Showing posts with label American Cabaret Belly Dance. Show all posts
Showing posts with label American Cabaret Belly Dance. Show all posts

Sunday, September 28, 2014

DANCERS BACKSTAGE RITUALS: ALLI RUTH OF HELSINKI, FINLAND


 
Alli Ruth by Atelieri O. Haapala, Helsinki, Finland
 Every so often, I’ll meet a dancer whose onstage persona is so completely unlike the way she is in real life, it really throws me for a loop. One moment we’re backstage acting like complete idiots, giggling over silly things while compulsively shoving carrot sticks into our mouths.  Then, she performs a set so amazing, that when she finishes, I’m so blown away with utter fangirl appreciation, I almost feel too shy to talk to her!
 
 Alli Ruth is that kind of dancer.  Even though we’ve been pals her for years, and I’ve seen her multiple times in ratty sweats with no make up, an Ace bandage wrapped around an injury, swearing like a truck driver, I can never quite reconcile her fun, down-to-earth true self with the preternaturally elegant creature I’ve just witnessed bringing the house down onstage.  And   not only that, in her real life, she’s a librarian! To see her performing classic American and Turkish style floor work is like having a private audience with a goddess!

Photo: Atelieri O. Haapala
Alli Ruth lives in Helsinki, Finland, where she teaches and performs her specialty-and passion- American Cabaret style belly dance. She herself calls what she does “AmCab Fusion”, because  she isn’t  nearly old enough to have ever performed this style back in it’s Seventies heyday!

As White Kali in a Desert Sin performance
After moving to Finland in 2010,she realized that dancers from across the continent of Europe had a hunger for this uniquely American style, so she began teaching what she’d grown up with as a dancer. She came to belly dance in 1998, in her native Los Angeles, learning from   the masters of the American Cabaret (also known as Vintage Orientale) genre, including the late, great Diane Webber, whose unique style and considerable influence inspired another of Alli Ruth’s mentor’s, LA-based dancer Anaheed.   Dance mother to many in Southern California, Anaheed invited Alli Ruth to appear with The Perfumes Of Araby, a troupe founded by Diane Webber. In 2001, through Anaheed, she met and began dancing with Elayssa of Desert Sin, a gloriously theatrical “alternative belly dance” troupe whose influence is still widely felt in the Tribal Fusion community, and as Alli Ruth says, “whether they realize it or not!”
 
With Princess Benu in Istanbul
She has also seriously studied with other legendary AmCab performers such as Cory Zamora, Alexandra King and Princess Benu of Turkey, plus the Queen of Floor Work (and inventor of many of it’s staple moves) Anahid Sofian of New York City. Alli Ruth’s teaching and performing career  abroad has been as busy as it has been fulfilling; though like any dancer worth her salt, she considers herself a student and constantly attends workshops, classes and private lessons. By doing this, she is also preserving   a distinctive and exceptional American contribution to belly dancing.


Here, in her own modest words, is how Alli Ruth prepares for her show-stopping performances:


“I try to do as much of my makeup and prep at home, especially if I don’t know the backstage conditions, or don’t have a backstage at all. This too allows me to change my mind, for example about an eye shadow color at the last minute. I enjoy socializing backstage and would rather relax and talk to, or assist other dancers than be stuck in the mirror. It also makes more time for warming up. My warm up consists of lots of relaxed shimmies, “African Stretch” for the spine (Diane Webber used to make us do it every class), large loose hip circles, lunges and ankle, shoulder and wrist circles. 

Alli Ruth at Sutdio Iqaat, LA photo: Kat Bushman
My costuming style is what they used to call “Mixy Gypsy” so I never wear the same exact ensemble. I also never know exactly what I’m going to wear in advance. I’m famous for being frantic about “what to wear” and changing my mind about details up until the last minute. My breast size fluctuates greatly, leading to hasty alterations. My lifesaver mom is accustomed to my begging her to stitch bra hooks, and over the years I’ve taught a couple boyfriends how to use a needle and thread. Because I improv, I also have the opportunity to change my music up until the last minute, particularly if the organizer doesn’t need it in advance. What I’m getting at is that I have total ADD, which I struggle with when it comes to show prep.                                                                                                 

I’ve learned to not make or watch recordings of myself within 3 days before the show as it inevitably results in a self-critique that will cause me to change my mind, if not fall apart entirely. Also, to have many bra hook options on both the back and neck straps of my bras. I of course have a prepped gig bag and even extra, extra things that other dancers may have forgotten themselves (Belly dance karma!). 

Because I do floor work, one of the most important things is to know the condition and material of the floor to help determine the bottom half of my costume. Harem pants can get pulled by carpet (I’ve heard of dancers literally pantsing themselves) but carpet can cause serious burn on a bare leg. Some settings may have floor that is too harsh-such as pavement, be too small or placed in such a way the audience wouldn’t see you on the floor. Sometimes, floor work won’t work which factors into my music selection. 

I’m always way more nervous in the days before the performance and on the day of the show than I am when I’m about to go on. The main thing I do in the moments before coming out to dance is taking deep breaths and remind myself, it’s simply about sharing a dance. I try to remember that nobody cares so much about me that they’re going to go home and think for days about how I may have messed up; they have their own lives and concerns and nobody wants me to fail. I try to quiet my ego and dance for the joy of it. I think of all the happiness and fun I’ve experienced myself when watching other dancers and the gratitude I have towards them for this. It’s simply my turn to do the same for others, to share. This really keeps me calm and ensures a good experience. 

After my performance, it’s like I got something out of my system and just wants to return to being “Al”-my nickname amongst friends. I almost always, immediately tear off my bra and throw on a t-shirt -or a comfy cover up if I’m coming out from backstage, maybe crack a beer or pour a glass of wine.

I like dancing most at private events, where I can come both in and out as the belly dancer …and the mystique of the backstage, behind-the-scenes stays in my own home.”

 
The Snow Queen: photo by  Irina Alanko


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  Sunday, October 4, 2014
Hardcore Floor: Old School AmCab and Classic Turkish Floor Work With Alli Ruth
You’ll learn ascents, descents, back bends, layouts, and some nearly extinct (and very wild) Turkish moves and Rom gestures for floor. Floor work for both drum solo and taxim will be explored.
1:30-4:30pm
Dance Garden
3191 Casitas, Ste 112
LA CA 90039
ONE DAY ONLY, $50.00
To register, contact Devillaraks@gmail.com

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The Belly Dance Handbook: A Companion For The Serious Dancer is now  available wholesale for dance teachers and studios. To find out about wholesale order,  visit www.princessfarhana.com and click on the “email” button at the top right of the home page.
  

Saturday, September 28, 2013

IT'S A WRAP!


 
Tanya Lemani dancing for Captain Kirk and the rest of the team on "Star Trek"


Classic American Cabaret belly dance-also known as Vintage Orientale- is currently having A Moment. The style  is experiencing a resurgence,  becoming very popular with younger dancers , many of whom were not even born when this type of dancing  was in it’s heyday during the 1960's through the 1980's.

When I began my career in the early 1990’s, I was trained primarily in the Egyptian style, but Vintage Oriental was still very much with us, especially for restaurant dancers.  Audiences expected to see a lot of  veil and finger cymbal work.

American Cabaret  doesn’t just use music from one genre or country- it’s a lovely pastiche of many types of rhythms and  songs  from all over the Middle East,  North Africa and Central Asia. Finger cymbals and extensive veil work are a couple of the hallmarks of this style,  and  I often get requests in my workshops  to show some of the  exotic veil wraps  that were used “back in the day”. 

The old-school wrap  Photo: Lapis
If you’d like to experiment with this style, enter with your veil wrapped around you. You can use a separate veil to enter, or just come onto the stage with your cymbals a-blaze.   After an opening piece,  do a slow taxim or chiftetelli  piece,  and incorporate some veil moves.

For starters, try this simple, pretty wrap:

 Extend your left arm out and parallel to the floor. Drape your veil length-wise over it so equal halves hang in front and in back.  Make sure the hems are even and straight.  Pick up the  front half  of the veil and bring it across your chest, tucking the long hem into your bra straps and the left and right sides.

 Tuck the corner of the gathered fabric into your costume at the right hip.

 Now, take the portion of the veil that was hanging on the back of your left arm, gather it up at the far  corner, and tuck that it into the center back of your costume. If you like, you can also tuck the front  part of the veil in at each hip, and blouse it out for a billowy Grecian Goddess effect.
 
Un-wrapping the veil  Photo: Ken Vegas
 To unwrap, take the portion of the veil from the bra straps with both hands and slowly pull the veil way from you, so that the end tucked in your costume’s right hip releases. Play with the veil like this for a few moments, holding it in front of you, moving or spinning slowly. When you want to release the end of the veil that was tucked into the back, simply pull the hem of the entire veil away from you, and it will come un-tucked easily.





Tuesday, July 16, 2013

A TIP OF THE HAT TO THE FEZ



Achmed Al-Asmar drumming for Cory Zamora at The Fez Fundraiser, July 14, 2013
 On July 14, Roxxanne Shelaby put on a belly dance show  with live music  at Brazil Brazil Cultural Center in Los Angeles...but this was no ordinary show- it was ground-breaking  and intimate, seamlessly blending  different decades of belly dance history, both from LA and beyond. 

The show was organized to  raise funds for a documentary film project Roxxanne is working on about The Fez,  the celebrated Arabic nightclub that became a famous Hollywood hotspot, which was owned by Roxxanne’s late father, Lou Shalaby. A talented musician and extremely well-loved club owner, Shelaby created an amazing atmosphere at the Fez, making even first-time customers feel like family, and introducing thousands of patrons to the beauty of Arabic music and dance.

Antoinette Awayshak at The Fez 1961
The Fez was located on Vermont Avenue in the heart of Hollywood. The instant it opened it’s doors in 1959, it became not  “ just” a nightclub, but the breeding ground for Arab arts and culture on the West Coast. The immensely popular club not only became a center for the Arabic community in Southern California, but a catalyst for creative Arabic performing   artists which on to inspire generations of musicians and dancers well beyond Los Angeles. Much of the hubbub around the Fez came from word of mouth, but a good portion of it was largely due to the popular in-house recording “Live At The Fez”, which featured the house band and was a hugely popular album back in the day-and is now considered a coveted collector’s item.

Helena Vlahos in the 1960's
Helena at The Fez fundraiser
Aisha Ali, 1960's
Just some of the Just some of the internationally acclaimed and now legendary dancers that performed at The Fez were Feiruz Aram, Syrian-born   Antoinette Awayshak, and gorgeous Greek performer Helena Vlahos.  Aisha Ali and Sahra Saeeda- both known world-wide for their incredible dance ethnology research and field recordings, worked there as well…as did women who were quite famous at the time and during the course of their careers gave birth to belly dancing daughters who are equally well known!  These women are Marta Schill  (author of the book “The Complete Belly Dancer” and mother of Belly Dance Super Stars dancer Jayna Kouzouyan) Janaeni, the proud mom of world renowned performer Ansuya, and Tonya Chianis, whose daughter is Atlantis Long, who, with her mom, produces the Belly Dancer Of The Universe Pageant, now entering it’s 24th year!


Peter Lawford, Jayne Mansfield and Lou Shalaby at The Fez
The Fez was also a favorite haunt of the Hollywood glitterati during it’s time, with customers including the likes of Marlon Brando, Lee Marvin, Jayne Mansfield and television personality Danny Thomas- who was known to frequently lead debke lines at The Fez!   Other celebs who were regulars included Peter Law ford, Richard Thomas (no relation to Danny, the actor known as “John-Boy” from the television show, “The Walton’s”) and basketball great Kareem Abdul Jabbar, among many others.

 At her show at the Brazil Brazil Cultural Center, Roxxanne created the same cozy atmosphere that The Fez was famous for.   In fact, it felt more like a wonderful family reunion than a show, with generations of Los Angeles Arabic musicians and the wonderful “dance mammas” who taught and inspired practically everyone else that was in the room! Truthfully this was not only one of the best belly dance shows I’ve ever seen- and I’ve seen literally thousands.  The buzz around the show itself was incredible, and it was attended by many belly dance greats, including former Habibi publisher and famed dancer Shareen El Safy, IAMED’s Suzy Evans, dancer, Aubre Hill, composer Dr. Samy Farag,   former Fez  performers  Feiruz Aram,  Barbara Al-Bayati, Jawahir, and scores of well-known local dancers as well. 

The show featured guest stars Jillina, Tamer-Henna, Cory Zamora, Anaheed and Lee Ali, who, although she never worked at the Fez, was performing on the East Coast at the same time and currently oversees the popular 1970’s Belly Dance group on Facebook.  She kicked off the evening with a purely nostalgic period-perfect rendition of a medley of 1960’s and 1970’s belly dance hits.

Lee Ali at The Fez Fundraiser
 But the best part was that (most of) the original band from The Fez, as well as many of the dancers who were featured there regularly performed. Many of the musicians and dancers who performed are well into there sixties - and in some cases even more mature- but they became magically young and electric the moment they started playing and dancing.  The band consisted of  violinist Maurice Saba, Rico Orel on oud, percussionist Var Daghdevirian, and tabla player Achmed Al-Asmar.

 It was marvelous to see full sets by these incredible performers, including all the amazing  “old-school” American Cabaret / Vintage Orientale bells and whistles-   gorgeous veil work, lots of zills, dynamic live drum solos, and Fahtiem even did a Sultan Act with a very pleased member of the audience! Anisa, of Anisa’s School Of Dance did a cute flirty folkloric number, Aisha Ali was elegant, Helena Vlahos was regal and lithe and kicked ass (as usual!) on her cymbals.  Atlantis performed in a massive 70’s style cape in place of her mom, who was just enjoying the show and having a ball.  And of course, it was super-amazing to witness all the past history- and current scene come together...pure magic!

Atlantis at The Fez Fundraiser
 During the show’s intermission, Roxanne screened a selection of interviews with the Fez dancers. The footage was shot beautifully, and the interviews were priceless- ranging from affectionate reminiscing to crazy backstage anecdotes.

 The night ended about three hours later than it was supposed to… which was no surprise because nobody wanted it to end at all!

 But it doesn’t have to end… as I stated previously, Roxxanne Shelaby is in the midst of writing, directing producing a documentary film   (co-directed by Greg Williams with cinematography by David Rapka) about The Fez.

 Find out more about The FEZ Documentary here:

If you wish to contribute to The FEZ project- any amount will help- you can do so here:


Helena Vlahos and Roxxanne Shelaby at The Fez Fundraiser


 Read  “Great Moments At The Fez” by dancer (and Fez favorite!)  Feiruz Aram, in a vintage issue of Habibi Magazine   here:

Wednesday, December 26, 2012

SOME TIPS ON TIPPING



Even though Christmas is over, the  Holiday Season is still in full swing, and with New Year's Eve  coming up, I thought   now would be a good time to  talk tipping.
 Belly dance and tipping have been  thought  of together almost as much as peanut butter and jelly, and there are many traditions connected with tipping.
It is believed that the reason for coins on belly dance costumes stems from days of yore, when women would dance in public and receive coins from spectators which were later sewn onto their clothing, possibly as part of a marriage dowry.  Descriptions of this practice are documented in writing from travelers who visited the Middle East during the 17th, 19th and 19th centuries.  Early 20th century photographs of the North African  Ouled Nail tribe document the women wearing elaborate coin headdresses above gowns   bedecked in coin decorations.  Known for their dancing (as well as prostitution) the images of the Ouled Nail still fascinate viewers, and their dress has also influenced modern belly dance costuming.
Tipping dancers at weddings is traditional in many cultures, and though the tips are showered upon the dancer, they often signify good luck and prosperity for the happy couple.
Contrary to popular belief, the practice of in-costume tipping seems to have originated in American nightclubs, during the latter half of the 20th century.  In the Middle East, tipping a well-known dancer during a show at a better hotel is usually not done, and as far as I have seen, in Egypt, there is no custom of in-costume or body tipping there either. However, showering a dancer with money seems to be fairly commonplace at street weddings.
 When a dancer is working with musicians and singers and tips are littering the stage, the tips are usually divided in a three-way split: the dancer gets a third, the band gets a third and the last portion goes to the house. I’ve worked at some places where    the tips placed into a dancers’ costume were hers to keep, and the rest were divided between all the performers and the house.
Tipping is still a popular practice at belly dance shows, not just for monetary reasons but because the very act of tipping is a way for audiences to relate to the dancer, as well as show appreciation for her skills.
There are several ways to tip dancers, and they vary according to the venue, local laws, the ethnicity or culture of the patron, or the individual dancer’s preference.

TIPPING STYLES
 In-Costume Tipping
Though tips have always a large part of a working dancer’s income, some performers have a rather uneasy relationship with tipping. Sometimes this is because they associate  accepting tips with strippers or gentleman’s clubs, but more often than not it’s because they are uncomfortable accepting tips tucked into their costumes. 
 In-costume tipping is what most non- Arab audiences think of as the “standard” way to tip dancers, and it can definitely be done in a respectable fashion. Usually,  the most suitable location for a tip is  tucked into the side of the dancer’s belt, although many dancers accept tips in the straps of their   costumes. In general, tipping in intimate areas, such the front or rear center of the dancers belt, her cleavage or the cups of her bra is considered to be an invasion of personal space.  If someone is attempting to tip you in an area you are not comfortable with, just stay a little out of out of his or her reach, and when you come in to accept the tip, offer your hip instead. This little dodge usually works well-most  people don’t want to be disrespectful, they’re simply excited about the interaction.
 At the Armenian parties and clubs in Hollywood during the 1990’s, I got the impression that tipping the dancer was a way of the patrons to show their  status. One man would whip out a twenty-dollar bill,and flash it around to make sure everyone saw it before he put it in my belt.  His friend would do the same with a fifty-dollar bill, and  often the patron after that would take out a wad of seventy-five or a hundred ones and tuck them in all over my costume, before throwing the rest over my head- or slapping a bill directly onto my head, which leads us to:
 Body Tipping
 Some dancers refer to in-costume tipping as “body tipping”, but in my opinion, body tipping is a completely separate cultural practice.  This style of tipping is very popular among Greeks, Turks and Armenians and Israelis- but isn’t limited to people from those countries.
  Body tips  seem to occur most often  in mid-set, when the dancer is getting a little sweaty, because the tip is typically pressed or lightly tapped onto the center of the dancer’ forehead…though I’ve received similar body tips on my abdomen and arms.
Tipping dancers on the forehead is a custom, dating back to Ottoman Turkey.  The young female impersonators known as kochek dancers received their tips this way, only in those days, the tips were coins, not bills! In Turkish Romany   (gypsy) dances the dancer will often tap their forehead, and this gesture is understood to be a request for tip.

Money Showers
Money showers are an extravagant display as well as a way of tipping the dancer without actually touching her. Often, at Arabic restaurants and nightclubs, a waiter or a shill planted in the audience will start the money showers to get the crowd going.  Then, the patrons will continue, by taking a handful of money and “ raining” it down over the dancer’s head, flipping the bills down one by one, while she is performing.
Many Arabic nightclubs keep stacks of crisp dollar bills on hand for the purpose of money showers.  When a customer wants to tip the dancer, a singer or the band, they’ll hand the waiter the amount they wish to tip, or have it added onto their bill. The waiter steps up to the stage tip the performers,  throws a few bills into the air, then palms the rest of the bills  in a  fluttering "shower", raining  over the dancers head, then indicating where the money came from with a sweeping gesture.
In Los Angeles, at the Arab clubs where I worked   in the mid-90, there were so many Saudis giving money to the waiters to throw on the stage   that dancing actually became risky- it was like ice-skating on   money!
In the lower class cabarets of Cairo, I’ve noticed that there is almost always a stagehand whose sole job is to sweep up the tips from the stage and dance floor before depositing them into a locked box that is kept on the stage.
If you receive a money shower at a wedding or a private party, often a family member will pick up your tips and get them to you after your show.  Children seem to love this job, and will feel special collecting your tips from the floor and delivering them to you, so if there is nobody around to pick up after you, it is a good idea to pre-arrange   the duty with a couple of kids.

Passing The Hat…Or More Frequently, The Basket
This type of tipping is frequently seen at outdoor festivals, Renaissance Faires and street performances, but many dance troupes performing at indoor venues use this practice to good advantage.  When dancing in a group situation, it’s difficult to accept tips during choreographies, so   near the end of a set, many dancers leave their performance space to “pass the hat” among the crowd. Often, this is done to music and may include audience-participation dancing as well.
A showy and creative way   to do this without seeming like the dancers are begging is to have a couple of troupe members  or a soloist dance through the crowd with tipping baskets balanced on their headsor carrying tambourines into which the tips are placed. The audience seems to love the novelty and will happily part with cash…because it’s part of the show.
Tip Jars
Though this doesn’t happen too often, once in a while venues will have a large, visible tip jar set out for the dancers, either because the dancing is done on a raised stage, or in order to keep up a “family friendly” atmosphere and discourage body-tipping.

 Post-Show Gratuities
There are a few situations such as private parties or corporate events where tips are discouraged… but you may wind up getting tipped in the form of a post-show gratuity. Usually, this will be discussed with you in advance so you’ll know what to expect. In cases such as this, the dancer’s gratuity will be either be added onto her pay or handed to her separately in an envelope.
 Sometimes, whether tipping is condoned or not, audience members take it upon themselves to tip the dancer post-show, either by having a waiter deliver the tip, or by giving it to the dancer themselves.
 I used to work at a French Arabic club in Los Angeles where tipping the dancers was frowned upon.  A regular client came up to me after a show, complimented me on my performance and discreetly handed me a folded bill.  I thanked him and put it in my pocket. As I left the club, I transferred the tip to my wallet- and saw that it was a hundred dollar bill!

Creative Tipping
 At the many Lebanese and Armenian clubs that were around Los Angeles “back in the day”, people liked to get inventive with the way they tipped- it often became a   friendly  (and increasingly wild) competition to see which table could come up with the most ingenious way to tip…which of course, was terrific for us dancers.
  I’d get a lot of   bills folded up into shapes like Origami, ( dragons, bow-ties, flowers) but some patrons even brought their own staplers to the clubs!   I was constantly draped in stapled-together money necklaces, bracelets, cross-body bandoliers, headbands and belts of money that customers would literally staple around my hips. If ever I took my zills off and set them down during my set, there’d always be dollars slipped through all the elastics!  Those people were crazy and rowdy and fun, but always respectful.  

Non-Monetary Tips 
Tips don’t always come in the form of cash.  Some venues feel it’s “low class” for their customers to be handling cash, flinging money at the stage or tucking bills into a dancer’s costume.  I often worked at a Greek club in Hollywood where they had a flower lady who sold customers baskets of carnations to throw at the stage. The club would keep track of how many baskets were sold during each dancer’s show, and at the end of the night the band and the dancers would split the monetary equivalent of the flower baskets that had been sold.  It was always good money, but I hated feeling the carnations squishing under my bare feet!  
There are also audience members who just get carried away in the moment, and leave quite unusual tips. Once in Switzerland, a woman tipped me a gorgeous antique ring right off her finger.  I tried to give it back after the show and she wouldn’t let me.  I have received numerous bouquets of flowers sent to my dressing room or the venue where I was appearing.  I’ve also gotten tickets to events, retail gift cards, and currency from foreign lands. And of course, what working dancer hasn’t gotten a business card with “call me” furtively scrawled on it…can’t blame a guy for trying, right?
 The most extravagant tip I’ve ever received was from a regular at a Los Angeles club where I used  to perform. After my show, he handed me an expensive-looking leather jewelry box.  I politely refused it, explaining I had a boyfriend and wasn’t interested in a relationship, but he insisted over and over that I keep it, so I thanked him politely and left.   At home, I opened the box and inside was pair of   solid 22-karat gold earrings, with a lotus at the earlobe, and large dangling sphinx heads!

TIPPING AND CROWD CONTROL
Over the years, I learned how to master the art of crowd control. Before I started dancing professionally, I avidly watched many seasoned dancers working. I studied the way they handled crowds, watched their interactions with their audiences, the way they accepted tips and the way they handled rowdy customers. I noticed that the dancers never picked up their tips from the floor, and learned that it was considered a big, tacky faux pas to do so!
Most clubs and restaurants have a system in place where an employee, such as the manager or a waiter, will pick up the dancer’s tips and bring them to her dressing room after the show. If tips fall from your costume and a customer notices, they’ll sometimes let you know.  In this case, I either assure them the waiter will get it for me or ask if they wouldn’t mind retrieving it.
Dancers always appreciate a lively, demonstrative crowd, and it’s our job to get the audience riled up and festive. Don’t be afraid  to make direct eye contact with your audience members- it’s the surest way to make them feel  connected to you- and to get them to tip you! 
 By using gestures alone, you can have the entire crowd clapping along to the music, or get them to be silent during a quiet part of your set.  If you want to break the ice with a tough crowd, the best way to do it is to call a child up to dance with you- they’ll almost always jump at the chance, it’s cute and people love a good photo op.  If there are no kids around, select a pretty, vivacious-looking woman, and pretty soon her friends will join in.   If someone you’ve gotten up to dance overstays their welcome, just  “present” them to the crowd, and get them all to applaud- everyone will understand the idea that their dancin’ machine friend is now taking a bow, and should return to their seat.
Once in a while, things can get a little out of hand, especially if the venue serves alcohol. If anyone does  anything during your show that’s pushing your personal boundaries, interfering with your comfort-zone, being disruptive or seems dangerously intoxicated, either enlist the service of the nearest waiter or remove yourself from the situation right away and report it to the management!
Inevitably, you’ll encounter some show off that’ll offer you a  tip… held in his teeth.   I’ve found that the best way to handle this is   with humor and pantomime.  I’ll either pat the guy on the head as though he was a dog  with a bone in his mouth, or gaze directly at another member of his party, point at the offender and pull a comical face that silently asks  “What’s he doing?”  Usually, someone will make him stop- or they’ll grab the money and tip you properly!
 Many audiences are unsure of tipping protocol,  and don't want to  offend  the dancer or  do something impolite. There are  a few discreet ways to let them know that tipping is OK. Often, dancers will seed their belts with hidden a bill or two (which can be prudently revealed mid-set) giving the audience the idea that tipping is acceptable. Another way to do this is to have the servers help you out before you go on by courteously asking patrons if anyone needs change to tip the dancer.
Whenever you get tipped, make sure to thank the person who tipped you, either verbally or  with a nod of thanks and a  smile.
 
Tipping is a way for the audience to tell you how much your performance meant to them.  It’s our job as dancers to transport the audience, and by receiving their tips graciously, you can also take satisfaction in knowing that you have done your job… and done it well.