part series on the characteristics of a good belly dance teacher.  As I’ve been writing them, I’ve also been evaluating myself against the list.  Although I’ve been teaching for a decade now, I can see so many areas in which I need more practice, and dedication.  So it seems that I have work to do, especially since some of these last ones are really tough questions to ponder.  So, if you’re a teacher reading this, how do you rate compared to the list?  And, if you’re considering teaching or just started…what are your thoughts now?

7.  Can you can graciously accept and give criticism and feedback?

As performers, we are all eager for feedback - the lovely, fluffy, upbeat and feel-good comments that just make your day.  If you have been dancing for a while, you probably have also had the not-so-kind comments, back handed compliments or withering criticism that people with the best intentions (or not-so-good intentions) seem to offer.  It can be tough to differentiate between the beneficial feedback and the “I’m-jealous/insecure/always negative/know-it-all/crazy” rounds that come your way.  However, if you really want to grow as a performer, artist, dancer and teacher can you deal with the not-so-fluffy comments?  And are you open to hearing something more meaty and meaningful?  Let’s start with you as a dancer and teacher:

Do you regularly seek feedback from other respected dancers on your performances, technique or style?  Do you take classes and workshops that keep you challenged or do you stick to the safe ones that you can easily master?  Have you ever considered taking private lessons for the sole purpose of getting a dance critique?  Seeking feedback can be a scary, humbling experience especially if you consider yourself to be a more advanced dancer or teacher but it can also be invaluable.  Think of it as the spinach in your teeth scenario.  Would you like someone to be honest with you and tell you there’s green gook in your teeth, or would you prefer to walk around thinking you’re looking lovely (because everyone is staring…right?) and then find out later on the stares had nothing to do with your fabulousness?

I have a good friend and fellow dancer, named Jamie Lynne who has spent a great deal of time and energy in the past couple of years actively seeking critiques from other dancers to help her grow.  I admire her ability to put her own ego aside and ask the tough questions.  She even recently entered and competed in a belly dance competition for the sole purpose of getting detailed feedback from a group of judges!  Where other dancers may have been there to prove how good they were, her approach was to gain more knowledge about her dance style.  So, when you take classes or workshops is your plan to show everyone how quickly you can pick up the moves and how talented you are as a dancer…or do you walk into those sessions comfortable with just learning?

I had the opportunity to share a private lesson with Jamie Lynne this last October with Ranya Renee who was teaching at Bahaia’s dance camp.  We both decided we wanted feedback on our dance skills and we each did an improvisational dance (with a random song) for Ranya’s critique.  If you think about it, the possibility of humiliation increases if you’re sitting there with another dancer who gets to hear every comment.  But we thought the benefits were more enticing because we had a second pair of ears, a fellow dancer to take notes while Ranya spoke and a trusted dance friend to help evaluate and break down the comments later on.  It was a humbling experience, and I’m still processing parts of it…but it was a valuable experience.  So, how comfortable are you with receiving feedback and how willing would you be to share that experience?

In addition to commentary on your dancing, do you seek feedback from your students on your teaching style?  When students quit your classes do you have a clear idea of why they didn’t come back?  Was it schedules, finances, lack of interest…or could it be you teaching style, organization or class structure that sent them off?  Are you willing to find out the answers to those questions?  A couple years ago I was asked to do a quick belly dance demonstration and as preparation for that, I needed to describe my teaching style and philosophy.  Frankly, I was a little stumped because I had not thought about that…at…all.  So, in my next class, I asked some of my long-term students to tell me what they thought it was.  And then I held my breath!  I was really impressed by their comments and very enlightened by what they took away from my classes.  So, how do your students describe you and your style?  Do they recommend you to friends and why?  If they had to post public feedback on you as a dancer…what would they say?

So, onto the harder part of this topic:  What about feedback for your students?  Are you able to offer constructive feedback that helps your students perform better?  Or are you afraid to say anything because you don’t want them to leave the class?  I think there are so many teachers out there that either feel their role is to be the best friend/party organizer or on the opposite side - the constant critic.  Can you strike a balance between the two and not only offer positive feedback, but help correct students in gracious way?  I had experience with a teacher who felt that giving students positive feedback only made the student get too much of an ego.  So I had to wait until she would occasionally parcel out something for me to grab onto.  Now, she didn’t give much negative feedback either- so, I spent a great deal of time feeing clueless while dancing. 

On the flip side, I’ve also seen cases where the teacher just doesn’t want to say anything bad…ever…and then keeps telling her students how fabulous they are…even if they aren’t.  For example, I know a teacher who had students perform at an annual event.  In her mind, her group was the best of the best…and when they did not get the acclaim she felt they needed, she stopped having them participate.  The truth is, they worked hard, but they weren’t the head of the pack in terms of performances.  And instead of evaluating their skills and their performance, and then working to improve them, her response to was just walk away from it.  So, what would happen if one of your students (or a group of them) performed in public and the outcome was less than successful?  Could you have the tough conversations to help them do the work to improve…or would these setbacks stop you and your students?

And finally, do you understand how to deliver criticism in a supportive and encouraging manner?  This isn’t just about telling someone what they did wrong, but about understanding the timing and approach based upon individual personalities.  Can you read your students well enough to determine who is ready for more feedback, and who may need more time to develop their confidence?  Can you assess your own mood and temperament so that you don’t lash out at students just because you’re having a bad day/week/month?  How comfortable are you with students who rate their skills much higher than their technical ability, or those students who have strong technique, but needs more practice or challenges?  What about students who are just in class for fun but don’t have plans to perform or solo?

I frequently have my students perform for each other in class and then provide feedback.  My rule is that the students can only point out the good things the dancer and/or group did…and I am the only one who can offer constructive feedback.  I think this teaches students to focus on what went right, and for the dancer to learn her own strengths.  Then, they get to hear me deliver feedback that will help them grow.   I also keep my feedback to only one or two things at a time so no one feels overwhelmed.  So how would you feel about coaching others in the art of giving feedback?  And, can you create a culture in your classroom that encourages and appreciates comments from fellow classmates and the instructor?

8.   Do you have a healthy ego?

How does that saying go…if you love something, set it free, and if it doesn’t come back, hunt it down and shoot it…right?  For most of us, our dancing is a way to define ourselves, to present an alternative side of our personality or explore a creative outlet in our lives.  It is more than just a hobby; it is a fundamental part of our identity.  But, do you take too many things personally as a dancer?  In my experience, students will travel great distances just to study with a particular teacher.  So, what if they choose not to take from you?  Can you deal with that type of rejection without being angry or bitter?  What happens if a student of yours chooses to take from someone else?  Or what happens when a student grows beyond your class and skills?  Will you try to trap them…or can you let them move on without you?

I heard a story about a teacher who, after one of her new students didn’t come back to class, began calling the student constantly, trying to convince her to come back.  I know this story, because when the same student asked me about classes, her first question was whether or not I was crazy!  It is one thing to be concerned if a student doesn’t come back…you can send an email checking on them…but stalking can be a little too much.  How do you feel about students taking from other teachers?  Do you encourage them to try other classes and attend workshops, or do you keep them isolated from other dancers and styles?

What about those students who want to learn a style or technique that is beyond your skill level?  Do you send them out to another teacher, or do you try to fake your way into it?  Can you admit to your class that you don’t know it all?  My ultimate goal is to have students who succeed well beyond what I can teach.  So, can your ego take the success of someone who was once your student?

9.  Do you have a unique point of view, or something different to offer the dance community?

I sometimes shake my head when I hear stories of new dancers offering classes (probably before they should), and then complaining they don’t have enough students to make it profitable…and at the same time really qualified, experienced teachers struggle to get more students into their classrooms.  I think there are many individuals who rush into performing too soon, becoming a “professional” too soon, and teaching too soon.  So, if you are considering teaching, what do have to offer in terms of style, technique and movement that is different than other teachers in town?  In other words, why would someone take from you versus another instructor?

Do you have a clear vision of what you want to offer your students?  Do you understand your own dance strengths and weaknesses?  What can you give students that they cannot get anywhere else?  If you are doing a knock-off of another dancer’s teaching methods…why would the student come to you versus going to the source?  Think of this in marketing terms…what is your brand and how can you differentiate yourself from other instructors (besides the fact you have room/time at a local studio)?  If you don’t know the easy answer to that question, you may need to do some more work!

10.       Are you passionate about teaching?

It seems like the standard formula for making a living as a belly dancer is 1 part performances (restaurants, shows, workshops); 1 part private gigs (belly grams, weddings and parties) and 1 part teaching.  Some dancers are fortunate to add 1 part DVD or CD sales to this list but for the majority of dancers, financial incentives for belly dancing are slim.  So, is your sole interest in teaching financial or do you really feel passionate about teaching?  If you did not receive any money, fame or attention for teaching…would you still do it?  I know so many dancers that would dance even if there wasn’t an audience…or a stage…but how many of you would still teach for the pure joy of sharing your knowledge?

Don’t get me wrong, I think teachers can make money in this dance form and the dedicated, talented and persistent ones will always find a way to do this.  However, I think the ones that are the most resilient are the dancers who are passionate about teaching.  Teaching takes an enormous amount of work, effort and time.  I’ll admit that there are days when it is hard to get up the energy to go teach.  However, I know once I step into the studio and the first student arrives; my mood and spirits will immediately improve!  For me teaching is not about getting credit for students learning new skills, but rather seeing those students learn and understand more about themselves as strong, beautiful, graceful women.  

So if you are thinking about teaching, or currently teach…do your eyes light up at the idea of teaching?  Does the hair on the back of your neck stand up when you see your students perform?  Do you get all misty-eyed when they dance?  And, most of all, do you teach because you know how to translate all your skills, experience and knowledge into a productive, fulfilling experience for everyone?  Think about it…and then get back to me!

Top Ten Characteristics of an Excellent Belly Dance Teacher (Part 2)

So, I recently started some posts talking about the characteristics of a good belly dance instructor.  Here is part two (of three) in that series.  Last time we talked logistics, today we’ll talk about technique and movement.  Feel free to chime in and add your thoughts to the conversation!

4.       Do you know your stuff?

I could write multiple posts on this one point alone, but it boils down to whether or not you understand this dance, the music, the culture, and the history?  Can you articulate the differences in the various dance styles or the evolution of belly dance in this country and in the Middle East?  Can you work with both choreography and improvisation?  Have you performed in a variety of venues, to a variety of music, more than just a handful of times?  Do you understand how to break down different moves, to different music, for different body types and levels of dancers?  Do you understand when, where and how to use props…appropriately?  Have you invested more money in your dance training than your costumes?  Do you understand the dance community in which you live and know what type of performance opportunities are available for students?  Have you performed in most of those venues?  If you attend a workshop or read a blog post or a belly dance history/music/culture article and don’t understand the majority of what is being discussed or taught, then get thee to more workshops and classes, buy some books and do more research to increase your knowledge.  

And, if you don’t know what is happening in the community around you…you need to meet other teachers, support other venues and do more networking.  Here in Austin we have a strong dance community, and I was at a show once where someone who performed (and supposedly taught as well) didn’t have any idea who the show’s headliner was.  That same headliner is a major name here in town and beyond, so I was surprised.  That one tidbit showed me that this new dancer really didn’t know her stuff, and did more posturing than studying.  If you want to be a reputable teacher, you should know the big dance names and venues in your community.

Knowing your stuff goes beyond dance technique and teaching styles (which could be hundreds of posts right there).  Do you know how to costume yourself…and your students in an appropriate manner?  (Again, I could write volumes on this one!!!!)  I just heard a story of a dancer (and teacher) that performed at an event and well…let’s just say the audience learned more information about the dancer’s private anatomy than necessary.  And no, this wasn’t a costume malfunction!  So, the event coordinator decided (without telling the dancer/teacher) that she would never invite that teacher back again…all because the costume (and certain dance moves) were inappropriate.  I’ve give more details…but I don’t want to call anyone out directly, all I can say is that the dancer/instructor doesn’t see any issue with the costuming…but wonders why it is so hard to get booked in various venues. 

When I first started dancing (back in the day!), there were limited costume choices.  You didn’t really even consider a professional level cabaret costume until…you had been dancing for a while professionally.  Now, beginner dancers can buy costumes with a click of the mouse but it doesn’t mean they are ready to perform at that level.  I’ve had students ask me if they are ready to buy a true cabaret costume…if their dancing is up to that level yet…just because they recognize that just like there are levels of dance, there are levels of performance and presentation.  So, if you’re in doubt about appropriate (or tasteful) costume choices, find the most respected teacher/dancer in your area and see how they dress, how their students dress, and have a chat with them.

(Photo copied from What Were They Thinking?)

Beyond appropriate costumes is the subject of appropriate fitting costumes.  Can you help your students dress in a respectful manner, and in a way that their body type is best showcased?  Around here I’m known as the “bra whisperer” because I can help fit bras on all body types.  Once I did a bra-making workshop for my students and I literally spent the evening in a bathroom with a parade of topless students getting fitted for bra tops.  Not only did they learn how to make the most of their own shape, but also how to take costumes and alter them successfully, which is a win-win in my book.  So, if you don’t have the skills to help students yourself are you willing to seek out other dancers to help teach them alterations, sewing and costuming skills?

I personally saw a group of dancers perform in new costumes which simply left me speechless.  I can understand the desire for lost-cost costumes for a student troupe but I have never seen so many ill-fitting outfits in one place.  There were muffin tops, butt-cracks and cleavage showing, skirts way too short and others way too long.  There were breasts hanging 2-3 inches well below normal placement and dancers wearing colors that looked horrible on stage, and with their coloring.  Then, after seeing the instructor I could tell that the teacher had no idea on how to fit or alter a costume for a woman’s body properly.  It was sad, uncomfortable and really distressing as an audience member.  There’s a possibility that the students were good dancers, but I have no memory of the event…and I what I do remember I wish I could wipe from my memory forever!  So, can you make sure your students shine not only in technique but also style when they hit the stage?

5.       Are you continually learning?

A little over a year ago, I was invited to participate in a student recital night with Bahaia and Stacey-Lizette, two of Austin’s premier dancers…and I’m fortunate to say friends of mine as well.  I was so flattered and honored to be included, and although I knew it would mean more work as a dancer and teacher, I was excited about the prospect.  After the first show (which we dubbed the Hip Circle Hafla), Stacey-Lizette and I talked about what a successful evening it was.  She commented that since she is still a student, it was a wonderful opportunity for her to practice as well.  Yes, I did fall in love with her all over again for that remark because it really sets an example to have such a strong dancer admit she still needs to study.  I’m hoping that I will always feel that there is so much more to learn, study and practice.

So, are you willing to empty your cup and be open to new ideas?  Do you read, study, watch and grow?  Are you respectful and curious about all aspects of this dance?  Are you are willing to evaluate what works and doesn’t work, and then change it?  This next spring I’m completely revising my class format, which means much more work for me, but I hope many new and exciting challenges and opportunities to grow for my students.  It’s not the first time I’ve changed my teaching strategy, but each time I make the change I feel that I’m refining my style more which allow myself and my students to grow as well.  Think about where you are as a dancer now versus when you first started, and where do you see your dancer career going?  Is your goal to travel and tour professionally?  Is it just to explore the dance from a recreational aspect?  Is it to provide a creative outlet…or a financial one?  Will teaching help you with your goals, or sidetrack you?

I know of a dancer who started in the 80’s and is still going (and no, she's not 80...).  At a dance workshop that she and I both attended, I noticed a couple of things.  First, she either spent all of her time talking with vendors and other dancers or making comments to the side about how she already knew the subject being taught.  Or, if she did occasionally participate in the class, she immediately took whatever the instructor was teaching and just did it her own way…not willing to see if there was merit to a different style or breakdown of movement.  The most striking part of the weekend was one night when she said this dance form does not respect the teachers who have been teaching the longest.  That belly dancers only want to learn from the newest kid on the street.  What she failed to tell people is that she never advertises or makes any effort to recruit or retain students or help them grow.  Her approach is that of entitlement.  She put in the time; therefore she should have the most students.  Unfortunately she doesn’t see the correlation between her inability to grow as a dancer and her inability to attract students.   Students may initially flock to the “new” kids on the block, but the good ones, the dedicated ones will seek out the strong, experienced teachers.

So, How much time (and money) do you spend on your personal dance training?  Do you know who the “big” names in your dance style are…and do you seek them out for classes and workshops?  Belly dancers are fortunate because the majority of the great names of this dance are still alive, and teaching.  So, if you are serious about the dance are you serious about seeking out training from the best?  Do you cross training in other dance forms, or other styles of movement like yoga, Pilates, Nia…even martial arts?   Continual training is the key to growing as a dancer and artist, so make sure you are in position to put in that time.

6.       Do you understand basic movement principles?

Although you may know belly dance, do you really understand how our bodies move?  Do you know what causes different limitations or issues with a student’s form or how to ensure dancers don’t injure themselves?  What about basic anatomy…can you name the major muscle groups used for each movement? I like to describe movement in terms of what is happening from a skeletal points (i.e. knees bending) and then from a muscular point (i.e. glutes contracting) so students can start developing a relationship between the movement and their own bodies.   So, do you understand how movement is generated and how little things like posture, stance and feet position can alter or change a move?  Can you explain why to do or not do certain moves to help prevent injury (i.e. tucking your pelvis so you don’t hyperextend your lower back)?  Consider investing in some good anatomy books, or take some basic movement or yoga classes, or consult Dr. Google.  But, above all else you should increase your knowledge of the body.

Introducing my office mate, Mr. Muscles

Next:  Part three!

Top Ten Characteristics of an Excellent Belly Dance Teacher (Part 1)

Recently I griped wrote a post on what qualifies as an experienced belly dance teacher.  I think there is a natural inclination and curiosity from many dancers to move into the role of teaching.  And, depending upon the area in which you live, there may not be many instructors so teaching may be a lucrative move.  In other areas, some dancers feel that to help make a name for themselves (and make some money) teaching is a necessary part of that process.  Now I love teaching, and would do it even if I didn’t get paid a single penny, but I’ll readily admit it is not for everyone.  So, here’s a not-so-short list of the ten questions you should ask yourself before making that transition from dancer to teacher

This isn’t set up as a pass/fail, but rather a list of things you should consider before taking the teaching plunge.  Dancers who live in smaller towns with fewer resources will have different challenges than those in larger cities with vibrant dance communities, but I’ve tried to touch on the most common issues, as I see them.  I’ll be posting the list in three parts, because yes…I have that much to say on the subject.  I’m looking forward to hearing what everyone thinks, and what you would add (or take away) from the list!  So today, we’ll start with some logistics:

1. Are you are organized, dedicated, timely and persistent? 

Will your classes start and finish on time?  Can you keep up with class schedules, rosters, emails and contact information?  Can you keep up with music, props, costumes, and other things you’ll need for class or are you they type of person who misplaces most everything?  Are you good at communicating with studio owners, students and the belly dance community?  I heard a story of a teacher who was consistently late to class or just didn’t show up.  She had another teacher come sub for her one week who was shocked to find out that everyone showed up about 20 minutes into the class.  As it turns out, the students never came on time because they didn’t want to wait around.  It made me think that if the teacher cannot take the class seriously, how can she expect the same of her students?  I always try to show up 15-20 minutes before each class to set up my things, and settle in, and many of my students show up early just to spend a few extra minutes talking to me.  It doesn’t always happen that way, but I make that a goal…just so I’m not feeling rushed when everyone arrives.  I also require any new students to show up early so they can get a feel for the place before class starts.  So, ask yourself if you can be dependable for the long haul, and are you a good role model and show respect for your student’s time and energy?

2. Are you willing to put in the time?

It seems like the longer you teach, the less time you would need to spend on planning and organizing classes.  Not true!  As you grow as an instructor, hopefully your students grow along with you.  I started out teaching 6-week beginner classes for about six years before branching about beyond that.  Trust me, I can teach a six week beginner class in my sleep, but nowadays I spend more and more time working on the longer classes for more advanced dancers.  So, are you willing to put in extra time for lesson planning, or choosing music playlists, or developing drills or warm-ups, or designing choreographies?  I just spent an entire week planning one class because I was going to combine three levels of dancers into one session.  I can’t do that much prep each week, but I also know that I cannot wait until 30 minutes before class (or at the beginning of class) to decide what we’ll study.  Now I’ll admit, sometimes the best laid plans change once class begins; having a game plan going in makes all the difference in the world!

Do you have the time to spend on advertising and marketing or other community outreach?  And, in the midst of all of this, do you have time for your individual practice and training as a dancer?  It’s rare to find dancers who can afford to do this full-time, so can you juggle your other life…work, family, friends, relationships…along with dancing and teaching?  If you are still taking classes from someone on a weekly basis, will your teaching schedule interfere with this? If you take regular workshops, have you thought about what you will do with classes while you’re off training?  Do you cancel or do you find substitutes?   And, if you’re thinking that once you start teaching you don’t need additional training…how do you expect to grow as a dancer?  What about having room in your schedule for coaching, mentoring and developing relationships with students?  All of these things take time, and if you’re already short on free time…will teaching really help you out, or hurt you?

3. Do you understand the logistics of teaching?

At some point in time every teacher sits down and does the math just to find out how much they can make while teaching.  Usually the hypothetical calculations are based upon the maximum number of students the class can hold, under the assumption those students will be there every week, without fail.  (Yes I’m smirking while writing this.) Even skilled dancers and teachers know it takes time and energy to build a student clientele. Experienced teachers know there is an ebb and flow of students, days of high attendance and days of low attendance.  So, are you willing to accept the financial risks associated with teaching?  This goes beyond the cost of a classroom rental; it includes the cost of teaching insurance, supplies, materials, marketing and publicity.  Are you in the position to pay deposits or rentals up front, or if your class attendance is erratic, can you deal with a less-than-steady cash flow?

Beyond fiscal matters, have you had a CPR or first-aid class recently?  Do you know what to do if someone injures themselves, or what to do if they show in class with an injury or other physical limitations?  Can you revise or adapt your teaching to help those students who struggle with the moves because of different body types or levels of physical skill, strength and flexibility?  What about personality types?  Can you work with really outgoing, shy or ‘know-it-all-already’ students?  Remember that strong belly dance technique doesn’t necessarily transfer to strong teaching skills. 

What about location?  Have you thought about how to create an environment in which students can learn and develop their skills?  If you find a studio, are there any potential conflicts with other teachers or classes?  Will you have keys to the studio or do you have to rely on the owner to open and close for you?  What kind of sound system, dance floor, parking, and other amenities are available?  Can the owner guarantee your scheduled slot?  Will you have to sign contracts, liability waivers, pay deposits or follow specific studio rules?  My first experiences with studio rental were fraught with anxiety and missteps.  I had problems getting keys, having other classes scheduled on top of mine, bad acoustics and carpeting that was a tad suspect for dancing barefoot.  At the time, I was grateful to have the space, but I cannot imagine dealing with all of that again.  Now I have a studio in a great location that is well-kept and well organized (with my own key) with dedicated parking and all I have to do is show up and turn on the lights!

If you are thinking about teaching out of your home, do you have a separate, dedicated space for classes?  Or, would students have to walk through your kitchen, living room, bedroom, garage, patio, etc. to get to class.  Could your classes operate uninterrupted or would family members (or pets) be interrupting?  Are there any restrictions in your homeowners association or neighborhood regarding home businesses?  Is there readily available parking or restrooms?  Would your neighbors have any issues with people coming and going for classes?  What happens if your student is allergic to pets, or even worse…injures themselves in class?  Are you okay with inviting strangers into your home, or advertising your house as a studio location for prospective students?  Can you keep the studio and house (if students have to walk through it) clean and organized? 

I’ve seen good and bad examples of in-home studios.  And, I’ve heard dancers say that they’ll start teaching out of their home just to earn a few extra bucks (I know…yowza!)  So, before you invite people in, ask yourself if you can create an environment that is conducive to dance, and whether you are ready to shoulder the personal, property and financial risks involved with teaching at home.

Next:  Part two!

Gloats and Gripes

Last week while heading out to the parking garage in my office, three women in the lobby of a nearby building caught my eye. Or rather, their hip scarves did. It looked like an impromptu belly dance class, but much to my dismay the woman leading the other two clearly did not know how to move. Her movements reminded me of an awkward jazzercise class, with lots of stomping and erratic, frantic steps. I can’t verify that it was a belly dance class; however the addition of hip scarves seemed to lead me that direction. I had to stifle my urge to break into their group, much like the belly dance police or mafia, and instead walked away shaking my head over what qualifies as “teaching” in belly dance.

It wasn’t so much the location, but the quality of movement that bothered me. As a belly dancer I have practiced and trained in a variety of locations from home studios, garages, hotel ballrooms, living rooms and traditional dance studios. I’ve been teaching for about a decade now (yikes!) and I’ve taught in some crazy places under really odd conditions. So, I could imagine a time when I would have jumped on the bandwagon to have a clear dance space and room to teach, regardless of the location. Luckily, I’m past that stage which makes me gloat a bit, along with the griping about who teaches this dance form.

This spring will mark the third anniversary of teaching out of a traditional dance studio. And as an early Christmas present, the studio just moved into a new and larger location. Words cannot express my gratitude for having a dance space, a location whose sole purpose is to teach and train dancers as my home base for belly dance classes. There is something so much more legitimate and dare I say, grown-up about paying rent on a REAL dance studio, scheduling classes and managing what and how I teach. The studio makes me want to be a better dancer and instructor and I know that my students training in this location will benefit from the environment as well…so I gloat, and perhaps giggle a bit as well.

Which now brings me to my big gripe. I normally try to be supportive and encouraging to all women involved in this dance form. But over the last few years I have soooo much less tolerance for those individuals who think that just because they have room in their garage/living room/den/spare bedroom/office they should start a belly dance class…especially just to earn a few bucks on the side. Although I think this dance form is for ALL women, and should be accessible to anyone who chooses to come take classes and participate I do not think teaching is for everyone. Not all dancers should teach. Period.

In all honesty, I started teaching long before I should have. Luckily I taught other subjects and topics so I don’t think I left anyone scarred by the experience. And I learned, and grew as a teacher. But in hindsight I wished I hadn’t started so soon. I think in the rush to feel competent as a dancer so many women try to push past the beginner and intermediate labels too early. And teaching seems like such an easy way to claim expertise, right?

Wrong. Over the years I have seen the results of poor teaching skills, lack of discipline and really bad technique manifested in students who think they can perform at a level beyond their skill set. I’ve spent time with students trying to correct their posture and technique being taught really bad dance habits. I’ve met students who were devastated to learn that they have bad technique because their instructor didn’t want to say anything bad about their dancing. I’ve seen new dancers (really, really new dancers) advertise on web sites that they have classes and are available for private lessons. I’ve had people tell me that they informally showed their friend some belly dance moves and without any formal classes, maybe their “friend” could just move into my intermediate level class. And I can’t tell you how many times I have watched someone dance and thought to myself…she’s got real talent…I hope and pray she finds her way to a qualified teacher…and soon.

So secretly (and today publicly), I gripe about those teachers who don’t seem to appreciate and understand the hard work, dedication and skill necessary for teaching this dance form. And those same teachers then wonder why this dance form isn’t respected…or treated as legitimate as other dance forms. Think about it, if you can show people how to belly dance while standing at the coffee machine in your office, or in some bar while out drinking…why would anyone believe that you have to pay to take classes at a studio with *ahem* a teacher? I know we want this dance to be accessible, but at the same time we should encourage and set the example that belly dancing requires work and dedication and training under a qualified instructor (not just watching DVDs).

I think that every time we tell people, “it’s easy to dance…let me show you”, we belittle our dance training. Really, have you ever seen a ballet teacher jump into first, second or third position just because someone asked them about the dance? I think that when people ask you to show them how to belly dance you should politely decline and either refer them to good teachers in your area, or if you are a teacher invite them to come take a class. I also think we need to tell people that yes, they can learn this dance form, but it requires hard work, dedication and training. And above all else, we should educate people on the difference between a legitimate belly dance teacher and those who are just are just looking for some extra cash.

*climbing down from my soapbox now*

Belly Dance 101

When I sit down to count, I've been taking classes for 12 years, performing for 11 years and teaching for 10.  Whew!  The startling part of that sentence is not feeling amazed about how far I have come but rather everything I still have to learn, internalize and master.  It is all at once overwhelming and exciting.  I hoped that when I first started performing that this dance form would stay with me for decades, but I don't think I thought that much about the structure, history or culture of the dance.  I was lucky however because I had amazing teachers, attended workshops with masters in this dance and whether or not I was prepared to learn the scholarly aspects of belly dancing...I was thrust into those lessons and lectures.  

Now, as an instructor I really want to actively ensure that my students have all that information at their fingertips.  And with the growth of fusion and tribal styles of dance, I still want people to understand the roots...the heart and soul of belly dancing, from a cabaret point of view.  So, I've been sneaking in lectures and handouts and video clips for my students and decided to start chronicling those same topics here on my blog.  And although this is not the definitive guide to all things Egyptian, Arabic and Raks Sharki...it's a nice overview and starting point.

It took me years to figure out that belly dancing is not just about learning technique...hips drops, isolations and traveling combinations...it is about comprehending the entire belly dance experience, where it started from and  the music, dancers and culture that have influenced it.  So, I put together this diagram to give my students an idea of life beyond a basic shimmy and to remind me as an instructor not to spend too much time on movement at the expense of everything else.  My goal in class is not to just follow one after the other, but rather touch on different elements at different times, but making sure people know each class...lesson...and experience is part of a bigger picture.  

In designing this diagram I thought about my own dance journey and what (and where) I learned different aspects along the way.  Some things like the movement were taught to me early on.  Others, like the influential dancers, musicians, classic songs and even culture I had to learn along the way or research myself.   All in all, I like my diagram and I hope you do as well!

Not bad for a white girl

So what would you do if someone asked you to come teach a class that was an Arabic folkloric class to a group of students in an Arabic language/culture program with the possibility of an Arabic professor either watching or participating in the class? For someone like myself who is uber-Caucasian, I had to take a deep breath and say, 'sure, I can do that'. Although I have taken my share of folkloric dance classes and have studied with some really amazing teachers, I really was worried that I would not be able to represent the culture and dance in an appropriate manner. I got the gig from another dancer who had all the confidence in the world in me…but apparently I didn't get that memo. I've taught debke to my students, have done debke in public settings…but I was still a bit worried. So I did what most people would do in this situation. I crammed!

I went on a three day Google/YouTube rampage and downloaded about twenty new songs. Each night I sat at the computer trying to really immerse myself in the dance steps and movements in a short time. The funny thing is, I wasn't learning anything particularly new. There were some nuances I had not considered, some great combinations, some really amazing dancers, but nothing really new. And somewhere in the midst of my self-imposed panic I realized that I did, indeed, know enough to teach this class. Once I allowed myself to recognize my own skills and ability I was able to think about structuring the class like any other class I teach, which is pretty simple. Start with an overview, breakdown basic movements, teach a short combination or two and then practice. *whew* HUGE sigh of relief when that clicked in.

So why all the angst? Not sure…perhaps it had more to do with my perception of my own skills in relationship to this dance style. A couple of years ago, I took a workshop from Michelle Joyce. Not only is she a great dancer, but a really wonderful teacher. Her style and teaching philosophy really resonate with me. At one point she talks about the four stages of learning. The first one she calls, unconsciously incompetent, where we basically think we're hot shit but have no clue how little we know. Then, we move into the consciously incompetent phase where that self-awareness slips in and suddenly we realize that there are a lot of people much better and more skilled than we are. With any luck we move to the unconsciously competent phase where we're hitting our stride but don't quite realize it. And then, it's off to the consciously competent phase where we understand and can appreciate our abilities.

My angst was due to living in that unconscious incompetence stage. Luckily, I realized that a couple days before I taught the class which helped me feel much more relaxed and excited. As it turns out, the class was a group of students who had very little exposure to debke and several of them were, shall we say, rhythmically challenged. What they lacked in one area, they made up for in enthusiasm and exuberance so I had a blast! My favorite part was dancing to the music and feeling completely at home with the movements and music. Score one for the white girl!

Benefits of Belly Dance: A Short but Sweet List

There are so many benefits of belly dancing. Do a quick Google search and here are some that come up:

• http://www.worldbellydance.com/benefits.html
• http://www.atlantabellydance.com/ProspectiveStudents/ClassHealth.html
• http://www.radhiyataj.com/Physical.html
• http://www.shira.net/heal-phys1.htm

I have so many things I could add to those lists, but here are the ones that keep coming back to me these past few weeks when I look at the impact of this dance on their lives.

1. Healthy happy moms with brand new babies! (and little girls as well)

2. Empowered women who learn to express themselves through this dance.

3. A shared community of friends, to support, encourage, push and above all laugh together!

Ten Tips for Beginning Belly Dancers

It happens time and time again, the idea of taking a belly dance and the reality of actually doing it are not the same. What looks like such an easy move where you just shake your tush and twirl your arms, in fact, requires training, muscles and coordination. So, what do you do as a beginner if you just can’t seem to get past the first shimmy? Well, to begin with, you have to put in the time to practice and come to class.

In my years of dancing and teaching, I have taught dozens of six-week beginner classes. There is such a difference in the skill and confidence level of students between the fourth and sixth class, but more often than not many students don’t return past a first or second class. There are always the situations where life gets in the way, events come up and belly dance classes slip a little lower on the list of priorities. However, I think there are many cases where students get easily frustrated or feel impatient because it is awkward learning new movements and techniques.

As a teacher, it is hard to strike a balance in class between teaching moves that translate for use at a club or with friends that weekend, and creating a strong movement foundation that will help students several weeks or months down the road. But, the hard work will pay off! So, here are my suggestions for ‘surviving’ the first several weeks and months of belly dance class.

1. Be patient with yourself. I can’t tell you the number of times people seem anxious that they don’t have a move down after 15-20 minutes. When I remind them of this fact, it seems a little silly, but it really does happen. So, remind yourself that this is a new experience and proficiency won’t happen within the first hour!
2. Don't compare yourself with other students. Each student comes to class with different physical experiences. Some people work out a lot, but skill in those activities does not easily translate to belly dance. Others may be involved in limited physical activity and need time to just get their body used to the movements. So, don’t compare yourself against others in the class and instead compare yourself against where you were an hour ago, a week ago or even longer.
3. Embrace the awkward. Don't worry if your moves don't look like your teacher's movement after a few classes. The truth is, dancing well takes effort and time, and there are many unglamorous and awkward moments along the way.
4. Recognize that there is a learning curve. One thing I love about this dance is the fact that it is an equal opportunity activity. Believe it or not, students don’t always struggle with the same moves. Some people understand undulations in a heartbeat but can’t figure out the traveling moves. Others have an innate ability to pick up staccato movements, but the squishy stuff like circles, figure-eights, mayans and sways just elude them.
5. Acknowledge (and trust) that your body will progress at its own pace. It’s been my experience that you may mentally understand a movement, but your body needs a little more time to either relax, let go or just comprehend what it needs to do.
6. Dress the part. I know it sounds funny, but if you wear loose fitting, baggy, unattractive work-out gear, the chances of you feeling graceful, sultry and beautiful in class are pretty slim. You may have to work up to it, but over the course of weeks, or months I see students go from baggy to fitted pants, over sized tops to crop tops, and not only do their moves improve but so does their attitude!
7. Ask questions. A skilled instructor can explain a movement to you half a dozen different ways if you're having troubles with it. So, if you aren't feeling it...or seeing it...ask for clarification. I almost quit belly dancing because I could not do an undulation. Really. So, when I started with a new teacher, that was my first question (or was it last desperate hope?) And guess what, she had me undulating in minutes. So, go ahead...don't be afraid to seek clarification.
8. Understand that one class does not define an entire teaching series. The reality is each class is a different piece of a puzzle, and just making a decision on dance class based upon one experience may not be prudent. You can certainly figure out if you like the studio, the instructor, the location, the cost, or even the time of the week. But, if you’re serious about learning the dance, give yourself time to see how things unfold.
9. Keep coming to class. If you miss a class, don’t be afraid to come back. Yes, there is a chance you may not understand everything that was covered in the last week or more, but just being in class on a regular (or semi-regular) basis is much better for you body than not coming at all. It is very common to have a mix of belly dance experience in one class, so don't worry usually know how to adapt a class based upon student skills. Personally, I’d rather see your lovely face in class and help you get back on track than wonder if you just got too discouraged to come back!
10. Relax and enjoy the process. Really! The benefits of belly dancing go far beyond physical changes. This dance really is transformational and if you stick with it, you'll typically find lots of new friends and experiences along the way. So, keep plugging away at those shimmies, and have fun while you're doing it!
    

Shaking it or faking it?

It happens over and over again in conversations I have. Women find out that I belly dance and then they either confess that they are belly dancers or know a dancer. Maybe it's just a sign of the time, but upon further prodding I typically find out their definition of "dancer" means classes that consist of 6-8 lessons at a gym or dance school. And that friend who dances? Not much more training there either. It seems that applying the term belly dancer happens all too easily, as if one class, one hip drop or one shimmy with a coin scarf satisfies any needed qualifications.

So just when can you call yourself a true belly dancer? A similar discussion emerged when I first started taking martial arts class. Our Sensei would ask the class , "When do you become a true martial artist?" Did it happen when you achieved black belt status or the rank of Master, was it when you successfully landed your first punch or kick, applied a block or take down correctly. Or, did it happen when you first put on the gi (uniform) or simply make the decision to enter a dojo or training facility?

For me, the first time I felt like a true martial artist was the day I was able to focus my mind and energy, overcome my fears and successfully break a board during class. It wasn't the cliche of the board breaking that did it, it was the culmination of everything I learned converging into a single, well-executed, singular and beautiful action. It was, the sense of mastery over that single moment and obstacle.

I admit in belly dance, you have to get students intrigued and excited about the dance. You 'hook' them with coin scarves and shimmies and fun movements. I try not to throw complex or obscure music and movements on beginners, but try and keep with simple, easy rhythms. My secret hope is that they will be hooked and want to learn and study more, just like I did.

When I first started dancing, I went through the motions, dressed the part, learned to use the props and execute the dance moves. But it took time before I really considered myself a true belly dancer. Unlike my martial arts experience, there was no single defining moment. It was more of a slow spiral and gradual realization that I had evolved into that role. One day I realized that I would hear classic Middle Eastern music and it made sense to me. I got it. And, even better, I understood how to dance to it...the right way. I was no longer thrown off by all the strange rhythms or the blast of a mizmar. It just all flowed, and listening to the music made my heart sing and my hips start to move!

Now I meet so many women who claim they belly dance, but also tell me that they either just don't want to dance to traditional music or simply can't stand it. I think that's a dead giveaway that although they do have belly dance moves, that they haven't really studied how to be a belly dancer. They are hooked on the image or allure of the dance, but seem to shy away from the meat of the matter, the really good juicy part of the dance...the culture, the rhythms, and the emotional connection between dancer and audience.

Princess Farhana posted a wonderful story about the need to honor our past as dancers. Her words struck a chord in me, because over the past few years I've been drawn more to "old-school" dance than fusion styles. Now, I love fusion, but I realize that the older, more traditional, folkloric style has a greater pull. It's a need to 'up' my skill level and challenge myself to truly represent this dance and culture. And although executing a perfect hip drop is important, that one movement only represents a small part of this dance form.

So I've made it my personal goal to work more on studying the culture and music. This year I'm excited to start Sahra Saeeda's Journey through Egypt program and work on passing this information onto my students and fellow dancers. Because I want people to know that some times you may dance and use belly dance moves, but it's not belly dancing. And knowing that difference is important to me...and it lets me know if you really are shaking or faking it!

Najla’s Top Ten Tips for Belly Dance Workshops

Workshops have always been a part of my dance education, and I have been lucky to take from amazing dancers over my career. I originally prepared this list for my students last year, and I’m dusting it off, changing a couple of items and sharing it with the rest of the community in honor of this year’s Austin Belly Dance Convention. If you have any other suggestions to add, please feel free to comment!

1. Clothing:

• Wear comfortable work out clothes that you would normally wear to a class, but stay away from anything too “costume-y”. We all know you’re proud of your new skirt/pants/choli top, but a class is for learning. Save the cute outfits and costumes for the shows and performances. Seriously, I’ve seen cabaret style belts worn in class, and there is nothing attractive or exotic about that.
• Think in terms of layers. Pack clothing that is easy to take off and on depending upon the intensity of the class, and the temperature of the room. Air conditioning in hotels and conference centers is often too cold. Its fine when you are working and sweating, but not so good if you cool down too fast.
• Speaking of sweating, if you sweat a lot consider bringing an extra top or t-shirt to change into as well as a towel to help keep you fresh! Your neighbors will greatly appreciate your thoughtfulness on this one.
• Bring something to wear over your work out gear when you go to lunch. Advertising for belly dance shows is good, but dancers with bare and/or sweaty tummies eating lunch…not the same.

2. Footwear:

• Consider slipping some dance shoes, ballet slippers or socks into your bag. Hotel ballrooms are not always feet friendly, or the carpets are not fabulous to sit or walk on.
• Bring a pair of sandals or flip flops to slip into if you need to run out to the bathroom or hall quickly.
• Remember to stretch your calves, hamstrings and feet regularly. If your feet hurt too much, you can’t dance. So take care of them!

3. Accessories:

• If you love hip scarves with coins, don’t forget to also bring one that is decorated with fringe or beads and much more quiet. Some instructors may not want everyone in class wearing noisy scarves, and others may be perfectly fine with that. Be prepared for either option. I usually go the quiet route because it takes up less space in my dance bag.
• Pack a veil and zils, regardless of what the fliers indicate. It’s the belly dance motto where you should always be prepared, except in our case it’s usually something shiny or silky that we have to pull out!

4. Hydration and Nourishment:

• Bring your own water; preferably in a reusable container (let’s not forget the environment!). There is usually water available but the line may be long and it’s just easier to have your own stash.
• Think about dropping some Gatorade or Propel/fitness water packets into your bag. I always have a couple in my dance and workout bags if I want something with electrolytes for my water.
• Bring snacks or fruit to nibble on during short breaks or if you feel a little lightheaded. Workshops tend to run much longer than regular classes do and unless you’re prepared for three hours of physical activity it can take a toll on your body. But if you do have to stop for a snack, be discrete!

5. Respect:

• Workshops are a great opportunity to learn new skills and meet new people. Be open to new ideas and opinions in and out of class. You may be the self-proclaimed expert on all forms of hip drops, but if you’re not teaching that day, let the instructor explain it her own way.
• Be on time. Yes, I know that workshops often start late but that does not mean you should presume they will. Show up when and where you’re supposed to out of respect for the instructor and fellow workshop participants.
• Be flexible. Schedules change, show line ups may vary, life shifts...so don't be too married to a schedule/date/dancer or topic.
• Keep talking and chatting to a minimum. I know, it’s all very exciting and lots of fun especially when you get to hang out with fellow dancers. However, don’t talk during class even with the vendors sitting on the side. Believe me; it’s incredibly distracting and annoying!
• Be aware of other dancers during class. This means not hogging the space on the front row or believing that you can use as much dance space as you would like. It may be crowded, and hard to see the instructor at times, so work together, share the space and be gracious.
• Pay attention to any signs about taking photos or videos. With all the advances in technology, it's easy to take the shortcut and make your own clips from the weekend. However, it's considered very poor taste professionally and artistically to take videos and photos on your own, when the workshop promoter and instructors have explicitly asked you not to. Believe me, this is a close knit community and we all know how to use Google and YouTube!
  

6. Shopping:

• Bring extra cash for food, and for things that may catch your eye. That being said, most things at belly dance events will catch your eye, that’s the intention, so think of spending budgets!
• Think in terms of key items that you really need to help build your dance wardrobe. Then leave room for impulse items. Some of my favorite items were bought on impulse, but I’ve also regretted the times I did not buy the ‘key items’ first. Be strategic, and then you can go wild!
• Talk with vendors to learn what they stock on a regular basis. They may not have what you want sitting on a table, but they may have it sitting and home ready to be shipped off to you! One of my favorite veils was acquired this way. I saw someone looking at it, and assumed it was the only one. When I asked the vendor he said he had another one at home and it was shipped to me in days! Yeah!!!
• Try on costumes during breaks. Don’t wait until you’re ready to buy to start figuring what styles, shapes and colors work best on you. Vendors are usually happy to let you try things on (be nice though), and you never know when you’ll fall in love with something unexpected.

7. Information Overload:

• Everyone gets overwhelmed by all the information, moves and materials. Best advice is to try and take 1-2 things away from a class that resonate with you and you can work on.
• Don't stress too much (some people try to write everything down, etc.), and enjoy the opportunity to try some different styles.
  

8. Learning new moves:

• It’s okay to sit out a portion of a class if you’re feeling overwhelmed or exhausted. You can learn things from watching as well, just be respectful of those who are still taking the class.
• If you’re struggling with particular moves, don’t worry. Although you can ask clarifying questions during class, keep in mind that the instructors are not there to teach you everything in this dance form.
• Let your own individual teacher help you with the more involved technique questions when you get back to class. That is their job!
• Give your body a break. It takes months to internalize any new movement. Don’t expect to learn technique in one or two days.

9. Networking:

• Talk with other dancers, instructors and vendors during breaks. Workshops are wonderful opportunities to meet people you'll run into time and time again!
• Find out what inspires and motivates other women in this dance form. You may find some interesting ideas for yourself.
• Exchange numbers and emails. It's wonderful to find new friends in this community.
  

10. Enjoyment:

• Relax and enjoy the weekend.
• You can "enjoy"the experience, but be careful of enjoying it a little too much. Hangovers and dehydration don’t look that attractive in a Sunday morning workshop.
• That being said, a glass of wine, good friends and a great show are always wonderful ways to spend the weekend!

Will shimmy for shoes

Tonight in class I had the opportunity to turn back time, and revel in the joy and enthusiasm of being a freshman in college. One of my students brought two friends along...and after I learned they didn't have a ride home (they were going to wait for a cab), I offered them a lift back to campus. Of course, I had to force one of them to sit up front so I didn't feel like their mom, and they were very quiet and well behaved on the way home...but nonetheless I felt that glimmer of giddiness and joy that we all had when we first left home and headed out into the world.


We talked about how hard some of their classes were (okay they talked, I listened) and I became excited to find out they had been taking Italian. Seriously, I dream of going to Italy just to be romanced by hot Italian men who chase me around shouting 'bella, bella'. And amongst, the chasing I get to eat loads of fabulous pasta, drink hedonistic amounts of wine and then shop for shoes.


When I told them how I dream of those shoes but probably couldn't afford all the ones I wanted, the three girls suggested I could belly dance on a street corner to earn extra money. Literally, shimmy for my shoes. One of them even suggested I could use a extra bra as a place for tips. So, now I'm even more distracted as I think of how my 'cups could runneth over' and in exchange score me some hot Italian heels. It's such a lovely thought, wrong in so many ways, but still just as lovely :-)

Connecting to joy

Sometimes we forget at time how much this dance form touches, uplifts and transforms women of all ages. I certainly cannot imagine who I would be today with the dance and the music. Maybe my closet would be a little less shiny, perhaps I’d have a little less credit card debt but I have no doubt I wouldn’t have as many moments of joy and utter happiness.

Last night at the show, one of the guests performed her first solo on our stage. She’s been dancing for several years and has taken from a variety of instructors in town. However, I was her first instructor through UT’s Informal Class program. Every time I see her at belly dance events I’m tickled that she’s stuck with it so long and works so hard at this art.

We were talking at one point and she confided that this dance has been such a boost in her life. I didn’t know until last night that at the time she first started taking classes from me, she was going through a very difficult time in her life. And, the only time she felt happy was in that class, for those few hours and those few weeks.

I was certainly touched, and very impressed that’s she’s come so far. But, I’m not that surprised at her reaction. I think that as women we can become disconnected to our real spirits, our souls and ourselves. If we’re given the chance to let go of distractions and frustrations and focus on moving our bodies in a safe and supportive environment than we can open ourselves to joy…even if it is fleeting. It’s not a matter of disappearing into the music and movement but rather connecting to it on a deeper level. And, if we’re lucky we can take that experience and bring it into other parts of our lives. So, here’s to joy, happiness and lots of shimmies!