Belly Dancing Costume

When you fly in an airplane, you hope for a smooth flight. But sometimes take-offs are shaky and flights are bumpy. In the end, all that really matters is a safe landing.

Flying instructors know this, and so their earliest lesson is not how to fly the plane, but how to land it. Flying students practice landings over and over again, because not only do they need to be able to land the plane safely, but they need to feel completely confident doing it. Worrying about the landing could cause them to make a mistake.

Give Your Show a Safe Landing

This is equally true for belly dance. No matter how good or bad your show was, what the audience remembers best is a strong finish. And even if your show is going well, worrying about what comes later can sabotage your performance.

Even so, most of us start from the beginning of the piece when we learn choreography. But you’ll learn more quickly and remember it more reliably if you start from the end and work your way backwards towards the beginning.

Why Shouldn’t I Start From the Beginning?

When we learn choreography from the beginning, we practice the first combination, then the second combination, and then we practice both of them. Then we learn the third combination, and practice combos 1, 2, and 3. And so on.

Combo 1

Combo 2

Combo 1 —- Combo 2

Combo 3

Combo 1 —- Combo 2 —– Combo 3

Combo 4

Combo 1 —– Combo 2 —– Combo 3 —– Combo 4

Can you see what’s happening here? The early combinations get much more practice than the later ones:

Combo 1

Combo 2

Combo 1 —- Combo 2

Combo 3

Combo 1 —- Combo 2 —– Combo 3

Combo 4

Combo 1 —– Combo 2 —– Combo 3 —– Combo 4

By this point, you’ve practiced Combo #1 four times, but #4 has only been practiced twice!

And it only gets worse as you continue; if your choreography has 12 combos, #1 will get 600% more practice than #12.

This Directly Impacts Your Performance

This means that when you go to perform your choreography, you’re going to get less and less confident as you approach the end. The sections you’re most familiar with are in the past. That sets you up for a stressful show, and that stress can ruin your performance.

However, if you start from the end, you know the later combinations inside and out. This means that when you perform it, you get more confident as the piece progresses. This confidence boost brightens your stage presence and helps you be your best. And even if you fall on your face early in the show, you can still count on a strong finish.

How Do I Learn a Piece Backwards?

In order to learn a piece backwards, we use the standard procedure; we just start at the end. Here’s how:

1) break the choreography up into a logical “chunks” or combinations. For this example, let’s assume that your choreography yields 12 combinations.
2) learn the very last combination (combo #12)
3) learn the previous combination (#11)
4) practice combos 11 & 12 together
5) learn combination 10
6) practice combos 10-12 together

Continue in this fashion until you have added in all the combinations. Then practice the whole choreography until you’re confident about the early combinations. By this time, you should be extraordinarily confident about the later ones.

But If I Learn It Backwards, How Will I Understand How the Dance Unfolds?

The downside of this method is that it doesn’t let you observe the structure of the dance as you learn it. So before you begin to learn a choreography backwards, watch the whole piece once or twice to get the lay of the land. If you’re learning it from written notes rather than video, walk through the choreography once without music to mark it out.

Make a note of any repeated elements and other patterns. This helps you understand the choreography, and gives context to the combinations as you learn them individually.

Tips:

• If the choreography repeats a particular section several times, learning that segment first may give you a sense of accomplishment and some anchor points. Then proceed to the final combination, and work your way backwards as usual.
• When you learn a new combination, practice the transitions into and out of it as well.

So when you learn Combo #10, the “chunk” you’d practice would include the transition from Combo #9, Combo #10 itself, and the transition into Combo #11. This will help you integrate each new section into the whole piece.

Summary

When you learn a choreography from the beginning, the early parts get more practice than the later ones. As you perform it, you’ll always be less confident about what’s to come.

If you start from the end and work your way forwards, the later parts get the most practice. So even if you have some trouble at first, you can count on a good ending.

The process of learning a choreography backwards is the same as learning it forwards. Start with the final combination, add on the previous combo, practice them together. Then add on another combination, practice the whole thing together, and so on.

Before you begin, you may want to watch the choreography a few times to get familiar with its structure.

With this method, you can expect many happy landings.

Nadira Jamal is a belly dance performer and teacher in Boston. She is the hostess of Taktaba, the free video podcast on dance composition for belly dancers, and the creator of the Improvisation Toolkit DVD series. For more articles and information, visit http://www.taktaba.com.

Author: Nadira Jamal
Article Source: EzineArticles.com
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When you raise tomatoes, you have to constantly prune away the “suckers”, the new shoots the plant tries to grow. If they remain, they’ll suck the plant’s resources into growing new stems and leaves. But when you find them and get rid of them, the plant can focus on its job: making tasty tomatoes for you.

Mistakes are like Suckers

It’s human nature to fear mistakes, but they’re especially terrifying for dancers. After all, the audience’s eyes are always on us. So we become perfectionists, and fret about tiny mistakes that our audience would never notice.

Fear of mistakes sucks away our attention and our creative energy. And since those tools are critical to improv, it can be devastating. So we get even more afraid.

But what most dancers don’t realize is that making mistakes will actually improve your improvisation skills. We need to welcome mistakes, and deal with them appropriately, if we want to improvise successfully.

Why Are Mistakes So Important to Improv?

Mistakes are important in improv because they teach you what does and doesn’t work for you.

When you dance, you have a huge pool of movements and combinations to choose from. However, not all of them fit the music and flatter your body.

If you choreograph your performance, you can take days or weeks to sift through these options, and decide which you like best.

When you improvise, you have to make those decisions in a split-second. But that split second is all you need if you have already sifted out many of the bad ideas. And you do that by making mistakes.

The trick is to make them in a safe place.

How Do I Make Mistakes in a Safe Place?

The safest place to make mistakes is in the privacy of the studio, so get in there and practice some improvisational dancing. Your goal for this practice session is to make mistakes. Be sure to do it mindfully: acknowledge the bad ideas, welcome them, and then let them go.

You’ll resist making mistakes at first, but remember that our goal is to prune away the bad ideas during practice, when nobody is looking. That way, you’ll have mostly good ideas left to choose from when you improvise.

So go make some mistakes. Welcome each snafu. Greet each bad idea with open arms. After all, this may be the last time you ever see it!

But Won’t I Make Faster Progress if I Focus on Usable Material?

Nope. Focusing on good ideas will help you generate a list of usable material more quickly, but that list doesn’t help you improvise.

The ideas that are inside you – good and bad – are going to come out sometime. You can’t stop them. If they don’t get their moment of freedom in the studio, they will break out on stage.

So give the bad ones their time to shine in the studio, where they can’t embarrass you.

Summary

Fear of making mistakes is natural, but it is a liability when it comes to improvisation.

Improvisational dance requires that we make decisions in a split second. We can inform that decision by making as many mistakes as possible before we step on stage.

The best way to do this is by mindfully making mistakes when we practice, so we can learn what does and doesn’t work with our bodies.

It may be tempting to focus on good ideas, but this won’t help you prevent mistakes when you improvise. The bad ideas are going to come out sometime. By welcoming mistakes when we practice, we can improve the odds for when we perform.

Next Steps

Go to your practice space, and make some mistakes. When an idea isn’t working for you, acknowledge it, and then say goodbye to it. Because now that you’ve pruned it from your mind, it can’t suck away any more of your attention.

Nadira Jamal is a belly dance performer and teacher in Boston. She is the hostess of Taktaba, the free video podcast on dance composition for belly dancers, and the creator of the Improvisation Toolkit DVD series. For more articles and information, visit http://www.taktaba.com.

Author: Nadira Jamal
Article Source: EzineArticles.com
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Belly dancing can be a great deal of fun. It is also a great way to get some exercise and tone up your muscles. Once you get past the beginner stage and want to take your dancing to a new level you will want to find a great belly dancing costume. The right skirt can make the whole costume. The selection will largely depend on your particular tastes.

The skirt that you ultimately choose should be comfortable enough to dance in. It should be loose enough for the intricate moves you will be making while you are wearing it. If the skirt is too tight you will not be able to perform to the best of your abilities.

The Fabric

The fabric that is used on your skirt is very important. It is one thing that will make your costume the best it can be. The fabrics that are most often used are velvets, satins, silks and chiffon. If price is a concern you will find that silk and velvet are the most expensive fabrics to use. Satins and chiffons are not quite as expensive.

Chiffon is a very alluring fabric because of its sheerness. It almost gives the appearance of being transparent. This can be perfect for enhancing the movements of the belly dancer as she performs her routine. If you have a need to be more modest you will probably want to stay away from chiffon skirts. Satins and silks move and shimmer while the dancer moves as well. They are very light and can catch the air as the dancer whirls and turns on the stage. Velvet is a heavier material and might not be the ideal choice for someone who is looking for a flowing lightweight look.

The Styles

The styles of skirts are very varied. You will want to consider your routine and the audience before you make a final choice. The selection of a fuller skirt is appropriate for a dance routine that has you twirling and whirling around the stage.

A dance routine that showcases your legs might be best served by a skirt that is not quite as full. A skirt that is sheer and shows off your legs is a more appropriate belly dancing skirt for this type of performance.

You can choose a skirt that has slits to show off your legs. This is perfect for an audience of men that will appreciate the look of your legs that will flash in front of them as you perform your routine. Belly dancing skirts come with some beautiful embellishments and adornment. Look for embroidery and jewels to add some extra drama in your skirt.

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Author: Paul J Eastwood
Article Source: EzineArticles.com
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