| When students first begin to learn belly dance, | | | | Over the years, I've known different dancers who |
| teachers often focus on technique: the correct way to | | | | used different techniques to put themselves "in the |
| do a hip lift, the correct way to do a shimmy, the | | | | zone" emotionally for a performance. Some do a quiet |
| correct way to isolate a hip circle, the best way to | | | | meditation in the privacy of their dressing rooms |
| produce a fluid undulation, the correct way to layer a | | | | before they perform. Some "pump themselves up" by |
| shimmy on top of other moves. Of course, technique is | | | | doing hip drops in time to the previous dancer's music |
| important. Bad technique can look sloppy or even | | | | before it's their own turn to perform, absorbing |
| cause injury. But technique alone is not enough. Dance | | | | themselves in the music as they do so. |
| is an art form, and art is all about expression, emotion, | | | | Here are some emotions you might try to touch while |
| soul, and spirit. | | | | dancing: Joy ("This is really fun!" or "I'm in love and I |
| If your dance lacked soul, maybe you allowed the | | | | want the world to know it!" or "I just love this song!") to |
| logical, organized side of your brain to exert too much | | | | cheerful, happy music Sad reflection ("I miss those |
| control. | | | | happy days when I was in love, but I'm moving on |
| Maybe you were so busy thinking about what to do | | | | now") which is lovely for veil work or standing |
| next that you forgot to simply enjoy what you were | | | | undulations to a sad song. It's most effective when you |
| doing. Maybe you were thinking, "I wonder if I | | | | have an ethnic audience who understands the |
| remembered to turn off the oven?" Maybe you were | | | | language the song is in. |
| focused on trying to execute a challenging move with | | | | Dreamy introspection ("I'm allowing you to watch me |
| perfection. Maybe you wondered what critique was | | | | pray") - also lovely for veil work or standing undulations |
| forming in the brain of the teacher as she gazed | | | | Strength, power like a warrior queen, great for sword |
| thoughtfully at you. All of these things can be | | | | work or dramatic music ("I am woman, hear me roar!" |
| distractions. A busy brain can take your mind away | | | | "I have a sword, and I'm not afraid to use it if you |
| from the joy of the dance. | | | | heckle me!") Teasing, playful ("I'll bet you can't do this!" |
| So, what you need to do here is find a way to empty | | | | or "Yes I do, but not with you") Mischief ("How long will |
| your mind of all the distracting baggage and take your | | | | it take this waiter to realize I'm following him with my |
| brain to an "other" place where nothing exists except | | | | veil?") Surprised pleasure ("Wow, I didn't know I could |
| you, your music, and your response to it. Explore your | | | | do this!") as you execute a difficult move Sassy |
| spirit, let go of your thinking at least for a little while. | | | | independence ("I am soooo over that jerk of a man I |
| Each dancer has her own way of doing this, but here | | | | used to see!" or "I'd rather be single than be in a |
| is one method that works for some people: Begin by | | | | relationship with a man like you" or "I have a great job, I |
| selecting music that stirs your heart, that carries your | | | | have great friends, who needs a man to complicate |
| imagination to a place of joy, passion, spirit, etc. | | | | things?") Humor, good for recovering from bloopers. |
| Listen to that music over and over, until you know it so | | | | (You're tired of getting tangled up in your veil, so you |
| well that you can hear it in your head even when your | | | | cast aside and pose your pointer finger like a gun |
| sound system is turned off. | | | | barrel and "shoot" it.) Apprehension. Helps build drama |
| As you listen to that music, allow yourself to feel an | | | | when using props. ("Will that sword I just placed on my |
| emotional response to it. It helps to obtain a translation | | | | head fall off?") These suggestions are just a starting |
| to the lyrics, if possible. Remain aware of what | | | | point. Reach out with your soul to find your own |
| emotion it makes you feel. Delight? Spiritual ecstacy? | | | | emotional signposts that feel right with your own music |
| Quiet introspection? Sorrow? Now, in the privacy of | | | | and dance expression. |
| your home, dance to the music, and try to cling to the | | | | Separate from actually dancing, look for other ways to |
| emotion that it evokes in you. I'm not asking you to | | | | explore the creative side of yourself. Take a class in |
| concoct fake teeth-baring smiles or horrid frowns. Just | | | | drawing. |
| reach into yourself and try to connect with your | | | | Begin keeping a journal which focuses on your |
| emotional response. Don't worry about whether you're | | | | daydreams and flights of fancy. The more time you |
| repeating the same move over and over, or whether | | | | spend creating something, the more comfortable you |
| your layered shimmy-over-hip circle was done with | | | | will be connecting with that part of your spirit while |
| precision. Dance with your heart, not with your head. | | | | dancing. |
| Keep practicing this "dance as emotional response" in | | | | Creativity and emotional expression come naturally to |
| your regular at-home practice routine. You'll still want to | | | | some people. For others, it's a skill that must be |
| separately practice "dance as precision technique" too. | | | | learned. It can be learned. The trick is to set aside all |
| At first, don't try to do both at the same time. Practice | | | | your "busy brain" thoughts and allow yourself to feel. |
| one way, then practice the other. Give yourself enough | | | | This probably won't come easily at first. But keep |
| experience with each type of practice to feel at ease | | | | working at it, and just like any other new skill the more |
| with each view of dance. | | | | you work on it, the easier it will be. Don't expect |
| Once you can reach out with your emotions to touch | | | | passion to come flooding out of you the first time you |
| the music with confidence, then bring together your | | | | try it. Celebrate your small successes along the way - |
| emotional and your technical skills, practicing both | | | | each will make the next one come more easily. |
| together at once. | | | | |