Words and Terms
AYAWAH - (EYE-a-wah) - Arabic for "yes"
BELEDI - (BEL-ah-dee) - translates as "native dance".....also refers to
traditional four-beat rhythm in a lively part of a dance
BOLERO - slow and undulating belly-dance movements performed
to Moorish rhythms, also found in Spanish dancing
(Dansa Mora) that is influenced by Moors
DANSE DU VENTRE - French description of belly dance "dance of
the stomach"
DEBKA/DABKIE/DEBKE - MiddleEastern folk dance done in a lively
line with a leader (walk-walk-walk-hop-step-hop, etc)
DUMBEKI - also known as dumbek or tamboura - A pear-shaped drum common to the Middle East. Produces two basic sounds - a flat vibration (the dum) and a sharper, more metallic (tek).
KAFTAN - A loose traditional robe that is easily great for slipping in or out of.
KANOON - A zither like (harp sound) instrument with movable bridges.
MAQAM - An Arabic musical pattern, similar to the Indian "Raga".
NEY - A cane flute.
OPA! - A Greek exclamation.....similar to the Spanish ole!
Components
of Fitness
Strength
- for floorwork, isolations and posture
Endurance
- for shimmies an arm movements
Flexibility - for isolations, lines and backbends
Coordination
- for layering, footwork and props
Balance
- for spins and level changes
Focusing
on Attitude and Energy Projection!
If
you are wondering why your dance is not progressing, take a look at how you approach each dancing venue. Are you apprehensive, do you know your movements, do you know your music, are you happy with your music, are you
happy with your costume-makeup and hair, or are you wishing to just get through it quickly and go home.
All these types of things can work against you and project a personna you may not realize or want. If this is the case, give yourself a once over-makeover. Make the necessary changes, project feeling for the music, use your movements to capture the mood, the excitement, the energy, smile, make eye contact, and adjust your attitude!
Always remember, if you make a mistake, no one really knows except you!! AND, your audience is there to be entertained -- so take them on a brief trip to another place in time!! ~LIFE IS SHORT ---HAVE FUN DANCING~
"Modern Egyptian
Cabaret"
This type of dancing is very controlled, elegant, refined and often includes some ballet. Muscular
control is emphasized and movements are small and internalized.
Egyptians must by law wear stomach covers, so many followers of this style do so.
Turkish Style Cabaret - this style of dance is often flamboyant, with large, earthy movements. Leaps and many pelvic movements are common. Turkish dancing costumes are often seen as "less is more".
DANCE STYLES (Part 3)
Lebanese Style Cabaret - this style of dance is between the Egyptian and Turkish styles and offers dramatic and elegant moves with many poses, changes in direction and beautiful ballet influences.
Folkloric dances vary in style by country, and there are many! Here are some:
Beledi - is the dance of the Egyptian countryside and also a style of music. The costume for this dance is a fitted caftan slit on both sides called a beledi dress. Commonly worn is a triangular headscarf. Many of Egyptian folk dances are performed in beledi, such as cane and basket dances.
Khaleeji (kah-lee-gee) - is the dance of the Persian Gulf States and Saudi Arabia. Dancers wear full, often embroidered caftan called a thobe nashal. Movements are mostly centered in the shoulders and there is a distinctive hair toss.
Persian - is a dance style quite different from most of the Middle Eastern countries in that there are few abdominal movements and undulations. Persian style is about graceful arm movements, shoulder shimmies, and twirls. The arm movements depict such things as, water carrier, the sun, night, etc.
There are various trance dances, often known as religious dances; dances to cast out demons. You probably heard of the Whirling Dervish, performed by certain Surfi sects, doing their spectacular spinning. There are other dances displaying violent head tosses and blessing dances.
Most American Style Bellydance is not any pure form of the dance. Some dancers are influenced by jazz, ballet, and from Indian and Spanish cultures.
This is a broad view of how diverse bellydance can be! Bellydance is open to many styles and leaves the dancer to her/his interpretation of the dance and music.
Selecting an Instructor / Dance Teacher
This is a crucial step in searching for the right teacher for you.
Here are some points to consider:
1. Do you have a connection with the instructor
2. Does her or his Personality compliment yours or not
3. Is the teaching environment safe, does it have adequate space and cleanly
4. Do you like her or his teaching style / technique
5. Do you feel good before during and after class
6. Does the teacher teach inclusively as a whole or singles out favorites
When it is time for class, the feeling should be one of anticipation to see where the teacher will take you next. One should be constantly learning new nuances to the dance and always going over old movements to perfect them!
If you are missing some of these elements, take time to talk to your teacher about them, she / he may not be aware of the perception, could be working on them, or may be grateful someone took the time to point them out.
Your feedback is welcomed!
AYAWAH - (EYE-a-wah) - Arabic for "yes"
BELEDI - (BEL-ah-dee) - translates as "native dance".....also refers to
traditional four-beat rhythm in a lively part of a dance
BOLERO - slow and undulating belly-dance movements performed
to Moorish rhythms, also found in Spanish dancing
(Dansa Mora) that is influenced by Moors
DANSE DU VENTRE - French description of belly dance "dance of
the stomach"
DEBKA/DABKIE/DEBKE - MiddleEastern folk dance done in a lively
line with a leader (walk-walk-walk-hop-step-hop, etc)
DUMBEKI - also known as dumbek or tamboura - A pear-shaped drum common to the Middle East. Produces two basic sounds - a flat vibration (the dum) and a sharper, more metallic (tek).
KAFTAN - A loose traditional robe that is easily great for slipping in or out of.
KANOON - A zither like (harp sound) instrument with movable bridges.
MAQAM - An Arabic musical pattern, similar to the Indian "Raga".
NEY - A cane flute.
OPA! - A Greek exclamation.....similar to the Spanish ole!
Components
of Fitness
Strength
- for floorwork, isolations and posture
Endurance
- for shimmies an arm movements
Flexibility - for isolations, lines and backbends
Coordination
- for layering, footwork and props
Balance
- for spins and level changes
Focusing
on Attitude and Energy Projection!
If
you are wondering why your dance is not progressing, take a look at how you approach each dancing venue. Are you apprehensive, do you know your movements, do you know your music, are you happy with your music, are you
happy with your costume-makeup and hair, or are you wishing to just get through it quickly and go home.
All these types of things can work against you and project a personna you may not realize or want. If this is the case, give yourself a once over-makeover. Make the necessary changes, project feeling for the music, use your movements to capture the mood, the excitement, the energy, smile, make eye contact, and adjust your attitude!
Always remember, if you make a mistake, no one really knows except you!! AND, your audience is there to be entertained -- so take them on a brief trip to another place in time!! ~LIFE IS SHORT ---HAVE FUN DANCING~
"Modern Egyptian
Cabaret"
This type of dancing is very controlled, elegant, refined and often includes some ballet. Muscular
control is emphasized and movements are small and internalized.
Egyptians must by law wear stomach covers, so many followers of this style do so.
Turkish Style Cabaret - this style of dance is often flamboyant, with large, earthy movements. Leaps and many pelvic movements are common. Turkish dancing costumes are often seen as "less is more".
DANCE STYLES (Part 3)
Lebanese Style Cabaret - this style of dance is between the Egyptian and Turkish styles and offers dramatic and elegant moves with many poses, changes in direction and beautiful ballet influences.
Folkloric dances vary in style by country, and there are many! Here are some:
Beledi - is the dance of the Egyptian countryside and also a style of music. The costume for this dance is a fitted caftan slit on both sides called a beledi dress. Commonly worn is a triangular headscarf. Many of Egyptian folk dances are performed in beledi, such as cane and basket dances.
Khaleeji (kah-lee-gee) - is the dance of the Persian Gulf States and Saudi Arabia. Dancers wear full, often embroidered caftan called a thobe nashal. Movements are mostly centered in the shoulders and there is a distinctive hair toss.
Persian - is a dance style quite different from most of the Middle Eastern countries in that there are few abdominal movements and undulations. Persian style is about graceful arm movements, shoulder shimmies, and twirls. The arm movements depict such things as, water carrier, the sun, night, etc.
There are various trance dances, often known as religious dances; dances to cast out demons. You probably heard of the Whirling Dervish, performed by certain Surfi sects, doing their spectacular spinning. There are other dances displaying violent head tosses and blessing dances.
Most American Style Bellydance is not any pure form of the dance. Some dancers are influenced by jazz, ballet, and from Indian and Spanish cultures.
This is a broad view of how diverse bellydance can be! Bellydance is open to many styles and leaves the dancer to her/his interpretation of the dance and music.
Selecting an Instructor / Dance Teacher
This is a crucial step in searching for the right teacher for you.
Here are some points to consider:
1. Do you have a connection with the instructor
2. Does her or his Personality compliment yours or not
3. Is the teaching environment safe, does it have adequate space and cleanly
4. Do you like her or his teaching style / technique
5. Do you feel good before during and after class
6. Does the teacher teach inclusively as a whole or singles out favorites
When it is time for class, the feeling should be one of anticipation to see where the teacher will take you next. One should be constantly learning new nuances to the dance and always going over old movements to perfect them!
If you are missing some of these elements, take time to talk to your teacher about them, she / he may not be aware of the perception, could be working on them, or may be grateful someone took the time to point them out.
Your feedback is welcomed!