GOING PRO PART EIGHT: ONE-OFF GIGS: CORPORATE SHOWS, WALK-AROUNDS, BENEFITS & LECTURE-DEMONSTRATIONS

 There are so many different types of professional belly dance gigs, not to mention the many variables within each kind of job, that it would be completely impossible to describe them all. Depending on where you live, and how much of a go-getter you are, you’ll probably have the opportunity to try your hand at some of these gigs. Here’s an overview of the most common belly dance jobs, so you can weigh the options and decide which of these venues would be right for you.

  This article covers  what will be expected at special one-off events  that are larger than private parties, such as corporate shows, atmosphere  or walk-around gigs,  benefits and charity shows and lecture-demonstrations.

Corporate Gigs

 Corporate gigs are kind of like private parties- on steroids.  As with a private party, the hired dancer will be doing a specially tailored show that’s not open to the general public, but instead of dozens of guests, there might be hundreds, and often the going rate is what you make it. A corporate gig isn’t merely an office party- it’s often a humongous affair thrown by a large corporation with a sizable budget.  I have worked at  many corporate gigs  for major world-wide companies as well as attended a few as a guest, and lots of them are pretty extravagant!

That being said, of course there’s a range within the genre; some companies -and their social functions- are much smaller than others.  But  on the other hand,  I also  know dancers who, along with Arabic musicians and singer plus an assortment of other entertainers, who (with all expenses paid)  were to the Caribbean on a private jet to work at a private corporation’s yearly retreat! On the flip side, there are many smaller “mom and pop” companies without luxury budgets. I’ve also known dancers who’ve been contracted by a corporate Human Resources Department to teach a weekly belly dance class as part of a company-wide employee wellness program.

 I myself  worked  a corporate gig  for one of the leading  cigarette companies in the 1990’s. They were running an  Arabian Nights-themed campaign, and wanted belly dancers. So in addition to performing  a couple of times a week on these shows, I was also the liaison for hiring other dancers to appear and perform at clubs, concerts, outdoor events, and so on.  I was paid a sizable monthly salary for this in addition to my performance fee.

When a company or corporation contacts you to do a show,  treat it as you would any other gig- find out as much as you can about the job before mentioning your price. If  the organization contacting you is a major corporation putting on a large-scale event, don’t  even think of undervaluing yourself, set your prices accordingly.

 Atmosphere and Walk-Arounds

 For these jobs, the dancer is hired to set a mood or add to the ambiance instead of doing a traditional performance.  This type of   job often occurs at a large event with a theme, such as an “Arabian Nights”, “Under The Big Top” or “Ancient Egypt”.   Sometimes, a belly dancer will be booked along with close-up magicians, acrobats, fortunetellers, or other variety artists and costumed characters. Often, dancers will be eye-candy, expected to greet guests at the door, mingle among the crowd in costume, stand by a trade booth or silent auction table handing out price lists,  or  moving  around among seated guests stopping for mini- shows (done to background music) at every table.

 Payment for this type of gig is usually based on an hourly or full-day/evening  rate and dancers are usually hired more for their appearance rather than  technique or talent.

 Though  atmosphere and  walk-around jobs may seem relatively easy,  they  often require long hours   standing around in costume, and it is usually  not a tipping situation. Though these gigs are frequently one-off deals and don’t feature the dancer as anything other than a costumed character, many performers find that the occasional walk-around is a nice supplement to their income.

Benefits And Charity Shows

 Benefits and charity shows are like many other gigs; they can be small and intimate, or very large, elaborate affairs. Sometimes, there is quite decent pay involved; other times, there might only be a small honorarium, and it all depends on the organization. Either way, once you have committed to a benefit show, you should treat it in the same way as you would any other gig: showing up promptly, acting professionally, and performing to the best of your ability.

  If you are not getting paid for your work, ask if it’s possible for you to get a charity donation receipt from the organization- that way, at least you’ll get a  tax write-off.

 You can also work under the stipulation that you be featured prominently on press or promotional materials, and let the organizers know that you are available for interviews and photo ops- many publications jump at the chance to feature pictures of pretty women, so there’s a good chance you’ll wind up getting some press.  Another thing to do in exchange for your services is to ask if you can have an ad placed (for gratis) in the program, if there is one. Also, make sure it’s fine for you to   leave out promotional materials and hand out business cards…  I have always gotten paying gigs  from   leaving my  cards at charity gigs- and I’ve also been personally referred for other   well-paying shows by the  event planner who  engaged me for  the charity gig.

 Often   doing a benefit is a nice way for a dancer to give back to the community or contribute her time to a cause she believes in., but these gigs can also be a good way to network and get exposure.

I once danced without pay at a large-scale  charity event held at a major film studio, and wasn’t expecting anything other than a night’s work. However, I not only met- and hung out in the dressing room with -some major household name celebrities ( Why hello, Sir Paul McCartney!) got three more paying jobs from it, and two months later, I got a call from a prime-time television show. Turns out they had taken film footage at the event, which included my dancing, and they wanted to use it on the show. Who knows how they tracked me down, but when I said yes, I was immediately issued a large check…. And over ten years later, I still get royalties from that show every time it airs!

 Ok, I live in Hollywood, and  admittedly this was an once-in-a-lifetime happy accident, but my point is that you never can anticipate what can come from accepting a high-profile gig, even if you are dancing without payment.

So weigh all the possible options  and outcomes  before accepting or declining  a “free gig”- you never know what might happen!

  Lecture/Demonstrations

 Usually, this sort of job often comes through an organization that promotes the arts and/or cultural diversity such as a university, a women’s group, or through the public school system.

This educational “show and tell” style gig is tailored to be an educational experience for the audience.  Your performance consists of sharing   your own knowledge and specialties combined with public speaking; the demonstration portion could feature anything from   technique for a certain type of dance, costumes and props, a full costumed performance, video or film clips or   historical photos, often followed by a Q & A session with the audience. Sometimes these shows are aimed at children, in which case “audience participation” (like a lesson on veils or finger cymbals) always goes over well.

  The amount of payment you receive is dependent upon who is hiring you, and usually cannot be negotiated- many schools or groups have a set budget intended for this type of presentation. However, some privately funded groups  are able to pay you well for your time and expertise.  In either case, this type of show is usually won’t interfere with your regular dance jobs and is great addition to your resume, as well as a way of educating the general public.

GOING PRO PART SEVEN: RESTAURANTS, NIGHT CLUBS, HOOKAH LOUNGES, PRIVATE PARTIES & BELLY-GRAMS

There are so many different types of professional belly dance gigs, not to mention the many variables within each kind of job, that it would be completely impossible to describe them all.

Depending on where you live, and how much of a go-getter you are, you’ll probably have the opportunity to try your hand at some of these gigs.

This article will provide an overview of some of the most common belly dance jobs, so you can weigh the options and decide which of these venues would be right for you.

This post discusses restaurants, night clubs, hookah lounges, private parties and belly-grams, as these jobs are "staples" for belly dancers. Up-coming posts will address other sorts of gigs, such as corporate gigs, film work, theme parks, cruise ships, and so on.

Restaurants

Restaurant jobs are usually a staple for most dancers, often providing a large chunk of income. Usually, the dancer is hired as an independent contractor, with base pay rates varying depending on location. Most restaurants employ more than one dancer as “ house dancers” or regular performers, with a set amount of shifts per week or month, but this isn’t always the case…some establishments only hire dancers on as “as needed” basis. Typically, dancers are auditioned by the owner, manager or head dancer (a long-time, trusted performer with seniority) before being hired. Some restaurants pay by the show, others pay hourly or by the shift, with multiple performances expected during the course of the night.

Depending on the size of the restaurant or the number of diners, an average restaurant set usually ranges from twelve to twenty-five minutes long give or take; some restaurants require costume changes, others don’t. Many places don’t have a stage or formal performance area, so you’ll probably be performing “up close and personal” with your audience, dancing among the tables. Because of this, improvisational skills are a must; it’ll be nearly impossible to do any sort of choreography with diners-and waiters carrying trays and dishes- walking through your performance area! There also probably won’t be room to use large or potentially dangerous props, such as Isis Wings, swords, or any prop incorporating live flames. Restaurants gigs are often “family friendly”, meaning that children will be present, so the dancer’s costuming and demeanor should be respectful of the clientele. Most restaurants use recorded music, but this isn’t always the case, some hire small bands on a regular basis or for special occasions.

Tips are a large part of the dancer’s income at most restaurant gigs, and they’re usually not split with the house, but might be divided among multiple performers over the course of the night. Tipping protocol is different, depending on the venue, the customers, or the dancer’s preference; some dancers are comfortable with traditional body tipping, while others might prefer a tip jar or to pass around a basket for tips.

Depending on the establishment, the dancer could also entitled to perks like free or discounted meals, beverages and parking; some places have a decent dressing room, at others you’ll have to dress in a supply closet or bathroom. Many dancers perform at one place exclusively; others book themselves into multiple locations, sometimes in the course of a single night.

Nightclubs

Like restaurant work, a night club dancer usually passes an audition, is hired as an independent contractor by the show or shift, and will do one or more sets a night, but that’s usually where the similarity ends. Most night clubs stay open quite late, sell more booze and less food than eateries, and require an entrance fee or cover charge for their patrons; the dancer’s show times and pay reflect these policies. At nightclubs, dancers are hired as freelancers or independent contractors; they may work simultaneously at a few different clubs or sign an exclusive contract with just one venue.

At nightclubs, there is usually a stage or designated performance area, even if it’s just the dance floor. Whether dancing to a deejay or live music, the shows tend not to be as causal as those at a restaurant, they’re more structured and typically last a bit longer than restaurant sets; the venue may require costume changes, specialty props or group numbers as well. Also, the dancer’s tips are often spit among the house, the musicians and/or other dancers, and sometimes she might need to “tip out” the deejay, too.

In addition to the late hours, nightclubs are adult-oriented and make most of their revenue at the bar, so there’s always the potential for alcohol-fueled fights or disturbances among the patrons. This also means that the dancer might find she fending off inappropriate advances from tipsy customers. Obviously, most establishments discourage this, but the occasional venue will actually require the dancer to interact with the crowd when she is not on stage, or even to solicit drinks from patrons.

Nowadays, most nightclubs employ deejays, but there are still those which feature Arabic bands, and many dancers relish the opportunity to perform with live musicians… while getting paid for it! Normally, clubs don’t pay the dancers or musicians for rehearsals or tech checks, but they’re essential for a great show, and can also be an invaluable and interactive learning experience for everyone involved.

Nightclub dancing can be quite lucrative, but the long, late hours often tend to turn into a nocturnal culture among the employees and habitués and can eat up most of the next day, so many dancers find they’re not well-suited for this lifestyle.

Hookah Bars And Lounges

Hookah bars typically used to cater to an older ethnic or immigrant clientele, but nowadays, that is changing- many spring up in college towns, attracting younger crowds especially since so many restaurants and nightclubs have banned smoking indoors.

Depending on the venue, hookah bars can run the gamut from a bare bones hole-in-the-wall dive to being outright glamorous, enforcing a “dress to impress” door policy, cover charge, and with famous deejays and well-known dancers performing. Some places serve food or snacks; some serve alcohol, but others don’t- this varies from place to place depending upon regional laws and licenses.

Like restaurants and nightclubs, performers are hired by the set or shift; tipping is encouraged, and there may or may not be a formal performance area. The shows at most hookah lounges tend to run a bit shorter and be more contemporary in flavor compared to t nightclubs and restaurants. Some places even feature go-go style belly dancers, who perform three or four song shifts dancing on platforms or go-go boxes, sometimes in non-traditional costumes, such as jeans or hot pants paired with a bra top or halter and a hip scarf.

If you aren’t working on a stage, dance floor or platform, know that you’ll be wending your way through a maze of potential hazards while you work…not just dodging the wait staff and patrons, but also shimmying in and out of sheesha pipes and their snaky hoses, and trying not to spin too close to the attendants carrying buckets or trays full of live coals! If you are interested in working at a hookah bar, you need to be OK with working in a smoke-filled atmosphere, because your costumes and hair will always reek of sheesha smoke!

Private Parties

Private parties can happen anywhere: at family homes or cramped apartments, banquet halls, restaurants, churches, community centers, or an outdoor recreational area. Once, I even turned down doing a party on a private jet flying from LA to Manhattan!

These gigs are usually quite worthwhile, because the dancer is being hired to do a special, personalized show for a non-public event. There are several types of private parties, usually one-off or annual events, including but not limited to birthdays, going away parties, weddings, wrap parties for films, holiday or retirement celebrations, baby showers and so on. Though bachelorette and hen parties is a commonly booked gig (often with a dance lesson for the guests thrown in), bachelor parties are not. Most belly dancers steadfastly refuse to do bachelor parties… for a couple of very valid reasons. Personal safety is first and foremost; an all-male gathering featuring copious amounts of liquor (not to mention free-flowing testosterone) could not in any way, shape or form be considered a neutral environment for a single female performer in a revealing costume. It’s more like a sexually charged atmosphere that could potentially get very out of hand! Plus, since many bachelor parties focus on adult- style entertainment, including live strippers- and the number one pet peeve among most belly dancers is being confused with strippers-many performers draw the line and absolutely refuse perform at this type of shindig!

For many private parties, dancers are hired via phone or email by the individual who’s throwing the party, or by an employee of the host such as a caterer, deejay or event planner. Some dancers list their rates and different types of show options on their website, but others do not… in which case the pay, type of show and performance duration will usually have to be negotiated with each client. Again, this is a situation where knowing and adhering to the regional going rate will better serve the individual performer as well as the dance community at large.

Many dancers are registered with internet-based licensed entertainment agencies that cater to both private and corporate events. There can be positive and negative sides to working with these services. Often, these agencies can provide a steady stream of work, or book a dancer onto a lucrative show that she may not have been able to find for herself. On the downside, performers are often charged a monthly or annual fee for being listed on the company’s website, and many of these sites require performers to bid for jobs, which typically encourages undercutting.

No matter how you get your private parties, you should always calculate the distance from your house to the event, and charge accordingly for your travel time and gas in addition to the gig itself. Get a contact number, find out exactly when and how you will be paid, what type of performance is required of you, sign a contract, get a deposit, have a cancellation policy, and make sure to confirm the details a week before-as well as a day before – the event occurs.

One last thing to put into place for yourself-and advice your clients about verbally and in your contract- is your wait fee. Private parties seldom run exactly according to schedule; your clients might ask you to push back your performance to accommodate late-arriving guests, a speech, or another entertainer…so a wait fee is kind of like of insurance, that you will either go on as planned or be compensated for waiting around.

When I book private parties, even though my shows are about twenty minutes long, I always plan for an extra half hour for “bumper time”. Padding my schedule like this enables me to be accommodating about my client’s small scheduling glitches, and it also works in my favor in case I get stuck in traffic on my way to my next show!

However, some gatherings run so far behind that nothing goes as planned, and the hosts expect the dancer they’ve hired to wait much longer than contracted, so this is where a wait fee comes into play. My contract used to stipulate an extra $25.00 added onto my fee for every half hour I was asked to wait after my original performance time -and my allotted grace period- which was usually ten to twenty minutes. Actually, in all my years of doing private parties, I only had to enforce my wait fee a couple of times, and one of those times the hostess tipped me generously on top of the added wait fee!

Belly Grams

The term “Belly Gram” is popular dancer slang for a very abbreviated set performed at a private location. For belly grams, the performer will almost always show up in full make up and costume, ready to go the moment she arrives. Usually, a typical set lasts about ten to fifteen minutes, or the length of a few songs. Often, a belly gram is set up as a surprise way of honoring a special guest.

These mini-shows can be booked at any time of the day or evening, but for some reason (at least in my experience) many belly-grams seem to occur during the afternoon -such as at an office or during lunch at restaurant- which often makes it easier for the performer to schedule in such a short gig without it conflicting with her regular jobs. Sometimes, the dancer will need to provide her own sound (by bringing a boom box or an iPod; along with the other details involved about booking private gigs, checking on the sound capabilities at the destination for your belly gram is really important.

SELECTING YOUR MUSIC

Selecting the right music for your belly dance show can sometimes be intimidating. This is especially true for newer dancers, or performers who have a really important show coming up. When I was a baby dancer, I sometimes I knew exactly what I wanted to dance to for a particular show…. other times, I had no idea-and the sheer volume of choices overwhelmed me.

I used to agonize over picking out a song- or pieces for an entire set- but once I identified a few “requirements” which helped in my decision making, I became much more comfortable with the process.

Dancers often debate on whether to start with the music first, or to develop and idea and then select the music. Either way is fine. For a standard set, say, straight-ahead cabaret or tribal, you may want to start with the music. For a fusion or conceptual number, perhaps developing your idea first and then selecting the ideal music later would probably work out well.

After a while, when I became confident about my musical choices, I began to think that I really wasn’t choosing the music, the music was choosing me! If I listened to a piece of music and it immediately made my hair stand up and gave me goose bumps, I knew that I had to dance to it!

Here are a few things to think about as you pick out music for your shows:

Does The Song Speak To You?

Does the song you selected stay stuck in your head for hours after you hear it? Does it always seem fresh to you- in other words, can you imagine hearing it thousands of times and never getting tired of it? Do you imagine exactly what sort of choreography you’ll create the moment you hear this song…. or do you just like the idea of using this particular piece?

Can you see yourself performing to this music on a regular basis? Some songs are like that magic dress you own- you can throw it on and look good no matter what! Other songs are like that bargain you picked up that stays in your closet…for years. You like it, and it’s pretty and all, but you never wear it.


Will The Music Make You Look Good?

Does this song make my ass look fat?

No, seriously…can you really move to this song? Does the music allow you to show off your technique as well as complement your personality?

Is the song you want to use quick-paced or slow- and are the movements in your repertoire appropriate? Make sure you select music that isn’t “over your head” technique-wise. Attempting to do a full length Om Kalthoum piece when you don't have the chops to back it up physically -and emotionally-could be disastrous.

Does the song have a lot of rhythmic changes or is it repetitive? If there is little variation in the tempo, can you keep the piece looking fresh and interesting during your performance?

Will you be playing cymbals or using a prop? These are both major points to consider!

Is this a character piece or a fusion number? In either situation, you will need appropriate music. If you are dancing as a character, will this music move your narrative forward? If you are performing fusion, does the music reflect whatever it is that you are fusing?


Is The Piece Appropriate For The Venue?

Will your audience appreciate your musical choice?
A long, slow, classically orchestrated Arabic piece may not be the right music to use at a hafla or a wedding- it might be better saved for a theatrical performance. Likewise, belly dancing to a quirky 1920’s song may fall totally flat with an ethnic audience. As they say in the theater, “know your house”!

Make sure that the length of the song fits the timing requirements for your gig. If it needs editing, can you find the right spots to edit and rejoin the music without losing it’s flavor?

If the song is recorded with lyrics in a foreign language, do you understand their meaning? If you don’t, someone in the audience might- and there’s a possibility that the song you pick out may be offensive, or inappropriate in some way. You wouldn’t want to use a song with a religious or political theme for a party, right?

There are plenty of places to get lyric translations on line, so do your homework!


Change It Up!

If you have picked out a certain piece of music, and for any reason it doesn’t seem to be working, don’t feel bad about dumping it in favor of trying a different song. This isn’t a “failure”- it’s an executive decision! Some songs seem like a good idea, but in reality, the concept you had in mind never quite pans out, for whatever reason. If this happens to you, don’t worry about it, just move on and try out another piece of music. You can always come back to the original choice at a later time.


Do You Really Want To Dance To The Flavor Of The Month?

Some songs become instantly popular, and with good reason. But they also can become so trendy that everyone dances to them…at the same event! It gets to the point that audiences and performers alike groan each time they hear that particular song played. Do you think that there will be other performers using the song you have chosen?


Do You Love This Song?

…And can you have fun with it onstage? If the answer is yes, then definitely use it! And one last thing: don’t think that because you have used a song a few times that you have to retire it. If you have danced to a song pretty frequently, you may want to switch it out of your regular rotation for a while, but that doesn’t mean you can’t come back to it! The Rolling Stones have probably played “Satisfaction” at every gig they’ve done for the past forty years. Dina has been dancing to “Tahtil Shebak” for at least twenty.

If you love a song, you will perform well to it... and that never, ever becomes boring or goes out of style!

HAPPY HOLIDAYS!!!!

Happy Holidays to everyone, and wishing you lots of love, good fortune, health, wonderful dancing and crazy crazy adventures in the New Year....NEW DECADE!

Love,
Princess

THINGS YOU NEED TO KNOW BEFORE BOOKING A SHOW

The Holidays are here, and even with the economy the way it is, that means people are celebrating…which, for professional dancers, translates to employment opportunities. Even if you have never worked before, you may already be getting offers for holiday parties and gigs. If you are on the threshold of becoming a working professional dancer, then without a doubt, you’ve been sweating in group and private classes, practicing your butt off at home, dancing with a student troupe and in belly dance show cases, honing your technique and stage presence… and you just bought a fabulous new costume. Well, congratulations, girl, sounds like you’re about ready to go pro- all you need is a gig! Now might be the time for you to start working.

Exactly what do professional dancers know that you don’t? Well, for one thing, they know how to book shows. Whether you’re donating your dancing to a charity event, performing at a private party or auditioning for a restaurant or club job, there’s “technique” involved before you hit the stage as well. The following information will help you book a gig like a seasoned pro… help you to determine the WHO, WHAT,WHERE, WHEN and HOW of your gig.

First off: WHAT TYPE OF EVENT IS IT ? Private party, wedding, birthday, corporate show, Arabic club, holiday festival…etc. Make sure to find out exactly what your gig will be, so you can costume yourself appropriately and plan a set of songs that will reflect the mood.

WHO IS HIRING YOU? Club owner, bride or groom, caterer, event planner…

WHERE? (How far from your house, as well as whether the event is being held at a residence, restaurant, banquet hall, outdoor festival, etc.) *ALSO: Is there a full theatrical stage, raised stage, dance floor, living room, patio or……..???? FIND OUT ABOUT YOUR DANCE AREA!

WHEN? Get specific performance times, and let them know that you are flexible, but cannot stay at the event for hours at their discretion

SOUND SYSTEM : Do you have to bring a boom box ( like for a belly gram situation) or will there be a sound system w/ a deejay? Will you be using a CD or an iPod? Will there be other performers? Do they expect you to dance to a live band? If so- can you rehearse or do a tech check?

NEGOTIATE PAY :Depending on where, when and how long you will be dancing, state your rate, and negotiate your salary. It will behoove you to find out everything possible about the gig before stating a price- keep your price in mind, or even have it written on a piece of paper that you can refer to when on the phone with a prospective client.

DO NOT undercut the “going rate”. If you are not sure what the going rate is in your area, ask another local working dancer, or dance instructor. Start your price a little high, many people expect bit of bargaining. Figure out if it is a tipping situation or not, this will affect the base pay you ask for… and also ask the host or person who hired you if they would like you to stay within your performance area, or if it is fine to dance among the seated guests. Some people consider this acceptable, others think it’s ‘tacky”. DO NOT ask the person hiring you how much they wanted to spend on a dancer until you have stated your price. Everybody wants a “deal”, and will give you a lower figure. Know that it is fairly standard to charge not just for the party or gig, but the length of time it takes to GET you there- think twice about accepting a gig that is far from your home base, unless you know it will be worth your time. And know that pretty much anywhere in the world, the “going rate” for New Years is triple whatever you would regularly charge.

GET DIRECTIONS! If you can’t get directions from the host, call the venue. If you can’t get in touch with the venue, look up the address and driving directions on the internet.

GET CONTACT NUMBERS! Try to get both a cell-phone number as well as the number of the venue itself.

RE-CONFIRM YOUR PERFORMANCE (a week before the show, as well as the day before)

GET A CONTRACT AND DEPOSIT These days, PayPal makes this part so much easier. Set up a PayPal account if you don’t have one already.

DO NOT FEEL “WEIRD” BRINGING ALONG A FRIEND- PREFERABLY MALE : Any “decent” people in this day and age will perfectly understand the concept of personal safety. Tell them it is your ‘driver’. However, it is totally inappropriate for you to be hanging all over your ‘driver’ smooching! Be professional.

IF YOU FEEL UNSAFE AT ANY TIME, REMOVE YOURSELF FROM THE SITUATION IMMEDIATELY.

SHOW UP ON TIME, READY TO GO (come fully made up and if it’s a private gig with no dressing room fully costumed with a cover-up)

FIND A SECURE PLACE TO KEEP YOUR BELONGINGS- this could be anything from a locked dressing room or office, to a cubby-hole behind the bar or a concierge desk at a hotel or banquet hall. Even if you have to change in the Ladies Room ( and this is a common “dressing room” , believe me) ...or have your "driver" watch them while you perform. DO NOT leave your things there unattended!

LEAVE IMMEDIATELY AFTER YOU PERFORM AND GET PAID (No hanging around, you are an entertainer, not a guest)

BE GRACIOUS, CHEERFUL AND POLITE, but firmly refuse anything you do not want to do…like perform a second time for free!

HAVE FUN AND YOUR AUDIENCE WILL, TOO!

Food for thought: If you act like a professional dancer, you will be treated like one!

GIG ESSENTIALS: THE ROYAL CHECKLIST

Even the most experienced dancers have shown up at gigs and forgotten an essential item for their show...be it finger cymbals, a costume piece or even music...we've all been there! In order to prevent such snafu's, I have a gig check-list on my computer that I refer to every time I do a show... and though that's almost every day for me, i still need to make sure I packed everything I will need for my show.

In the "olden days", when I was a baby dancer, I needed my list just to be sure I hadn't forgotten anything...nowadays I need it cause I'm in a perpetual state of Jet Lag!
So... thought I'd share my basic gig checklist with you:


1) COSTUME: All pieces including: bra, belt, skirt, choli top, veil, any accessories and any jewelry you wear for your shows.

2) MUSIC: Your routine on iPod, CD and possibly even a cassette ( yes, there are places that still use them!) also,a back-up CD and also a second or third musical selection (just in case another dancer is using the same music, or if you need more or less performance time

3) SOUND: iPod, computer or boom box (if you are performing at a place with no sound system-check before hand so there are no surprises)

4) FINGER CYMBALS (if you use them) and make sure that you have all four, with good, new eleastic)

5) PROPS: cane, sword, pots, shamadan or candelabra (with extra candles and matches!) Isis Wings…whatever props you may be using

6) CAFTAN OR COVER-UP: For warmth as well as for keeping your costume covered as you move through the crowd pre and post-show

7) SHOES: Ballet slippers, Hermes sandals, ballroom shoes- whatever you prefer- just in case your performance floor surface is dirty, un-even or potentially dangerous: pebbles, broken glass, rough and splintery, etc.

8) SMALL TOWEL: An essential for post-show mop-up

9) MAKE-UP BAG: Containing at the very least, powder, lipstick, eye-liner and eye/lip pencils)

10) DIRECTIONS AND A CONTACT NUMBER FOR YOUR EVENT: Enough said…use GPS, if you have it!

** HAIR AND MAKE-UP SHOULD BE FULLY FINISHED BEFORE YOU LEAVE THE HOUSE! AT SOME GIGS, MIRROR SPACE IS AT A PREMIUM BECAUSE OF MULTIPLE DANCERS; AT OTHERS, THE DrESSING AREA MAY BE DARK OR MAY NOT EVEN HAVE A MIRROR...BETTER TO BE SAFE THAN SORRY!

You should also pack a small dance-bag “emergency kit” and keep it in your suitcase, with the following items:
1) Small portable sewing kit
2) Safety pins- all sizes. Diaper pins work best for holding heavy dance belts.
3) Bobby pins
4) Feminine protection
5) Aspirin or Ibuprofen
6) Band-aids at the very least, a small first aid kit is better
7) Breath mints
8) Hair brush and comb, assorted bobby pins, clips and hair ties
9) Hair spray or mousse
10) Body glitter....this may not be an "emergency item" for you, but it is for me!
11) Deodorant and/or perfume
12) Travel pack of baby-wipes

I'LL (BELLY) DANCE AT YOUR WEDDING

At some point in your career as a belly dancer, you will probably be asked to dance at a wedding. Though you obviously would treat your performance the way you would any other gig, by showing up on time, using music that is well-recorded, acting friendly and professional, and dancing up a storm, there are certain things you should know in order to make the event go smoothly.

The first thing you should be aware of is that though weddings are joyous occasions, there is a certain amount of stress involved….uh, make that a MAJOR AMOUNT of stress involved! A wedding is a huge stepping stone in life, and may result in a display of nerves from not only the bride and groom, but also family members, and, depending on the scale of the event, the wedding planner, caterer or deejay that hired you.

Weddings are absolutely notorious for running late, and this can be compounded by bridal party photo-ops, traffic on the way to the reception; a hired band playing longer-or shorter- than they were supposed to, or even slow food service. The fact that it’s a private family celebration, and not a regular club or restaurant gig, will also add elements of chaos which may affect your performance in the form of kids running around, people drinking too much, lengthy toasts, amorous ushers, elderly or disabled people seated in wheelchairs, maybe even a fight! You have to prepare yourself for any possible snafu, and be a trouble-shooter- ready with your own Plan B (or even C or D) just in case!

When performing at a wedding, you never know what can happen. I was once hired by a friend of the groom’s father to perform at Armenian nuptials in Hollywood. When the bride found out there was going to be a belly dancer (oh, the horror!) she locked herself in the bathroom crying hysterically. Sheepishly, the groom’s father’s apologetic friend paid me… TO LEAVE!

I once did a fabulously huge, traditional Jewish wedding at the posh Bel Air Hotel, with flowing champagne, mountains of caviar, tuxedoed waiters and gorgeous decorations that were probably worth as much as the engagement ring. The bride and groom were being paraded around held aloft in chairs, towering dangerously above the crowd, who were all wildly dancing the Hora to a live Klezmer band. Everything was going off magically, without a single glitch… until a helicopter got tangled in some power lines about five miles away and wiped out electrical service in the entire area!

There were a few moments of pandemonium before hotel’s staff brought out candles and battery operated lanterns. The food had to be served immediately or it would have spoiled; the ice cream was melting before dinner was over, the deejay was sent home with half his pay. Thinking quickly, I asked the Klezmer band if they could play acoustically, and together we worked up an impromptu set of music I could perform to, by candle light....it was truly an unforgettable event!

When booking a wedding, try to find out as much about the event as possible, and try to discern your area’s the “going rate” for this type of performance- it varies widely, depending on who, what, where, when. Most importantly, if the bride or groom is hiring you, designate with them a contact person (a family member, close friend, caterer, deejay, etc.) who will meet you, as well show you where to perform and pay you. The bride or groom may think they will be able to handle these duties at the event, but trust me, they won’t! Whether it’s a casual wedding for a close friend of yours or a big gala you’ve been hired for, here are some things you should determine immediately:

LOCATION: Is it indoors or outdoors? Is it a club, hotel, recreation or reception hall or private home? Get the address, cross-streets, specific directions, on-site contact number (either the number of the place and/or a cell-phone number for someone in charge) and re-check them to be sure. Bring shoes you can dance in, since you will have no idea if the floor is clean, or if you will be dancing on grass, cement, tiles by a pool, or on a carpet. Determine if there is a place for you to change, or if they want you to show up in costume. Is there somewhere safe you can leave your belongings while onstage? Bring a cover-up in case you get cold. Find out where you can park, and if you will be able to get a validation or if you have to pay.

PERFORMANCE TIME AND PAYMENT: Make sure you set your performance time- exactly. You don’t want to think you’re going on at 9:00PM and then wait around until midnight. Get a specific time, confirm it- and your fee- a week or two before the event, then re-confirm a day or two before, and if you have any doubts, try to confirm the day of the show. It helps to be flexible, because these events don’t usually run on time- but we’re talking ten or fifteen minutes, not three hours!

If it’s getting late, pleasantly but firmly say you have another show, and be adamant about implying “ It’s now or never”! Make sure you and the client mutually agree to the length of the performance. You should negotiate payment BEFORE you accept the show, and it never hurts to have a contract! Get a deposit- trust me, the florist does…the band does… the caterer does! If the gig is coming from a trusted source, say a deejay or restaurateur you work with regularly; a contract probably is not necessary. But weddings are hectic, and somebody from the family or the event planner may not remember to confirm your appearance, so it’s up to you.

COSTUMING/MUSIC/ SHOW: Go over this in detail. Are you dancing to iPod, CD, or a live band? What sort of music do they play? What songs are in their repertoire that you know and can dance well to? What is the sound system like? There is nothing worse than music that is too low, especially if you’re in a big hall. Some wedding parties may not want you to wear a revealing cabaret costume, they may prefer something more covered up. Of course you must respect these wishes. There may be a specific color- theme they want you to match, they may want you to dance to a pre-arranged piece of music, which of course, you should be familiar with, whether it’s the couple’s “our song” or, say, traditional Persian wedding music. Do they want a full show, or just a few pop songs? Don’t say you’re familiar with a Moroccan folk dance or some other traditional thing if you are not, you will only disappoint your clients. Will there be audience participation? If so, it’s always best to start with pulling kids up to dance, as this is a crowd-pleaser and makes you seem more like a family-oriented performer, not some ‘sleazy seductress’. Though it might not be acceptable to dance around tables in a club, at weddings, it’s usually fine, it ups the energy. Don’t actively solicit tips. They will either tip you, or not. Some people feel this is tacky, and will discreetly inform you of this and possibly tip you later. It’s perfectly acceptable to ask (during negotiations) if this is a tipping situation, then you can adjust your price if it’s not. Are there other performers, such as musicians, other hired dancers, magicians, singers? Look over your performance space, you may be dodging floral arrangements, balloons, waiters, electrical cables and large video cameras mounted on tripods. Will you be doing a zeffah?

THE ZEFFAH: At many Arabic weddings, you might be asked to do a zeffah, instead of-or in addition to your regular show. This is a traditional Egyptian wedding processional. The zeffah dancer’s duty is to lead the bride and groom out for their first appearance as man and wife. Zeffah means, “procession with noise” and is usually done in a line, with multiple dancer zagareeting, playing cymbals and tambourines, leading in the bride and groom for their first appearance as man and wife. You can dance accompanied by music (there are many CD’s available with traditional zeffah songs on them) or just make a lot of noise with your cymbals.

When the couple’s names are announced and the music starts, simply make your entrance, with the bride and groom following, lead them around the dance floor a few times, plant the couple in the center, and dance around them, encourage them to kiss, hold hands, or dance together. Then lead them to their seats (sometimes up on a dais), seat them and have the dancers pose flanking them on each side, for a photo-op. People will probably be screaming and cheering. Raks shamadan (a dance involving a lit candelabras balanced on the heads) is a wedding tradition, dating back to Egypt in pre-electricity days, and part of the zeffah , but not absolutely necessary.

If you’ve never done shamadan before, a wedding is NOT the place to try it out! If you’ve performed it onstage, but not at a wedding - make sure you get permission from the venue where you’re performing to use open flames. If you can’t, use battery operated candles ( usually available at florists or party supply stores) but bear in mind that they are much heavier than real ones. Check doorways for clearance, have matches or a lighter on hand, steer clear of draperies, and don’t light up until you’re just about to perform. Avoid ceiling air-conditioning ducts. You can use “ dripless” candles, but once they’re on your head, and you’re moving, there is no such thing. Not only will ceiling vents blow your candles out, they will spray the melted wax all over your head!

Also, know that the bride and groom have probably never actually been part of a zeffah before, so you will very likely be directing them on what exactly they should be doing…and remember, they will undoubtedly be nervous, so spell it out!
It’s fine to talk to them and direct them, but remember it’s THEIR day- try not to steal their thunder, and make them feel comfortable, encourage them to have a blast!

These tips will help you in booking a wedding performance-so, have a great show, dodge those randy groomsmen, make lots of money, and don’t forget to say “ marhaba !” to the happy couple!

GETTING GIG-READY: PERFORMANCE TIPS

We all know how crazy things can get when you have a show, and it doesn't seem to matter if it's your first-ever performance or just another hectic week traveling to an out-of-town workshop and show in the life of a professional dancer. Show days and the prep-time that ensues are always magnets for insanity, with the phone ringing non-stop, furtive hunts for costume pieces and lost liptsick, burning CD's, getting directions on-line and last minute emergencies- it never fails!

Before leaving for your gig, even if you are a seasoned pro, take a minute to check your gig bag and collect everything, including but not limited to your costume, finger cymbals and music. Make sure you’ve packed your iPod and or CD’s,a back up CD in case the sound system can't/won't play it, or even a different set burned onto another CD in the event that another performer might be using the same piece of music. This happens more than you might think!

The moment you go onstage is not optimal time to test out a new piece of music, so whether you are doing a choreography or improvising, make sure you are familiar with whatever it is you're about to dance to.

If you are working with a live band, learn the names of at the very least 4 or 5 popular Arabic songs that you are familiar with, so you can request the songs you want and there won't be any surprises or “mystery music”. Always bring along a pair of dance sandals, ballet slippers or ballroom shoes in case the floor or stage is dirty or splintery. Your gig bag should also include necessities like a cover-up, make-up for touch-ups, a sewing kit, band-aids, tampax, baby-wipes or a small a towel, and bottled water.

Though you are undoubtedly familiar with this concept… PLEASE WARM UP WELL BEFORE YOU DANCE! If you get injured while performing, you will lose out on future opportunities and jobs, as well as your own dancing pleasure… not to mention the fact that you’ll be in pain! It’s also an absolute necessity to stretch and cool down AFTER dancing or rehearsing, as well.

If you are not beginning your performance onstage, before you enter, let the musical intro or a few bars go by before you hit the stage, to add some drama. When you make your entrance, it's good to move around the whole stage or performance area to establish yourself to the audience. Let them get a good look at you, and become accustomed to your unique presence. Dance into your performance space as though you are claiming territory. You can’t afford to be tentative- a nervous dancer creates a nervous audience!

If you enter “old school” style with your veil wrapped, let some time go by before you remove your veil, to add a touch of suspense. If you are entering Egyptian style (sans wrapped veil) do a few circles of the stage, some light veil work, and either ditch the veil altogether (out of your dance path and in a place where no one can step on it) or put it into "storage" by wrapping it around your neck, so you can use it later at a slower point in your routine.

If you are going to incorporate a prop, make sure to “introduce” it to your audience, so the crowd can get a full appreciation of what they’re about to experience. For example, instead of just plopping a sword onto your head, make sure to really display it to it’s fullest advantage, letting the lights gleam on the blade, so the audience can appreciate that it’s a a real metal sword and not a fake. Be aware of the angle of your props, too. Fans, for example, are best displayed FLAT to the audience, so the crowd can see the full “wingspan”.

TAKE YOUR TIME! Don't give everything up at once. Walk in like a queen, the DIVA that you are, and show yourself off. Let the audience get a good look at how beautiful you are…let them admire your costume, and wonder about where this dance journey will take them. Start building the energy level slowly; save some tricks, whether it's veil work, snazzy zills, crazy shimmies or great undulations-whatever- for later, to keep the audience interested. Remember that sometimes onstage adrenalin makes time seem to go by differently, so mentally remind yourself every so often to relax and slow down.

In many Arabic night clubs, dancing among and around the tables is discouraged, but this is perfectly acceptable at belly dance showcases, most restaurants, and especially at parties, unless the host has requested that you don’t. Some people equate this with soliciting tips, and believe it looks tacky. Acceptable ways of being tipped are: having the money showered over your head, Arabic club style; bills being (politely) tucked into your costume; money being handed to you or to the waiter (for you) after your performance. Though it goes without saying, being groped by customers or having bills offered to you ORALLY are not only disrespectful to you, but completely unacceptable in any arena or venue! Don't stand for this sort of behavior. However, if there’s a troublesome drunk or an obnoxious kid in your audience, you can usually deflect the situation humorously by embarrassing the person whose doing it. This will usually stop the idiot from continuing, as well as take the threat out of the situation. By pulling a comical, over-the-top “I’m shocked!” type of facial expression, or just shaking your head no, like the tipper has to be crazy, you can usually get your point across. More likely than not, a member of the party the offender is with will ask him to stop so you don't have to. Remember: ultimately, YOU are in control of YOUR show. If anyone really becomes a problem, remove yourself from the situation immediately and explain the matter to the owner, manager headwaiter or person who hired you. They don't like this sort of vulgarity, either; it puts a bad light on their establishment.

Though this doesn’t usually apply at haflas or dance festivals, if you are working a club or stage show or even a private party, try not to mingle with attendees or customers in your costume before or after a show. To do this is not a faux-pas, but it does kind of diminish the magic you are creating for your show. Either throw on your caftan, or change quickly. Don't ruin the illusion of your costume by parading around in it. If you are working at a club or restaurant, you might want to bring a second costume if you have more than one show, too.

And a word about dressing rooms: no matter WHO you are, where you perform, or how long you have danced, a good dressing room is hard to find! In spite of what our dressing room fantasies are, dressing rooms are usually tiny, crowded, too hot or freezing, drafty, damp, or stuffy. They are rarely well-lit, and there is never enough mirror or floor space, especially if you count in multiple performers, and this goes double at dance festivals. I have changed in toilets, outdoor sheds, hallways, broom closets, even in the stage wings. Once, at a huge dance festival in Salisbury, UK, the performer’s dressing room was a cattle storage pen! I kid you not…it was clean and there wasn’t any livestock around ( thankfully!) but still, it was crazy. Of course, I couldn’t resist a photo-op!

Many venues or event producers provide water and food ( or snacks, at least) but be prepared! Long tech rehearsals or waiting around during a full-length show can take it’s toll on your appetite- and your stamina. It’s hard to perform with a growling stomach or low blood sugar. Keep some nuts or a nutrition bar in your gig bag along with some bottled water. Leg-warmers, slippers, a towel or baby-wipes, a light sweater or hoodie might be things you wish you’d thought to bring along! Try to have a friend watch your purse, or find a secure place to leave it while you perform. Also, in spite of whatever you want to think about the morality of your sister dancers or, for that matter, the wait-staff, if you are gigging at a large venue with many other acts, and you don’t know the people you are working with or working for , lock your suitcase!

After your show, remember to pick up your veil, zills, swords, or other props after your performance. Also remember to get your iPod or CD back, and double check your costume bags so you don't forget make-up, small costume pieces, shoes, tips or anything else. Do a double-dummy check- especially in crowed situations. Recently, I left an entire make-up bag backstage at the “Tales Of Desire” DVD shoot. It was so hectic and crowded backstage it was hard to tell where one person’s suitcase left off and another began! There was stuff literally littering the entire floor! If it wasn’t for Sabrina Fox of Atash Maya, I would’ve lost all my shit… and no make-up is a death sentence for a glammy Princess like me!

Check about the ethnic customs and/or general taste of the audience you will be dancing for, If you are uncertain about a risqué costume choice, for example, it’s always safer to go with something a bit more covered up. Though it’s hard to believe, some people still frown upon tattoos, as do many Arabic clubs,so you might want to cover them with clothing or make-up. Recently, with tattoos and piercings becoming a mainstream trend, this may not matter as much as it used to. I myself am heavily tattooed and pierced, and have not encountered any problems- but it does ultimately pay for you to be aware of what your audience’s comfort level is. When performing at strictly belly dance events put on by other dancers or at parties thrown by friends, you can be a bit more lax about everything, assuming you have a handle on your audience’s taste and preference.

Remember, you may be the first belly dancer someone has ever seen. Do everything you can to put on a beautiful, amazing show. Relax and have fun, and your audience will, too. Always be professional as possible….and once again: warm up! IT’S THE LAW!

Pictured: Dancer Rachel Bennett and I hamming it up backstage in Salisbury, UK, June 2007…in the Cattle Pen!
Me backstage at the "Tales Of Desire" DVD shoot for Hollywood Music Center