GOING PRO PART TWO: SKILLS & REPERTOIRE

This is Part Two in a series of articles I'm posting on becoming a professional dancer; today's post deals with your basic performance skills and dance repertoire:

No matter what, your technique has look polished. If you can perform in many styles with ease then you’ll already be ahead of the pack. You never know what a job may require, and you should never stop learning! Accelerate your dance study now- take as many classes as you can, and if you haven’t taken private lessons yet, now is a great time to start.

As a professional belly dancer, it will behoove you to be comfortable performing to many types of ethnic music, from traditional to modern pop. Build up your music library and become familiar with Arabic song structure and different styles of music. Learn as many of the most-requested classic songs as you can; know them inside and out, especially if you’re working with live musicians. If you’re using recorded music, make sets of various lengths; ten to twenty minutes for restaurants and clubs, twenty to thirty-five minutes for private parties. Structure your shows so that they have variety, with a beginning, middle and ending. For parties, allow an extra song at the end for audience participation.

You should be able to play finger cymbals well, be proficient with veil work, and have the skills to rock a hot drum solo. You also ought to be able to perform at least a couple of the folkloric dances that are typically requested at clubs, restaurants, private parties and weddings, such as raks shamadan, saidi, khaleegy, melaya leff and so on.

Are you good with props? While audiences in the Middle East are content to watch hours of Oriental dance, Western crowds often want a spectacle. They’re really into sword dancing, candle trays, Isis Wings, fan veils, large feather fans, raks shamadan and that sort of thing. Some purists may sniff at a couple of these props because they aren’t traditional, but the general public loves it; so if you don’t already have a specialty, think about learning one. If you use any type of props that require open flames, you may need to carry fire insurance. Check with your venue or local fire marshal regarding local laws.

Great stage presence is crucial. You must be able to win over the crowd and get them on your side the moment you step on stage. Even if a performer is a superlative technician, if she looks expressionless or scared, the audience will feel nervous, not entertained. There has to be a personal connection with the crowd. A dancer who is adequate but has great stage presence will often outshine someone who has incredible chops but is boring to watch! You can’t fake charisma, but emoting during your performances is a skill that can be learned. Consider performance coaching or acting classes, or at the very least, concentrate on allowing your emotions to flow as part of your technique drills. Get translations of the songs you use, so you’ll know what the lyrics are about.

For working in situations where there is no stage, such as many restaurants, hookah bars and private parties, you’ll need great improvisational skills. If you’re working in the round with customers and waiters wandering through your performance area, using set choreographies just won’t cut it. Practice improvising as much as you can; both to songs you know inside and out and to songs you’ve never heard before.

As a pro, whether a rookie or seasoned performer, you should be prepared for anything to happen while you are onstage... cause it always does! I'm talking about wardrobe malfunctions, mishaps with props, the music cutting out, missed lighting cues...and in my own case, once in Kansas, a bat flew onstage while I was dancing! Handle the situation with aplomb, by either completely ignoring it and continuing on with your show, or with a humorous look or gesture. It might seem like a big deal while you're dancing, but in the big picture, it's practically not even a blip on the radar...the more you're onstage, the more potential there is for crazy stuff to happen. Consider it a battle scar; you've just earned your stripes...and know that it will probably make for a great anecdote in the near future.

ZILL-TASTIC: MAKING FRIENDS WITH YOUR FINGER CYMBALS

Finger cymbals might as well be the international symbol for belly dancing.

Cymbals and veils are usually what civilians imagine when they think of belly dance. Known as zills in Turkish, sagat in Egyptian Arabic and salahsi or zang in Farsi, many dancers assume cymbals are a prop, but they’re actually a musical instrument.

Cymbals make a variety of sounds, depending on how they’re played, ranging from bell-like ringing with an audible sustain to clicks, muffled claps, and quick-strike chunky tones. The pitch of the cymbal itself differs considerably, depending on the construction; the metal alloy (usually brass or bronze) the circumference or diameter of the cymbal, and the depth of the rounded dome that rises up from the cymbal’s rim. Finger cymbals are manufactured in a wide variety of sizes, weights and finishes, many with beautiful Pharonic or Arabesque designs stamped or cast on the metal.

There are four cymbals in a complete set, worn at or just above the first knuckle of the thumb and middle finger on each hand, attached with an elastic loop. Some cymbals have a hole to thread the elastic through, others have two slots. Often, dancers have a preference for the type with the slots; because they are easier to control- I much prefer this type myself. I used to think the cymbals with a single hole were just mediocre souvenirs, and that only a beginner would even think of using them. They kind of dangle off the fingers, instead of sitting firmly on the underside. Then I bought a gigantic set of cymbals in Cairo, the type that are used in Egyptian orchestras…and that set only had the single hole! Years later, Artemis Mourat set me straight, explaining that both types of cymbals were “legit”, and used traditionally.

Playing cymbals used to be practically mandatory for belly dancers (hence the public’s association) but in the early ‘90’s, when Egyptian style became popular in the west, performers hoping to appear “authentic” hung up their cymbals because Egyptian dancers rarely used them. What most didn’t realize was that the real reason Egyptian dancers didn’t play was because they didn’t have to! In Cairo, professional performers work with large orchestras that always include a master sagat player. I was guilty of this misconception myself, and in the midst of my early studies, blithely informed my first teacher Zahra Zuhair, that I wasn’t going to play cymbals because it wasn’t Egyptian. She looked disappointed, so I added,

“You dance Egyptian style, and you don’t use cymbals!”

She regarded me for a moment, then arched a well -groomed eyebrow and said,

“Well, the difference between me and you is…I can play them if I want to!”

Point taken.

I began the lengthy and often frustrating process of learning cymbals, but in the end, I was so glad that I did! Finger cymbals aren’t required for belly dance, but if you can really rock (or shall we say “raq”?) On them, they add a lot to a performance. Cymbals played in flawless unison by a troupe is really powerful; a solo dancer accenting her music artfully or doing playful call and response with a live drummer is always really exciting for an audience! If you perform often using recorded music, playing cymbals adds that special live energy.

Here are some tips that will help you become a zill-tastic dancer:

Cymbal Selection And Preparation

To start off with, you should purchase a set of good quality cymbals that will be easy for you to handle. For beginners, it’s usually better to get a smaller, lighter set of cymbals until you build up your strength and co-ordination, though starting with lager cymbals is fine. No matter what the size of the cymbals, they’ll always seem awkward at first…when I first started, I felt like I had a dinner plate attached to each hand!

Look for a set with a nice tone; if you’re shopping in person, you’ll be able to test them out and see which ones you prefer. If you’ll be getting your cymbals online, there’s no way you’ll be able to test-drive them, so ask your instructor or dancers who’ve been playing for a while which type they recommend.

Listening to dancers playing sagat live will not only help you to absorb the patterns being played, but to figure out which tones you like as well- and it’s all a matter of personal taste. I prefer a mellow bell-like tone, and like my cymbals to ring, but when I asked master musician and dancer Karim Nagi about his preferences he said,

“I would select something a little heavier that one could get good contrasting sounds from, anywhere from deep tones and to high crisp tones. Just like any instrument, chances are you would have to try a few out. Personally I would select something a little heavier- if a set of cymbals sound too bell-like, and I can’t get that chunky, tight sound that I like, I won’t use them.”

Preparing And Caring For Your Cymbals

Some cymbals come with a length of elastic, but if it isn’t supplied, you’ll have to buy it. Look for sturdy elastic braid about three quarters of an inch wide for the type with two slots. If you bought the single-hole cymbals, you’ll need a thin, rounded elastic cord. Next, you’ll need to sew the elastic on to fit your fingers. For the double-slot type, cut four lengths of elastic about three inches long and thread the elastic through the underside of the cymbals. Measure the elastic to fit your finger tightly, turn the raw edge of the elastic over to prevent fraying, and sew the pieces together. For single-hole cymbals you may want to thread the elastic cord through a bead or small button (which will sit on the underside of the cymbal) to add some extra stability. Some dancers mark the slightly larger-looped thumb cymbals by sewing a bead onto the top of elastic, and I sometimes decorate my elastics by gluing a small rhinestone to the top of each one. Yup, I like the glitz!

If your elastic breaks at a gig or in class, you can quickly repair it with a safety pin. Do not pin or knot your cymbals underneath- it ruins their sound by muffling the dome…imagine stuffing a pair of socks into a small bell and you’ll get the picture!

Finger cymbals should be worn very tightly- it’s a running joke among dancers that if you’re circulation isn’t getting cut off, they’re not tight enough! I also think the elastic on cymbals compares to the pointe shoes ballet dancers wear: they’re unbearable at first, then you get about a week of broken-in comfort, and after that it’s time to change them!

The cymbals should sit up near the top of your fingers and thumb- some dancers prefer the elastic to hit at the first knuckle, others like them just below the nail bed. When you put your cymbals on, they should worn with the underside facing each other and, as legendary dancer Helena Vlahos says,

“ They should look like a pair of flying saucers on each hand.”

Cymbals can be cleaned with a soft cloth and ordinary brass or metal polish. Some dancers prefer bright shiny cymbals, others like them to have a patina or a slight amount of tarnish, for a vintage look; this is only an aesthetic consideration and up to you, because they’ll sound the same either way.

Before You Start To Play

Experiment with some of the many tones and sounds cymbals your cymbals make. Here are some for you to try out:

Rings

The quick strike of two cymbals together, creating a lingering ring like a bell

Claps

A strike with fingers of the hand cupped over the index finger cymbal, producing a flatter sound without any ringing

Clicks

Strike only the edges of the finger cymbals together, with your fingers cupped or open to produce percussive little ticks and clicks

Double Rings

Put your hands together and strike all four cymbals together lightly against each other (almost fluttering the cymbals) with both hands open, to make a tinkling, sustained ringing sound

Practice Makes Perfect

Like any musical instrument, mastering your cymbals requires a lot of training. I myself think I bit through like...five layers of skin on my lower lip!

When you’re playing, you will always start on your dominant hand. If you’re right handed, start with the right hand, but southpaws will begin on the left hand.

Practice as much as you can so you can play your cymbals easily and switch rhythms without even thinking about it. Start off doing cymbal drills seated or standing, and then add in some basic movements. After you’ve become comfortable with that, start experimenting with more advanced technique. Eventually, you want to be able to perform quick shimmies, traveling steps, and multi-layered movements while playing. You should also be able to play cymbals with your hands and arms in any position they would be in if you were dancing without them, with palms up or down, arms outstretched, overhead, crossed or moving on paths through the air, and while doing wrist circles.

Getting to the point of playing really well (i.e. on the beat and not at the expense of your movement) will take dedication and regular practice. It can be frustrating, but it will be worth it in the end!

After you’ve mastered the basics and can dance with your cymbals on, there are many ways to play them: to the basic rhythm of the song, to the melody, or just as occasional accents. Los Angeles based Arabic percussionist Donavon Lerman says:

“ Think of your zills as a solo instrument. Just like every rhythm has a matching basic movement on the dancer’s body, every rhythm has a matching basic rhythm on the zills. They should almost never be used constantly. They ought to be mostly used to add flavor, for a solo, to accentuate the dancer’s moves, for playing back and forth between drummer and dancer.”

He continues,

“ I would kinda correlate it to a dancer practicing a shimmy… they have to do it everywhere; in line at the grocery store, while doing the dishes, while eating ice cream… but then they choose not use it too much in performance. When cymbals are used while you dance, they should be strong and in the right place.”

Karim Nagi offers this suggestion:

“Remember, zills are an instrument, and you’re adding the instrument to the song, so be selective about when to play. With live music, don’t play for the entire song. Choose when to play based on the song’s structure, and if there’s a singer, don’t play when he or she is singing the verses. Another choice is to play for the choruses only. If you play for the entire song, then you’ll be distracting from the band.”

Basic Cymbal Patterns

Here are some basic, commonly used patterns for practice. Again, because most people are right handed, these patterns all start on the right, so just reverse them if you’re a leftie.

GALLOPS OR THREES:

RLR RLR RLR RLR RLR RLR RLR

123 123 123 123 123 123 123

ALTERNATING THREES:

RLR LRL RLR LRL RLR LRL RLR LRL

123 123 123 123 123 123 123 123

THREES AND FIVES:

RLR RLRLR RLRLR RLR RLRLR RLRLR

123 12345 12345 123 12345 12345

THREES AND SEVENS:

RLR RLR RLRLRLR RLR RLR RLRLRLR

123 123 1234567 123 123 1234567

SEVENS

RLRLRLR RLRLRLR RLRLRLR RLRLRLR

1234567 1234567 1234567 1234567

Zill-Tastic Resources:

Instructional DVD from Artemis Mourat:

Zill Speak - How to Play Finger Cymbals from A(lmee) to Z(ills)

Turquoise International Finger Cymbals :

http://tinyurl.com/73flpdd

Saroyan Mastercrafts Finger Cymbals :

http://dwp.bigplanet.com/saroyan/onlinestore/

BACK TO THE FUTURE: HONORING OUR PAST TO PRESERVE OUR DANCE

Like the rest of the world, the belly dance community is changing rapidly. Modern technology, globalization, forward thinking, trends and the inclination towards Westernization in the countries of the Middle East and North Africa are all contributing to these swift changes. And, of course, the fact that Oriental Dance-in all it’s myriad forms- has been booming into a worldwide fad doesn’t hurt, either!

It’s probably not an exaggeration to state that belly dancing itself, it’s practice, application, and traditions have changed more in the past decade than it had in the hundred years that preceded the New Millennium, if not many centuries previous to that.
While the evolution of new styles and fusions within Oriental Dance are exciting, revitalizing, and amazing to watch and be a part of, we are still running the risk of seeing many elements of our beloved dance fade into obscurity, and perhaps become lost forever.

Personally, I am a huge advocate of individuals bringing creativity and innovation into the dance; I love to experiment and mix and match dance genres myself, and have become well known as both a traditionally based dancer as well as a fusion performer. When I first started dancing, nearly twenty years ago, I learned as much as I could about all facets of Oriental dance, from cultural context to genre-specific signature movements, from differences in costuming to the traditions that surrounded certain rituals. I did this because it was fascinating to me, and I was obsessively hungry for knowledge about where our dance came from. I spent hours doing research in libraries, because there was no Internet; I took classes and workshops like a maniac and became familiar with- and in many cases, well versed- in the nuances of many styles of folkloric, classical and cabaret dances from Egypt, Turkey, Lebanon, Morocco, Tunisia, Uzbekistan, Persia, and many other countries- like flamenco, Romany dances, and the like. I was interested primarily in Egyptian raqs sharki, but also learned to balance scimitars and perform raqs shamadan. I played with many props aside from those as well, incuding trays, canes, Isis Wings, fans of all sizes, etc.

After a while, I wanted to add a personal stamp to what I was doing, and began imbedding my own ideas, concepts and flights of fancy into my performances, at the same time many other dancers from all over the world were doing the exact thin, or something similar to it..

Recently, I had an experience that was kind of like one of those Oprah Winfrey “A-ha! Moments”. I was dancing at a party, and there was a woman- obviously a belly dancer- sitting in the audience who was happily wriggling in her seat. Excited to see a “sister”, I called her up to dance with me. The music playing was classical Egyptian, “Ganal Hawa” to be exact. She got up and began dancing-quite beautifully, I might add- but as we moved together, I began to feel like we were trying to converse in two completely different languages without a common ground for understanding. Though she was dancing on the beat, and looked lovely, we were not in sync at all. I mirrored her movements, but she couldn’t mirror mine. She had dance training- it was apparent- but her movement vocabulary didn’t include the typical fluidity or layers I was used to seeing.

After my show, I spoke with her, and she was indeed a belly dancer, with four years of training. Though she liked my music, she didn’t know what it was; she also told me she was a teacher, but preferred “the modern style”, she was a Tribal Fusion dancer. The thing about her though, was that for all her wonderful movement, her hips were pretty much NOT involved, what she was doing was basically a string of arm and hand movements and gestures, with some foot work and upper-body isolations. I didn’t get a chance to ask where she had studied, or with whom, or if she was self-trained.

This experience stayed with me for days, causing me to think and reflect.

I adore Tribal Fusion…. or any kind of Fusion. I also love “traditional” ATS –or ITS, as it’s now sometimes called, as well as Flamenco Arabic Fusion, Samba-belly, Raks Gothique, Asian-Influenced, …. You get the idea. But it wasn’t just that the dancer was performing something “modern”… it just didn’t look at all like oriental dance to me.

I stared wondering: what happened to just plain old belly dance?

Two decades ago, if two dancers from opposite backgrounds- say Egyptian and Turkish- got together to dance, even just for fun, there would be a shared movement vocabulary. There would be stylistic differences of course, but essentially, they would be dancing in the same “language”. One decade ago, if a tribal dancer and a cabaret dancer got together, there would still be similarities in the movement vocabulary… hip articulations, foot work, hand and arm gestures, and of course, finger cymbals would be included! Nowadays, it’s different.

Thinking about the incident with the dancer, I wondered if I was mildly upset and uneasy about this for personal (as opposed to professional) reasons. I wondered if the disconnection I felt was because I was being stubborn, an “old lady”, a belly dance Luddite or just a big ole stick in the mud…then I realized that while no one can call me a staunch traditionalist, I believe in keeping tradition alive!

I became conscious of the fact that though I sometimes choose to take creative liberties within my own dancing, I know enough about the culture, history and tradition of oriental dancing to make these artistic choices from a well-informed, educated view-point. Since we are practicing an art form whose very origins are rather mysterious, and whose historical documentation has been spotty at best, it is our responsibility as dancers to respect and preserve our past, even as we lean towards the future!

There are many ways each individual dancer can do this, no matter what sort of style of dance you prefer to perform or teach, whether you perform cabaret or fusion, whether you are a baby dancer, a pro, a student or an old hand! Here are some ideas I have used in my own studies that may help you to connect- or reconnect- to the rich customs and rituals that make our dance so unique.

Study The Dance In It’s Cultural Context
Do some homework- learn what you can about the many cultures that influenced belly dancing, and how the dance grew and changed in it’s countries of origin. This can be as simple as opening a book or surfing the Internet, or as time-consuming and costly as “making a pilgrimage” to North Africa or the Middle East. If you are a serious student or working dancer and you can afford to plan for a dance-study trip, and haven’t been to any of the belly dance “motherlands” before, it would definitely behoove you to travel with a group, lead by a knowledgeable teacher. Many are available every year, many offer payments on time. Numerous “big names”, or dance legends such as Morocco, Hadia, Eva Cernik, Angelika Nemeth, Fahtiem, Delilah, Cassandra and many others offer educational tours on a regular basis. If, in these horrid economic times, taking a trip is not an option, then try to study the same thing closer to home. Sahra Saeeda, one of the most well-educated figures in dance ethnology, not only offers educational dance tours, but has a workshop series, tailored to locals around the world, called “Journey Through Egypt”, which is an intensive and ultra-comprehensive study of Egyptian dance traditions and culture, region by region.

Familiarize Yourself With Traditional Music, Movements, And Costuming
As a dancer, you owe it to yourself, and as a teacher, you owe it to your students- no matter what style you perform or prefer- to be able to identify at least the most commonly used Arabic rhythms, as well as the movements that compliment them. You should also be familiar with Arabic musical structure, and know the titles of well-loved songs, and have a working knowledge of famous composers and singers. Do some research on line and have a look at costuming: traditional or folkloric as opposed to modern; Turkish vs. Egyptian, etc.

Study this on your own or seek out instructors who specialize in these fields, take a few classes or privates- or study via DVD’s, both instructional programs and dance documentaries. There are also many CD’s on the market offering tracks featuring Arabic drum rhythms to help you identify them.

Learn To Play Finger Cymbals
Unfortunately, what used to be a requisite for belly dancers of all stripes is quickly becoming a lost art. Keep this art alive by challenging yourself, and learning to play them if you don’t already! No matter what you call them: zills, sagat- finger cymbals, especially to “the general public” they are representational of belly dancing. No, they’re not always easy to learn, but you will be so glad you did!

Early on in my dance journey, like many students, playing cymbals daunted me. I declared to my primary teacher, Zahra Zuhair that I was only going to dance Egyptian style- and not play zills- just like she did!
She arched a well-groomed brow at me and said, sweetly but firmly,
“That’s fine- it’s your decision…. but the difference between us is that I can play them if I want to!”
Well…that kinda drove the point home to me, and even though I practically bit through every layer of my lip in the frustrating process of mastering them, I learned them well, play them often, and require my students to learn to play them, too. Again, if you don’t have time in a busy schedule for classes, there are many DVD’s on the market, which will allow you to drill your cymbal technique at home.

Get Lost In The Past For A Little While
Thanks to www.youtube.com, we all have access to a wealth of videos featuring legendary dancers- take advantage of this! Spend some time looking at cool movie clips from Egypt’s “Golden Age”, and watch Samia Gamal, Naima Akef, and Tahia Carioca in action. Have a look at Sixties and Seventies dancers like Suad Hosny, Soheir Zaki, Nagwa Fouad, or the Turkish star Nesrine Topkapi. While you’re at it, look up some North African or Lebanese folkloric stuff, traditional Rom dances, traditional dances of Yemen, Syria, Israel, Persian Classical pieces, Bollywood, Bhangara, Uzbek dance, Egypian balady… the possibilities are endless, and it’s all there for you to see and become inspired by.

Remember… it’s up to every one of us to help keep our dance alive, and by honoring and preserving our belly dance past, you can assure it’s future!

Photo: One of the many gorgeous antique oriental oil paintings at the Mena House Oberoi in Giza

OUT OF THE CLOSET

Welcome to my world!

It's a world so filled with Swarovski crystals that you will need to wear sunglasses to protect your retinas from the blinding glare!

The Royal Palace is a wondrous Hollywood abode filled with diaphanous silk veils in a rainbow of colors, luxurious hand-made costumes dripping with fringe, boxes containing yards and yards of yet-to-be-used sparkly fabric, drawers full of beads, wheels of stretch sequns and packages of sparkly trim, Tupperware containers full of rhinestones hair-flowers, and shelves groaning with the weight of way-too-many rhinestone tiaras and crowns.

It's a magical place where feathered showgirl headdresses hang on the walls alongside vintage belly dance album covers; a place where the bathroom mirror is literally so covered with used bindi's it's hard to see your face and the neighboring shelves hold enough make-up to rival a a major branch of Sephora.

It's also a place where visitors can barely navigate due to the proliferation of gig bags, suitcases, vintage hat-boxes housing wigs and hair-pieces and plastic storage containers chock full of blinged-out stage-wear.

It's a place where vacuum cleaners are rendered almost completely useless due to the stunning amount of coins, sequins, sheesha mirrors, shed boa-feathers and broken beaded fringe on the floor. I went through three of them last year- all damaged beyond repair.

It's a place where multi-colored glitter is prevalent, even in the cat's litter-box.

I knew things were getting bad a few years ago, when I watched one of my cats defecate almost seven inches of royal blue single-sequin trim ( kitty was ok thankfully ) but oh...shitting glitter?!?!? THE SHAME I FELT! Did that stop the insanity? No- I just vowed to be more careful, but somehow, it never worked.

Every surface in my house is literally COVERED in glitter- as I am. As is my bed, the yard, my car and every hotel room and air-plane I set foot in, even for a second. Body glitter has a longer half-life than Uranium, Plutonium or any other radioactive element- I can certainly vouch for that!!

Tonight, I tried to make good on a New year's Resolution... namely to re-organize my costumes. Only the belly dance costumes, for God's sake not all of them...not the burlesque stuff, the Carmen Miranada outfits, evening gowns, Indian ( both Native American and East Indian) headresses, pirate tricorns, sombreros, Santa Hats, sailor caps, shoes....awww HAy-yell no! Just the belly dancing stuff.

I actually managed to make some progress, about three hour's worth. I sorted through them weeded a few out for sale, put some in a "repair" pile, and organized them as best I could. Organizing and cleaning are not really in my skill-set...but making a mess is truly one of my talents!

The I took stock, so here's the inventory:

64 FUNCTIONAL COSTUMES ( justified junkie-style by the fact that I probably do about 320-345 shows in a given a year for the past fifteen or so years)

6 COSTUMES IN NEED OF REPAIR

5 FOLKLORIC-TYPE COSTUMES

4 COSTUMES FOR SALE ( as of this writing)

2 COSTUMES I DON'T WEAR ANY MORE BUT HAVE SENTIMENTAL ATTACHMENT TO AND WILL NEVER SELL

14 HIP SCARVES

8 SWORDS OF VARYING SIZE, WEIGHT, LENGTH

2 SHAMADANS

3 ASSAYA/CANES

9 WORKING SETS OF FINGER CYMBALS, VARYING SIZES

*This list does not include an accurate count of stray skirts, veils, choli tops, Melodia pants, OR the two costumes ( just realized) sitting in my gig bag, OR the random veils, hip scarves and student-loaner cymbals in my class bag.

It's much worse than I thought. Perhaps i should read re-read my own first post.