| | | | | are and showcase how professional you are. Props |
| The hardest part about belly dancing is knowing | | | | are important so keep one day for your sword, cane |
| where to start on a daily regimen for training and | | | | and veil etc. If you are working on a choreography |
| practice. There are different areas to focus on and | | | | make sure the props don’t showcase what you |
| most women don’t know that each area should be | | | | are lacking in body movement. Remember you body is |
| worked on equally. I wasn’t taught this methodology | | | | your greatest prop! Practice your finger cymbals |
| of practicing on specific areas separately and to this | | | | (which are an important instrument) more then one |
| day I wish I would have. I think that practicing | | | | day a week because this is the only way you will get |
| everything together can muddy up movements and | | | | good with them. Also your props can be included in |
| the completion of moves. It can also keep a dancer | | | | more then one day a week. For those dancers who |
| from seeing that she really doesn’t have the | | | | are just starting out and have a lot to work on, this |
| moves down. This happed to me because when I look | | | | schedule will help you out. |
| back at my first videos, all I see is a bird getting ready | | | | One thing that a lot of dancers do in the beginning is |
| to fly out of the nest! | | | | they work on their dance drills and combinations but |
| Another case in point; Remember not to over | | | | they forget music theory. Look up important Middle |
| practice a choreography! I have a student who just | | | | Easter musicians, composers and singers of days past |
| recently lost her rhythm because she over practiced. | | | | and present. Learn about the instruments musicians |
| She could not hear the beat of the music because she | | | | use and the different beats and melodies that are put |
| forgot to listen to the music. I had to ask her not to | | | | into music. This is important for your finger cymbal |
| practice for a week so we could get her back on | | | | playing besides any other instrument you might want |
| track. What was surprising to me was the fact that | | | | to learn. Listen to music so you can understand how |
| she said she felt off in certain areas but she did not do | | | | Middle Eastern music is composed and put together. |
| anything about it. So if there is robotic repetition in | | | | There are certain beats that we dance to so start |
| practice, the danger can be that the dancer won’t | | | | listening to as much classical and traditional music as |
| know the difference or if she does, do nothing about it. | | | | possible besides the modern pop of today. |
| There definitely seems to be a need to put in a work | | | | This may seem like a lot of work and it is at first but |
| schedule so that weekly practicing will keep you fresh, | | | | the benefits outway any of the hardships. In order for |
| graceful and relaxed. | | | | me to look the part, I have to know everything I can |
| First choose a day that will be hips only and focus on | | | | about the dance field I represent. Knowledge is power |
| sharp, soft, sharp and soft combined. Work in your | | | | and when we combine dance training and excellence |
| opposition hips and make sure to keep both hips | | | | to this power, we not only become roll models but |
| equally strong and precise. You can include shimmies | | | | leaders for women to follow. The difference here is |
| with sharp and soft but focus on your execution of the | | | | that every woman eventually becomes a leader. This |
| moves and follow through with each movement. On | | | | is why Belly dancing is different! |
| another day do layering with hips, chest and pelvic | | | | But I have to say there is another reason for |
| area. This may seem easy but you really have to | | | | wanting to know as much as possible about this |
| work on your timing with the layering to music. Next | | | | dance. It’s simple; I love being a woman! |
| work on your arms with combinations and movements | | | | “It isn’t what I do, but how I do it. It isn’t |
| so that you have that natural flow with them. With the | | | | what I say, but how I say it and how I look when I do it |
| arms you can actually work them in with each practice | | | | and say it. “ Mae West |
| day but have one day where you really focus in on | | | | There is a woman in each of us who craves attention |
| them. One important aspect of training is working in | | | | and loves to be up on stage. Just remember that |
| your traveling steps with different hip combinations and | | | | future generations of women will be looking at you |
| turns. Subsequently within the week work in different | | | | wishing they were you. In knowing this understand that |
| angles with backward and forward steps and | | | | how we keep this dance form alive is by passing on |
| combinations. Remember audiences need to see you | | | | our knowledge and skill to future generations and they |
| from all angles and your back is just as important as | | | | in turn pass it on. So if I’m going to pass on any |
| your front. Remember to work in stage presence and | | | | Belly Dancing tips to future generations the one big one |
| us your space. I will do in place movements and | | | | is this: |
| alternate with traveling steps. To be more specific | | | | “When life gives you lemons make orange juice |
| work in your hip combinations with your traveling steps. | | | | and make them wonder how the hell you did it!” |
| One important day would be to do shimmies of all | | | | Anonymous |
| kinds. In place, traveling and shimmies with sharp and | | | | So go out there and create a dance style that |
| soft moves can really tell the audience how skilled you | | | | makes the dance world wonder how the hell you did it! |