(published by Frances)

I'm not one to dictate and tell it that it goes this way or that way or no way at all...
...belly dancing is indeed a highly graceful, sensual, evolved art form. Since most of us are familiar with the "Western" style of dancing, this is an "Eastern" or "Oriental" style of dancing; a style that is very unfamiliar to us as we must re-learn how to isolate and control our movements and make them as fluid as possible.
Everyone is unique and definitely an individual. We all learn at varying speeds; and especially when different levels of experience is sprinkled in, the absolute beginner can feel frustrated with learning Belly Dance. Bottom line is that everyone has a different approach.
Step outside the box and think of how you chew gum. When we first put that piece of gum in our mouth, it's a bit stiff and we have to work at it to make it more pliable. You don't think about it much...kind of like breathing - we just do it. We also can multi-task while chewing gum like writing, walking, putting stuff away, and even talking.
So, as with learning each step or movement of belly dance, we must practice it over and over till we are comfortable and it's like chewing gum...till we just don't have to concentrate on it. Repition is the key...as borring as it sounds, it is the essential ingredient to success.
...It is then that is when we can add more layers of movements (or prop work) that make this wonderful dance shine...

Rozana Al Jihan shares my philosophy....

This interview was conducted by Beverly DesChenes a few years ago

"How can you tell when a student is ready to move from one level to the next i.e.; from Beginner to Intermediate and from Intermediate to Advanced."

"Ideally? To move into an intermediate class the student should be able to display a basic knowledge of all the dance steps taught in beginning class. Her form and posture should be on a positive trend. I say this because posture and technique issues are hard to break once you introduce more complex body movements. However, if the student is at least aware of the
elements involved, her posture and technique will become more refined in intermediate class.I feel that a dancer does not reach advanced status until she has a varied collection of dance steps and combos and can effectively follow or create a new choreography without any major issues. Another words, you should not have to stop the process of putting together a choreography in order to review a particular dance step with an advanced student. She should be able to display a control of her body that can not be achieved without time and practice. Of course we never stop learning so there will always be that step that throws us for a loop. "

"How can you tell when a student is ready to perform in public?"

"They're ready when they can display a level of confidence that will allow them to open up to an audience. Some people come to me with some experience performing in other venues such as Flamenco, Ballet, Modern Dance etc... For these, the time is usually reduced. The most challenging thing about performing is not the amount of tricks you can perform in the shortest period of time, but how long can you keep the audiences attention while your up on stage. Being able to dance and being able to entertain are two different things. Of course everyone has to start somewhere, that's why we have haflas, student recitals, and volunteer opportunities such as retirement homes, to begin our performance careers."

"How can you tell when a student is ready to join a troupe?"

"It depends on what kind of troupe your talking about, student, social or professional. Joining a student or social troupe is easier than being part of a professional troupe. A student troupe is usually one's first experience with dancing in a group. You are ready for this kind of experience when your knowledge of belly dance basics is complete, your teacher will create
the choreography and you will continue to learn in order to increase your expertise. A social troupe is usually made up of intermediate dancers, they create their own choreography.
Being part of any troupe involves a dedication that not all dancers are willing to make. Especially the dedication involved in a professional troupe. My troupe, Zahara, practices at least four hours a week not including classes taken. Not to mention time spent out of practice
just organizing, performing and we make our own costumes. Not everyone is cut out for a troupe. Some prefer to dance solo. "

"How did your troupe get started and who are the members?"

"Luck! I was initially presented with the challenge of teaching a group of homeschooling mother's. They came as a ready made group. All I had to do was teach them to dance. We worked very hard for about 6 months, give or take, and competed in Amaya's 2003 Shake and Bake. We won 2nd place! I was so proud of them. They were very excited to learn but not all of them were as excited to put the kind of work and dedication into the kind of troupe that I wanted so I lost about half of them right after the competition. After some adjustments, additions, further subtractions. I am blessed to be left with Ara, Fa'iz (both my cousins), LaVerne, Dawn, and myself. "

"Why did you start a troupe with women who hadn't had any dance experience?"

" It wasn't a conscious decision. It could have been because I like to see what I can accomplish. When you have a clean slate to work with, you know your not taking credit for anyone else's work. This was a difficult process. I got hurt a lot in the beginning and I probably pissed off a few people. But, I learned some valuable lessons. That's why I cherish
those that have stuck by me through this process. I jumped into the fire and they we're able to jump in with me. Now it's a matter of blossoming through the flames. We're getting there. We're a close group.

"What is you favorite video/ dvd right now?"

"I love combo and performance videos. It's hard to say which one is my favorite because there is good and bad in almost every video I come across. However, I have to say I really am enjoying Suhaila's latest troupe performance video."

"What do you look for in selecting music? What is you favorite cd right now?"

"I try to find music that no one else in town is using. That usually means it's either obscure or ugly. I was ardently implored by LaVerne, one of my troupe members, to find another song for our Raqs Assaya. It's not a song you would see a soloist use that's for sure. :~) I like powerful music with lots of melodic changes and pauses. I love pauses. "

"Where do you draw your inspiration from in creating a choreography?"

"My students, troupe, music, dreams, emotions, accidents, acting silly, my goodness inspiration can hit you at any time. You have to be ready with pen and paper. Which I'm usually not. I depend on my students sometimes to keep it all in their heads. It usually works out."

"Does the music come first or the dance?"

"I've had both. Harajuku girls was choreographed to a very whiny mizmar piece. A few weeks after it was finished LaVerne took me to her car and let me hear how well the dance went to Gwen Stefanie's Harajuku girls and after a few alterations of the music by Fred DesChenes, the rest is history. " Our cane dance was just the opposite. I could not have choreographed
that piece without the inspiration of the music. Very powerful. "

"How would you describe your teaching method? What makes you different than other Teachers?"

"Hmmm, I'm pretty spontaneous. I usually have a basic plan but my students may find themselves in the middle of a new choreography by the time class is over. I tend to push my classes. We sweat and laugh.
My beginning class is different. I'm pretty focused on giving them the right tools to learn the basics. I guess I'm different because, that I know of, I'm the only belly dance teacher in town that has a 2nd degree black belt. I teach both bellydance and Tae Kwon Do. Martial arts tends to sneak
into my choreography now and then. My martial arts training also makes me a little more serious about my expectations of myself and my students."

"What would you say is your style? What styles do you teach?"

" Well that's a good question. I guess my style is varied since I have a varied background. As a child and teen I was into ballet, tap, jazz. I studied with Wanda at, what was then, Kay Windsor Dance studio (On Stage). At nineteen I began taking classes with Libby Prothero at
Dance World and learned both belly dance and Tahitian/Hula. She was a former June Taylor Dancer so her style was also varied. I went on to dance and study in California, taking lots of seminars with teachers that taught in folkloric, Turkish, and Egyptian styling. More recently I took lessons from Karla Johnson (Portland, OR) who was primarily Egyptian cabaret and Jim
Boz (now of San Diego) taught me some American Tribal. So I guess I am a fusion of influences that I can pass on to my students."

"Do you use props for your dances (zills, cane, sword) and do you teach students how to use
them?"

"Yes, all those you mentioned. Other than zills, which are taught in class, I teach props in a workshop setting. I'm brushing up on Shamadan and fan so those are next on my agenda"

"Would you say you are a perfectionist?"

" No, I wouldn't call myself a perfectionist. I would say that I have high expectations of myself and my troupe. LaVerne, Ara, Dawn and Fa'iz have the same expectations. That's why we can work so hard together. They signed on with me and I with them. They have stuck by me through some hard lessons. We've learned them together. We're still learning."

"Students have a lot of expectations from their teachers,. What do you expect from your students?"

" I would like to have their respect. That means come to class ready to learn and do their best while they're in class. "

"Some people have said that they would like to learn only combos and dance steps instead of learning choreographies. What is your opinion on that?"

"What is a choreography? It's a series of combos and dance steps. Same thing. Some people aren't interested in performing with a group, that's an option. But every dance step or dance combo that I teach within a choreography is something a student is welcome to use in any
capacity. As long as she doesn't take credit for a whole choreography. "

"What is your best advice for students at any level?"

" Don't compete with anyone else but yourself. Always do your best and expect your best to vary from day to day and most importantly have a good time"

"How important is it do warm-ups and stretches? How long should you do them before dancing?"

" A warm up is essential, but it can be done just dancing with little effort. I like to warm up for at least 15 minutes. Stretching is important to keep yourself flexible and to gain bigger movement. This is normally done at the end of class when your nice and hot. "

"What would you like to see happen for the future of Bellydance in New Mexico?"

" It would be great to see more people getting involved in the dance. I would also like to see better dance venues. When I was in California you didn't have to dance between tables to perform on a weekly basis and live music was not hard to find there. In NM we have to create our own dance opportunities. It's better than it was 25 years ago but it's moving at a snails
pace."

"Should a student just dance as a soloist or in a group?"

" Well, experience is experience but I would have to say that it is completely up to the individual. Some people like the social aspect of dancing within a group. Some don't. Some of the most famous Egyptian bellydancers were not very good in groups but were wonderful on their own. "

"I hear you are using live drummers to dance with. How is that different than dancing to music cds or orchestras (live musicians that play different instruments)? I thought that only soloists used live drummers, How does that work with groups? "

"Yes! Fred and Andrew DesChenes.
Well, you don't have the advantage of the communication that happens between drummer and dancer when you dance with a CD. It's more exciting to dance with drummers. Orchestras are also fun and exciting, however they usually have an arranged song so there is little spontanaity. Drumming for a group? What I like is the interaction that takes place during the choreography process. We have a new dance that Andrew has been in on since it's inception and it's fun to see him think and change rhythms
as I create the dance"

"Are your drummers limited to your studio or can anybody use them?"

" Shameless aren't you Mrs. DesChenes? Although I would love to keep them all to myself I feel that's it's important that they have freedom to drum for anyone else that would like to pay them. The experience of drumming for different dancers will only make them better. I hope that Jinan's future will keep them busy enough with our dancers that they won't stray to far" ;~)

"What is the funniest or most disastrous thing that has happened to you as a Belly dancer? How did you deal with it?"

" Over a period of years any dancer will experience something they feel is disastrous. When I was in Zamaroot years ago we had an incident with a broken down car and a need to get to Santa Fe for a show. We showed up so late! I was thrown out on stage, partially dressed, with a cane, for a dance I had not learned yet. More recently another incident with a cane dance. Not good. But, you have to laugh about it later and call it a lesson. Just remember, when something like that happens to you, know that dancing takes a baring of your soul and the audience is lucky to be experiencing something so private. Never apoligize. Go on and call it
a lesson for next time. "

"What kind of venues are you available for?"

" As an individual I prefer stage performance and teaching seminars. I did my time in restaurants years ago. My troupe likes to do parties, corporate events, wedding showers, etc.. We really enjoy dancing for large audiences. It's always a challenge to entertain those that know nothing of belly dancing. Zahara likes that kind of challenge. "

"What else do you do besides teaching and dancing professionally?"

"Steve, my husband of 20 years, Brian 18 and Kevin 15 are my greatest accomplishments and I'm their biggest fan. Therefore I spend my off time running kids around for music lessons, band practice, etc... I
also teach and take Tae Kwon Do. I keep busy. "

"Do you give private lessons?"

"Of course, I am always available for anyone who would like to hone their skills. There is a real benefit for a student to take privates every now and then. It's great to have the teachers undivided attention and time spent on specifically what you need."

"How long have you been teaching?"

"I have been teaching belly dance since 2001 and I started teaching Tae Kwon Do in 1998."

"What's in your future?'

Updated since July 24th, 2007

A Summer Nights Dream July 28th at Joan Kent Theater
Amaya's Shake and Bake August 3 1:00-3:00 Cane Seminar
August 4th Shake and Bake Show
August 5th, I get to watch my students compete in the Shake and Bake competition
Sept 22nd US Body Painting Festival performance
October Halloween show with Leyla Najma
December 7th. Greek Mythology Show at Joan Kent Theater
and a full year of Student Recitals starting in January of 2008

The biggest show for me is in September of 2008 at the Hispanic Culture Center.

Hello all,

I'm still configuring my page but have been too busy to visit and add all the goodies I want to pass on..

IF ANYONE would like to recommend stuff ofr me to post, PLEASE PM me!!!

Thanks so much for your understanding....

@ Dance Dreams Studio, Calimesa (starting 8-2-09)
1090 5th Street Suite 117B, Calimesa, CA 92320 (909) 795-5485
Kids Bellydance: Wednesdays, 5:30pm to 6:30pm
Beginning Bellydance: Wednesdays, 6:30pm to 7:30pm

@Anahata Yoga Movement Arts Studio, Riverside
3742 Tibbetts St., Suite 202, Riverside, CA 92506 (951) 276-9642
Class Coach on call & private / semi-private lessons at the studio upon studio availability

On location (home) Private / Semi-Private Lessons: Call me for Availability

Performances / Workshops: Call me for Availability


**message phone: (909) 809-1598**

The Middle East is a very diverse region....there are many elements that are unique to a region, but equally as so, you can see how the steps have evolved and have lent its origin to other folk dances we know....

"Debke":
is a Middle Eastern folk dance. It is a line dance. That is, people hold hands to form a line with the leader at the right end of the line. There is at least one notable exception, which is the Palestinian "debka", in which the leader is at the left end of the line so the line moves in the opposite direction. "Debke" can range from very simple (Step-step-step-kick-step-kick) to very complex. It is NOT done in Egypt, but you'll find many variations throughout Lebanon, Syria, Jordan, Palestine. It's found in Iraq too, I believe. It is done by both men and women and, depending on local tradition, the lines can be women-only, men-only, or mixed. It is closely related to the Greek Fast Hasapiko (Not Vari Hasapiko), Macedonian Oro, Bulgarian Horo, which are all based on the same Step-step-step-kick-step-kick pattern. Some folk dance specialists call this the generic Mediterranean three-measure dance.

www.youtube.com/watch


Tunisian Dance:


www.youtube.com/watch


Bollywood:
Although not usually considered or even associated as a part of belly dance, the origins of many styles of belly dance come from India.
Bollywood is India's version of Hollywood with all the elements of the golden years of cinema with always a vibrant, well choreographed musical dancing numbers in them.
More and more "haflas" are including Bollywood dancing as part of the variety.

www.youtube.com/watch

another bollywood one...

www.youtube.com/watch


Khaliji ,Kaleeji, Khaleedji (spelling varies)

This is a style of arabic dance that is unique to the Gulf region of the middle east - particularly the coastal regions.

www.youtube.com/watch

This is my current running class syllubus - it is more like a research paper I have compiled for my students....most of it is in no way shape or form my own work...rather, gathered information that I have found here & there that I'm passing along. I do not take credit for the information & I do not know who the sources are, but they have the full credit of teaching me what belly dance has to offer. I tell my class that many of the information in this syllubus will be seen repeated in and sometimes slightly varied in books, internet and similar publications.
By the way, the bio about me is true.

(somehow in copying the text, it didn't line up right)


Beginning Belly Dance

(small technical difficulties transferring it on here...PLEASE PM me)