TIPS FOR BECOMING A MORE DRAMATIC DANCER

Photo by Maharet Hughes, GraphicVibeLA   Costumeby  Hallah Moustafa

   

 KNOW YOUR MUSIC

 Know your music inside and out, down to the smallest sounds. By memorizing your music fully, a composition which once seemed complex and foreign will still be all of that, but it will also become ingrained in your psyche, and you will feel more confident in your own personal interpretation and emotional reactions to the piece onstage.

LET YOUR EMOTIONS DANCE

During home practice, use your mirror for more than checking your bodylines and angles, “dancing” with nothing more than your own facial expressions. There are a few ways to do this. Stand close to the mirror, put your music on, and observe your own emotional reactions to the musical piece you’ve selected.  Alternately, you could set up a camera or make a video on your phone.  Though this exercise might seem unnatural or forced at first, it will truly help you connect to the music emotionally, which will help you to become a compelling and poignant performer to your audience.

THE EYES HAVE IT

The eyes are the windows to the soul, and there is no better way to connect with your audience than using your eyes to communicate with them! In a smaller performance space, making eye contact is much easier because the audience is in very close proximity.

On a larger stage, where the crowd is farther away, you can fake eye contact by selecting certain spots in the crow to beam in, simulating direct eye contact. Though this may not seem genuine to you, it will to the audience!

USE PAUSES AND POSES  FOR IMPACT

 While choreographing your performance piece or just practicing at home or in the studio, take cues from the music itself, stopping and posing or just briefly pausing for a moment when the music does.

Before you begin your performance (even in practice) remind yourself to move slowly. Being onstage gives everyone and adrenalin rush, and beginners –or those who are amped up before a show tend to rip around the stage very quickly. Once you learn to control your nervous energy and reign in a little, you’ll look relaxed and effortless, as though everything you are doing comes naturally for you. This ease is usually learned…so drill yourself on the concept of moving slowly, finishing each movement completely, pausing and posing, and letting your emotions shine through your performance.  

BE VISIBLE

This encompasses  your emotions, gestures, make up and costuming!

First of all, as you  plan your piece, start planning your costume as well, and make sure it looks good under the lighting situation  where you will be performing. Obviously, your costume will fit and flatter you- if it doesn’t, start thinking about ways to make it work…or using, making or buying  a different  one.  Check with your show’s producer to see what the backdrop will be like; you don’t want to wear a burgundy costume against a burgundy backdrop!  Once you know the color, select a costume that will pop against your performance environment.

Use enough make up! You’ve heard me carry on about this in the past, but it is imperative…otherwise, the audience won’t be able to see-much less feel – the emotions you are portraying on stage.

 As you mark your choreography or your improvised dance, allot some quality time  during your rehearsals to  set dramatic, comedic or show-stopping gestures and expressions for your dance.

Nope, this isn’t “cheating” it’s called entertaining. You’re setting up everything your body does, so why would you stint on your emotions and facial expression? They are both crucial to building a beautiful, professional-looking, polished performance.

 BREATHE

Sounds crazy, but many of us hold our breath when we are concentrating, and dancing involves a lot of concentration! Before you take the stage, remind yourself to breathe- it will send oxygen to your entire body and give you stamina. Breathing into your movements- for example, inhaling while lifting your arms, and exhaling as you bring them down - will also give an airy, buoyant look to your dancing, as well as make your physical gestures much more profound and emotional.

 Last but not least, sometimes  the context of a  performance, just stopping to take a breath can be very profound.

BE THE MUSIC

Above all, savor your piece when you are dancing. Feel the connection to the music, and let the music pour through you, body and soul. When you are dancing and truly letting the move you emotionally, your performance will move the audience will, too!

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  Get an autographed copy of  The Belly Dance Handbook here: http://www.princessfarhana.com/shop.htm

 

Photo and Graphics by Maharet Hughes

SHE'S LIKE A RAINBOW: WHAT YOUR COSTUME COLORS REVEAL ABOUT YOU

She comes in colors everywhere

She combs her hair

She's like a rainbow…

 Color is a powerful force that influences us not only visually, but also mentally, emotionally, and even physically. It’s no secret that certain colors have an almost universal effect on human beings.  Even if you think you don’t know a lot about the psychology of color, your subconscious does know.

Notice that many nations in the world use red prominently on their flags. This is because red is considered a color of power - it looks important- consider the effect of a stop sign.  Put a woman in a red suit, and she’s “dressed for success”, but put the same woman in a red dress, and the subliminal   messages of influence and control becomes overtly sexual!

Blue has a calming effect, which is why it is often used for medical and governmental signage and logos. Yellow is vibrant and visible, which is probably why it became  “the” color for taxis. It’s also used quite often in children’s toys. Orange and yellow are often use restaurant décor and fast food chains because these colors used together are known to stimulate the appetite.

Traditionally, brides wear white because it symbolizes purity, but during the middle Ages, brides often wore green because that color was associated with fertility.  And most of us realize that black frequently connotes mourning.

  I’ve always been fascinated by color because I’ve painted and drawn since I was a child- but also because my entire life, I’ve had synesthesia.

  Wikpedia describes synesthesia like this:

“Synesthesia from the ancient Greek σύν (syn), "together," and αἴσθησις (aisthēsis), "sensation," is a neurological condition in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway.[1][2][3][4] People who report such experiences are known as synesthetes… In one common form of synesthesia, known as grapheme → color synesthesia or color-graphemic synesthesia, letters or numbers are perceived as inherently colored.”

Yes… my whole life has been “colored” by synesthesia.   Case in point:  for me, the number five always had to be red, three was blue, and   the letter “R” had to be yellow.  If I ever saw one of those old-school magnetic alphabet and numbers sets for kids and the colors were “wrong”, I would get upset.  And usually, when my mother spoke to me, I always saw a mental image of blue-gray smoke rising from a white cup of coffee.  Ok, yeah, I know this sounds a little far out, but it was normal to me!

However, it wasn’t until I started dancing that I began to really considering the effects of color- not just on myself but on my audience.

 Pre-dancing, I wore primarily black or blue, and it was always a toss-up as to which of those colors I would pick as my favorite.  As a rock and roll chick, those colors were easy to wear- think denim and leather.  Red probably came in a close third, but more as an accent color rather than something I would think of wearing head-to-toe.  There were also certain colors I would avoid completely- such as brown, green, orange, yellow, gray or pink… but I wear all of them now often, both onstage and offstage.

Photo By Lapis

 Curiously, people always seem to associate me –or more often, my "royal" dance persona-with the color pink. True, the background of this blog is pink and   the main page of my website has a hot pink background- but both of those graphics happened after I was already being associated with that color.  I also have a lot of pink things- clothing and accessories.  But I wasn’t sure why I was being connected with that color in particular; especially cause through the ages, purple has typically represented  royalty- hello… Prince, anyone?  In my entire dance career, I’ve owned maybe three pink costumes-one of them is pictured here- and it made me really ponder about why my image or persona was so heavily connected with pink.

 Then it hit me- it was because of the “Princess” part of Princess Farhana!   Pink is a color that is linked with femininity. When faced with the color pink, most people think of  romance, glamour, little girls, breast cancer awareness and of course, fairy princesses. Then I realized that most of the pink things I own- cell phone cases, coffee mugs, hip scarves, jewelry, t-shirts, pot holders, flasks, iPad covers…you name it…have all been given to me! 

When people hear the word “princess” they associate it with the color pink.

So…what do your costume colors say about you?  Do they go with the intention you had in mind for your performance? Are you picking out these specific colors because they make you feel good, or because of what you want to convey to your audience?

 Here’s a list of just some colors in alphabetical order- and what they subliminally represent to the general public. I’ve also included what their unique properties-or hazards- may be on stage, or when worn by performers with different types of coloring:

AQUA

 This soft, fresh-looking  mixture of blues and greens has most of the properties of true blue- it sends out calming and serene vibrations. Onstage, aqua costumes  might remind the audience of youth, springtime, or even mermaids, among many other things.  Aqua is a terrific color in performance because it flatters so many skin tones, from very fair to extremely dark. On a large stage with full lighting this color may appear white unless the lighting looks natural.

BLACK

 In real life, black is an imposing color that signifies authority. As we all know, black is often worn for funerals, but it also implies elegance and timelessness. Onstage it can represent a variety of things, from poverty to evil…which is why this color is so popular among Goths! Black absorbs light and can wash out a fair-skinned performer; it usually takes someone with very strong features and high coloring to carry it off.

 If the background of the performance area is black, a black costume can cause the performer’s skin (which is always lighter than the costume, no matter what your race is!) to produce an unpleasant optical illusion. The black costume pieces will appear to recede and the performer’s lighter skin will appear to jump forward, causing the performer to look oddly heavy. This effect is doubled if the performer has dark hair, which will also recede into the background. In order to avoid this, make sure your black costume ( and dark hair, if that's what you have) are decorated with a contrast color or colors, or are very sparkly. Either of these will add texture and dimension to the black, and cancel out the effects listed above.

BLUE

 The color blue actually causes the body to produce chemicals that promote a feeling of serenity and tranquility, that’s why it is so often used to paint bedrooms and hospital rooms.  The phrase “true blue” is right on because blue also symbolizes loyalty. Blue is also supposed to increase productivity.

Onstage, a nice, bright medium-to-royal blue colored costume will retain its color accurately under almost any sort of lighting...and also looks very nice on a wide range of skin and hair colors.

BROWN

 Abundant in nature, brown symbolizes the earth as well as sincerity and dependability.  It is considered a “friendly” color. Brown costuming onstage can appear muddy and sallow, especially if it has yellow or gray undertones, however, a rich warm brown with a red or orange undertone can look beautiful.

GOLD

 Of course gold symbolizes richness, wealth, and a touch of the precious or exotic.  This beautiful warm metallic will look terrific in performance, retain it’s true tone under any manner-or lack-of lighting, and is universally flattering.

GRAY

Photo by Celeste Hines

  The color of ashes, storm clouds and lead, gray can be a somber tone, signifying dignity modesty and intelligence. The equal mixture of black and white, some people consider gray dull and colorless, but gray is also an elegant hue that is often worn by the elite- think military uniforms, fencing suits and tuxedos at the Kentucky Derby. Depending on the shade of gray being worn by a performer, it can signify many things.  This color can have many undertones, even appearing to be a light purple on stage, depending on the scenery, back drop or lighting.  A dove gray costume trimmed in silver can be gorgeous on a pale brunette, or cool and removed on a blonde. It doesn’t look too great on redheads, and it can make deep olive to African American skin tones look ashy and sickly.

GREEN

 Green is another calming color, probably because it symbolizes nature; it’s the color of plants, grass and trees.  For these reasons, green, like blue, has a calming effect and is often used in interior decoration. Green symbolizes luck, youth, hope, peace and prosperity…ever wonder why dressing rooms are often called “green rooms”?  Now you know!  It also has the subliminal projection of money…  and whenever I have worn a green belly dance costume, I’ve gotten a lot of tips!    This color in it’s many shades looks lush on redheads, whether for street wear or the stage.  if you have olive skin or  are very tanned, you can rock a neon lime green costume like nobody's business! When performing in  shades of green, avoid green or yellow stage  lights, as they will both wash out the true tones.

LAVENDER

A romantic and calming color, lavender is a mixture of soft blues, reds and whites. Depending on whether it has more blue or red, undertones, lavender can look very cool or extremely warm. Onstage, lavender lighting when mixed with pink and amber looks soft and yummy.  This color is considered feminine and inviting without being seductive. Lavender in it’s many varieties looks very beautiful on a huge range of performers.

ORANGE

Stimulating and energizing, red is a warm color that appears “friendly”. This color can be hard to pull off for pale dancers because it is so intense and can overpower dancers. If you are very light-skinned, try a subtle peach tone instead of a true, citrus orange.  However, orange, coral or metallic copper look fabulous on those with darker skin and hair, providing a warm glow that looks healthy and glamorous.

PINK

 As I said before, pink is associated with femininity and youth… but it doesn’t have to be a frou-frou color!  Pink comes in so many shades from pale ballet slipper pink to hot magenta, there is literally a tone for everyone…  it can look great no matter what your hair or skin tone is. It’s a vital, fresh color that looks happy and fun onstage.  If hot, bright lights illuminate your light pink costume, it may fade to appear white. Whether wearing extremely pale or stronger tones of pink, make sure your stage make up is sufficient   so that you don’t appear washed out or over-powered.

PURPLE

  Equal mixtures of red and blue, this secondary color is considered dreamy, elusive, mysterious, and rich.  Signifying royalty, purple is the deeper cousin to lavender, and also can look great on a variety of dancers, depending on its undertones. Elizabeth Taylor favored purple clothing and costumes in many shades because it brought out her lavender eyes.  A nice deep purple costume, especially of satin, velvet or metallic lycra has the same properties as blue in performance- it looks wonderful on almost anyone, under many different lighting washes.

RED

 You already know that red stands for power and authority, but this strong and passionate color- the color of blood and fire- also signifies speed and prestige…which is why  fire engines are red and also why so many men buy red sports cars in the midst of their mid-life crisis!  A true bright red can be hard to pull off for blonde performers, but looks dazzling on brunettes and those with darker skin.  Red with blue undertones will make everything from teeth to skin look whiter, so compensate for this by using strong make up with a lot of blush. Red with yellow undertones can make olive skinned performers appear sallow. 

SILVER

 Silver is a rich metallic color that has many of the properties of gray, but with a touch of playfulness. Just like gold it symbolizes richness, but is often associated with a sleek modern feel.  Onstage, silver appears much cooler than gold.  Silver costumes will flatter paler skin tones, but might make those with olive to dark skin look ashy unless the make up is intense and warm.

Photo by Pixie Vision

TEAL AND TURQUOISE

 These cousins of blue are considered jewel tones, and share many of the properties of aqua. True, deep turquoise, even though it’s technically a cool tone, is a  also a hot tropical color that will look fantastic on anyone with a tan, real or fake-bake. Slightly deeper and with green undertones, teal will be a little more difficult for lighter-skinned performers to pull off but looks fabulous on brunettes and red heads.

YELLOW

 Cheerful, exciting and hopeful, yellow is the color of daffodils and many other flowers. The color practically screams, “notice me”, which is why it is used so often on taxis and emergency vehicles. Because it keeps the viewer on alert, it is also a popular color for writing paper. Yellow comes in so many shades that you’d be hard-pressed not to find a shade to flatter your skin tone.   Yellow can sometimes be overwhelming to wear, but those with darker skins will look great in  “hot” yellows that have a little red or orange in their base- like the meat of a mango. Pale lemon yellow looks great on fair skin, and compliments many shades of hair or eyes. Make sure to check your yellow costume out under stage lights and adjust your make up and contrasting accessories so that you do not appear sallow or sickly.

WHITE

 White is the color of brides and the good guy hero. It signifies purity and innocence, and reminds the viewer of summer time. Clean, modern-looking and efficient white can also connote cleanliness and sterility- think lab coats and nurse’s uniforms. In performance   and in day to day wear, this radiant color reflects light, and can look pretty and crisp on almost anyone.   Remember that a white costume will take on the colors of your stage lighting, so plan accordingly.

** Read the entire Wikipedia article on synesthesia here:

http://en.wikipedia.org/wiki/Synesthesia

LAST LOOKS!

”Last Looks” is an ages-old showbiz term used in the theater and on movie sets. Basically, it’s the overall appearance check that occurs just before an actor goes on camera or on stage.

As dancers, we usually don’t have the luxury of wardrobe assistants and make up artists fussing over us and perfecting our appearance…but we can always fake it!

So before you even consider stepping out of the dressing room, make sure that you perform your own version of “Last Looks”.

Even if you’ve done dress rehearsals and tech-checks in full costume and make up, it’s better to be safe than sorry!

Look over your face in a well-lit mirror and add more make-up if you need to. If you’ve been in the dressing room for any amount of time, it’s a fairly sure bet you’ll need to freshen up a bit. Clean up any streaks, raccoon eyes, migrating pigments, wayward lipstick smears or stray glitter flecks; dust a little translucent powder on your T-zone to prevent shine, and to set your foundation. Floss your teeth, add another coat of lipstick, blotting it well so it stays put, and then check your teeth for lipstick residue.

Re-spray your hair to prevent flyways. Toss your head to make sure any faux hair you may be wearing is stage-proofed, or that any flowers, crowns, head bands and head pieces are immobile. Check your earring closures and necklace clasps.

Examine yourself in a mirror from all angles -or get a friend to help you out- to ascertain that you look stage-worthy. If you’re rockin’ body glitter, or wearing any sort of body make up, see to it that the products are spread evenly over your skin, especially in hard-to-reach areas like the upper back. Be certain there is no lint from your street clothes or excess deodorant under your armpits- that stuff is bad enough in real life, but it’s a huge illusion-wrecker during performance!

See that there are no undergarments, clothing tags or bra pads showing anywhere. Spin around a couple of times to make sure your that your skirt won’t show more than you intend, and that don’t unintentionally flash the audience when you are on stage.

Shimmy vigorously in your costume, making sure every hook or snap is closed and that your costume is anchored where it needs to be. If you happen to be doing a burlesque number, also make sure that all hooks, snaps and Velcro will release easily- but only when you need them to. Shake your arms around a bit to check that all pieces of jewelry are securely fastened, and any armbands or gauntlets won’t slip down once you start dancing. If you are wearing a two-piece bra and belt belly dance costume, pin your belt to your skirt for added security.

Wearing heels when you dance? Do a few dance steps and be sure they don’t catch on the hem of your costume and trip you up- or, adding insult to injury, rip the costume! If you’re dancing barefoot, make sure any anklets or leg decorations you’re wearing won’t catch on your skirts either.

Have a big drink of water- you’ll need the hydration. And suck a mint or a have breath strip into to further stave off dry mouth.

After you’ve passed Last Looks with flying colors, get your game face on and hit the stage!



Backstage photo of Princess Farhana by Sherri Wheatley...taken in the dressing room of course!

A DANCER’S QUICK REFERENCE GUIDE TO THEATRICAL LIGHTING

Theatrical lighting enhances stage performances in many different ways. Through the use of colors and intensity, good lighting can set a mood, it directs attention to-or away from- a certain performer or place on the stage, it can take the place of scenery, mark the passing of time, or even be used to enhance the action onstage, or move a plot along.

Lighting can make or break a performance, turning an average piece into something special, or even turning a beautiful and technically perfect dance piece into something mundane- or worse, something that cannot even be seen!

Lighting technicians used to change the moods onstage manually, but nowadays, many theaters are equipped with computerized lighting boards that can be programmed to change in a split second.

While not all dancers regularly perform in a proper theater with state-of-the-art lighting, it is still a good idea to be familiar with some working knowledge of theatrical lighting.

Have you ever experienced this all-too-familiar exchange?

Question: “What kind of lighting would you like for your piece?”
Dancer: “ Um…. I’m not sure…?”

With a little bit of know how, you will be able to decide exactly what sort of lighting you would like for your dance piece, lighting that will enhance your performance and make you look beautiful…or menacing, innocent, young, old, remote, friendly and accessible or even as grotesque as you want!

While this is by no stretch of the imagination any sort of complete guide, it’s a quick 'n' dirty, easily memorized guide to the basics of theatrical lighting.


House Lights
These refer to the lights in the actual theater, not the lights on the stage. The house lights illuminate the entire audience area, and can include everything from chandeliers to sconces on the walls, and the runner lights on the floor that illuminate the walk ways and aisles. House lights are often controlled by the theater’s lighting designer, and can be dimmed or brought up before and after the performance, as well as during intermission.

Work Lights
Work lights refer to the lights that are on ( both onstage and in the house) for the cast and crew to work by during a rehearsal or tech-check, while the theatrical lights for the performance are being set up.

Spot Lights
There are many different varieties of spotlights, but they all have one thing in common: they focus an intense beam of light directly onto a performer or place on the stage. A follow spot is mounted on a moveable base, so it can literally follow a performer around the stage, continuously illuminating the individual. A pin spot directs a very narrow beam of light onto a person or place on stage.

Fill Lights
Fill lights and side fills are supplementary lights, usually used to lighten up the shadows cast across the performer’s features.

Accent Lights
The type of lighting used to accent a person or a place on stage, to make it stand out. Accent lighting may be done with colors or with intensity- a spotlight is basically an accent light.

Black Out
This term refers to a total absence of lighting on stage. Many performances begin and end in a black out, while the cast members walk on and off stage. There should ideally be a small mark on the floor done in glow-tape or fluorescent paint at center stage, so it can be seen it in the dark and help performers get their bearings as they step into place. Whenever possible, have a stage hand or the lighting tech make a separate mark on the floor for you if you are beginning in place on stage anywhere other than center.


Wash
A “wash” refers to the mix of lights being used onstage at any given time.


Gel
A gel is the thin sheet set across the front of light to alter the color of the light. Nowadays, gels are commonly made of plastic, but “back in the day” they were originally made of gelatin (from animal tissue) hence the name.

Gobo
A Gobo is a generic term for any sort of opaque object placed in front of a light to block a portion of the beam, or the entire beam of light.

Pattern
A Gobo with any sort of design cut into the surface. When placed in front of a beam of light, the patterned Gobo projects the design onto the stage.

Colors of lights and/or gels, and the effects they will have on skin tones, make up and costumes:

Black Light/ UV Light
Black light, UV, or Ultra Violet light, this is a bluish- purple light used for theatrical effects, and will highlight white or fluorescent-colored costumes and props, such as hula hoops or juggling clubs.
Black light is often used for psychedelic effects at parties and nightclubs. Aside from the fact that it makes almost any skin tone appear lavender to dark purple, it also evens out the skin and makes it appear flawless, and makes teeth appear glowing white, which is why so many “gentlemen’s clubs” use UV lighting. However, black light or UV light onstage is so unnatural and unusual, that on a stage, it should be used judiciously, for special effects only.


Violet
Non- UV Lighting in the violet family will cause any sort of warm color to appear redder, and will make yellows and greens turn brown and muddy. Red colored make up used on the performer’s face will look very deep and unnatural, and sometimes black. Shadows under facial features (like cheek bones) will also appear dark gray or black.

Purple
Deep purple lighting effects makeup and costumes in the same way violet lighting does, only even more intensely. Any costume or prop in with blue coloring will appear violet.


Lavender
Less intense than purple or violet, a soft lavender light will make the performer appear lifelike, but with a slightly cooler cast to the tone of the flesh.

Magenta
Though an intense color on its own, careful use of magenta lighting can actually look rosy and romantic when used an accent color onstage.

Pink
Straight up pink lighting will intensify warmer colors and gray down cooler colors. For example, a lemon yellow costume will appear almost orange, and a royal blue costume may appear to be dark purple, black or gray. Red or pink lipstick or blush will appear intensified and doll-like.

Light Pink or Peach
This rich, warm color flatters most theatrical makeup, and mixed in with whites, will bring a softer look to a bright stage.

Red
Used on it’s own, red lighting will either wash out or muddy up almost any color of costume, and plays horrendous tricks with stage makeup. On the face, everything but the darkest color of make up pretty much vanishes…. in other words, you will look like a corpse! Light and medium rouges fade into the performer’s foundation make-up, whereas dark red rouges turn a rusty brown. Yellows will become orange, and the cool shaded colors turn dreary shades of gray and black.

Orange
Orange or golden-toned light will make most flesh colors turn sallow. It will also turn colors in the red or pink family even more orange. Cool colors- blues, greens, purples, will be grayed and won’t stay true.

Amber
This color is pretty much universally flattering, because it warms the skin and picks up the lively pinks and flesh tones in almost any sort of theatrical makeup, making the performer appear healthy and “life-like”.


Bastard Amber
This is a warm pinkish-golden tone that is commonly employed onstage to mimic daylight- it adds a rich,robust tone to almost any shade of skin or any kind of stage make-up, and costume colors appear bright and true. And yes...it really is called Bastard Amber!

Yellow
Yellow lighting on it’s own makes most skin tones appear sallow and sickly, and can wreak havoc on almost any color used in costuming or back drops.

Green
Another color to be careful of using too much of onstage is green. It can make performers look sick…or just plain weird! Green lighting will make all flesh tones appear white and/or gray, and reds or pinks will appear black in proportion to the intensity of the green light. Any props, sets or make up that is already green in color will be intensified, blues will become greener and yellows will appear light green.

Blue
Used by itself, blue-toned lighting will definitely gray most flesh tones and cause them to appear more red or purple, again giving a zombie-like appearance to performers. As a special effect blue light can be very interesting, but use blue lighting with caution, and as an accent, for lighting that will highlight the performers themselves.

White
Almost all colors in the spectrum tend to stay true under white lighting, as do metallics and mixed neon brights, or costumes with patterned fabric. Any sort of shiny trim or sparkling stones will gleam and twinkle insanely and supernaturally.

Though pretty much any color costume will look great under white lights, unless you mix in other colors in a wash with the white lights, most skin-tones may appear ashy or extremely pale and facial features- no matter what the age of the performer- will look rather harsh.

UNIVERSALLY FLATTERING STAGE LIGHTING
If you are unsure of what sort of lighting effects to ask for, or there is a limited amount of lighting in the venue, a nice, bright stage with a mixed wash of whites, pinks and ambers is a safe bet.

It will compliment any performer’s skin tone and show the true colors of costumes, props, sets and backdrops. These colors used together will warm up and soften white lights, and make the performers on stage look life-like and animated without looking harsh. A stage lit like this will also allow the audience’s eyes to take in a performance without being distracted.



Photo: Princess Farhana basking in a spot light, during Hollywood Music Center's "Soul Of Bellydance" DVD shoot

DRESSING THE PART

DRESSING THE PART

I put lipstick on before I sit down to type an article, and also before making telephone calls. If it’s an important business call, I dress nicely before getting on the phone. I’m not talking about Skype or video chat either…just regular calls from a landline or a cell phone.

Why am I telling you this, and what does it have to do with dancing?

Admittedly I am quirky, but there’s a method to my madness- it’s because dressing the part helps to put you in the right psychological frame of mind for whatever you are doing.

It goes without saying that as dancers, we all know about the importance of costumes! But have you ever considered what sort of effect your off-stage clothes might have on your dance practice or your career in general?

If you were going to an interview for a corporate job, you would undoubtedly wear appropriate business attire to help you land the position. Showing up well-groomed and nicely dressed for a job interview proves that you are taking the interview seriously, and also reflects the fact that you care about yourself and take pride in your appearance…which sends the subliminal message that you would attend to other business-related tasks in the same careful manner. It also shows that you would be an asset in dealing with the general public.

Conversely, if you were attending a costume party, Victorian event, pirate festival, 1950’s-style vintage car show, Renaissance fair or some other themed event, you would probably want to dress appropriately- it not only makes things much more fun, it actually helps your brain to switch gears, by preparing you mentally for immersing yourself into the event.

If you apply the same ideas to your dance practice, it just might help you to be a better dancer.

This concept was brought home to me years ago, at the very beginning of my dance career. My troupe, Flowers Of The Desert, used to gig a couple of times a week if not more, and we rehearsed two or three times a week- more if we were preparing for a special theatrical show. Our Sunday rehearsal was usually the longest and most grueling. Everyone in the troupe had a hectic schedule: we all had solo dance gigs as well as our troupe work; some members had high-powered day jobs, and others were mothers of young children in addition to everything else!

Our Sunday rehearsals were tough; they were also required for all troupe members. Every Sunday, we would go over notes from the previous weekends shows, and try to correct and polish mistakes, as well as learn new choreographies. But it was typical for all troupe members to roll in for these important Sunday morning practice sessions late, bleary eyed, fresh out of bed, and wearing whatever wrinkled sweats we’d picked up off the floor or fished out of our dance bags. The rehearsal would usually start off slowly, with false starts and yawns, and our collective attention span and energy levels were pretty low. We all knew we needed to do something about this, but we weren’t sure what.

At the same time, though we saw each other constantly, even with this level of interaction and familiarity, we began to realize that at our shows, we sometimes didn’t even recognize our sister troupe members… because everyone was surprised at how well we cleaned up. We were beautiful- and performed accordingly. But in rehearsal, we looked like crap...and...well, you get the idea!

Finally, we had a group vote and decided to try an experiment: we decided that we needed to make an effort to look nice-or at least decent- for rehearsal, the idea being that it would help us to focus on whatever we were working on. And it did!

Try it yourself by taking a little time to “suit up” for your dance classes or even your at-home practice sessions. In years past, the mark of a professional dancer was to be dressed in rags- ratty leg warmers, worn-out ballet slippers, and hole-filled tights. But even in the film "Flashdance", Jennifer Beals looked positively adorable in her torn sweatshirt and conciously mussed-up hair! Nowadays, there is such a variety of cute, inexpensive dance wear options on the market that you don't need to be flitting around it rags- unless of course it's an artistic/fashion choice on your part and makes you feel better about your dancing!

Before you go to class, or get ready to practice at home, put on a touch of make-up, some cute sweats and a pair of pretty earrings. It’s a definite morale booster, and might just even help you to better get in the mood for your dancing.

When you are going to a gig, make sure that the street clothes you show up in are appropriate, not to mention pretty and feminine. Remember that you will be seeing not just your employers, but also the people you will be performing for- so looking good off stage is vital to preserve the illusion of your on stage glamour!

My street wardrobe usually runs the gamut from tank tops, long –sleeved t-shirts and leggings to…tank tops, long-sleeved t-shirts and leggings! But for years, I have always made sure to have a few “gig dresses” in my rotation. These are little dresses that basically look like I made an effort to look nice. They're also appropriate for any occaision, from a private party or wedding to a club gig or dance festival. They are uniformly made of some non-wrinkling fabric (like jersey) that can be stuffed into a gig bag and still come out looking fresh after I finish my show. I also choose garments with a loose construction or shape, so that they don’t leave any marks on my body when I change into my costume. Leggings and a nice drapey long top are also a good option. If you don’t like wearing heels to and from gigs, choose some cute boots or ballet flats to wear.

As for wearing cover-ups during a gig, I never go without one. I believe that stage costumes should be saved for the performance alone, and am actually superstitious about being seen by the audience in my costume before, during and after gigs. That is, unless of course people want to take post-show pictures of me in my costume! For me, a gig cover-up is essential, and I don’t count using my coat or a belly dance veil as a cover-up. Again, I like my cover-up to be portable and loose fitting so that it will not leave marks on my skin. I also like wearing something that be cool in the summer or warm when I'm in a drafty backstage area... but other than that, I have no constraints about the cover-up I choose. There are many beautiful, inexpensive garments that could function as gig cover-ups: ethnic caftans, burnout velvet robes, vintage capes, kimonos…the choice is yours.

So, remember: while you are off-stage, if you dress the part of a professional dancer, you will be treated with respect.

Ok, so if you have read this far, I will tell you a secret. Once, when i had a really important favor to ask ( on the phone, of course) I took off all my clothes before making the call, because I thought it would add the right touch of vulnerability to my voice. Guess what? The favor was granted!

And by the way, in case you are wondering, I am typing this wearing icy pink “Bombshell” lipstick by Mac, with a matching pink pastel rhinestoned flower in my hair. See? I told you I was crazy...