The call to teach does not come from external encounters alone – no outward teacher or teaching will have much effect until my soul assents. Any authentic call ultimately comes from the voice of the teacher within, the voice that invites me to honour the nature of my true self.

Parker J. Palmer; from “The Courage to Teach”

Teaching is both an honour and huge responsibility, and to start teaching something as ancient and foreign as Oriental Dance (known as Belly Dance in the West) requires solid preparation. I have heard both seasoned performers and advanced dancers alike admit that the notion of starting to teach is terrifying, and speak of the emotional and physical challenges they encounter whenever they contemplate starting to teach.

When an Oriental Dancer hears the call to start teaching, there are very few courses providing the information and inspiration needed to guide the teacher-to-be through the beginnings of what will become both a challenging and enriching journey.

When I started to teach Oriental Dance I had been training constantly for around 5 years with some of the most reputable teachers in the country. Add to that I was born and bred in the Middle East. Still I was scared out of my wits at the idea of teaching this ancient and complex dance. How do I break it down for the Beginner? Where do I start, and how do I proceed from the start of the term to the end of it? I know how to do the movements, but how on earth do I explain them? No one told me how to start teaching and I couldn’t find any book or DVD instructing me on how to go about it either.

Soon after starting I was invited to teach at prominent Belly Dance schools, but none had a teaching system or curriculum to follow. This seemed to be the norm, but resulted in multi-teacher schools delivering varied learning experiences. In my endeavours to grow as a teacher I attended a teacher training course; but again, a week-by-week course curriculum was missing, together with the answers to burning questions I had regarding how to structure the learning curve, what to teach in each class; how to break down the art of Belly Dance into small pieces in a methodical way, and deliver it in simple and easy-to-digest terms to my students.

There seemed to be a lack of systemisation and methodology of teaching Belly Dance, and a resulting hunger for it.

So I started creating a system for myself that would empower the students’ learning process. I wanted something hugely methodical; a solid structure that would work effortlessly and that had integrity, but at the same time evoked the mystery and beauty of this timeless dance form. Class after class, term after term and year after year I have honed this system, resulting in thousands of students and myself reaping the rewards.

The result is my own “Belly Dancing from the Heart Method” of teaching Belly Dance, based in Classical Egyptian technique which is the foundation technique for all the various modern styles and offshoots of Oriental Dance or Raqs Sharqi, and it is now released in a world first learn-from-home teacher training course: “How to Teach Belly Dance” Teacher Training Course. In this DVD/Handbook/CD package you will learn how to start and grow a thriving and profitable Belly Dance teaching business, and make your Belly Dance classes a successful, uplifting and empowering experience for all involved. For full details of this package please go to “How to Teach Belly Dance”.

When you start out teaching you can be faced with a whole lot of various emotional, physical and intellectual challenges. This course, through the Handbook “The-A-B-C of Teaching Belly Dance” and DVDs, guides you through detailed step-by-step study material in three study sections as follows:

A – Awaken the Teacher in You; covers how to cultivate the sprit & mind of a great teacher

B – Business End of Things; covers how to start and run a successful, profitable business

C – Curriculum & Teaching Method; week-by-week course curriculum and more

Following is an excerpt from section “B - Business End of Things” to help you set up and run some aspects of your Belly Dance teaching business:

Structuring your school/classes

Once you start teaching Belly Dance you start a business, so treat it as one. Seeing things in this light gets you thinking down professional lines. It will get your mind into gear for marketing yourself, laying down your bookkeeping and taxation systems, systemising your paperwork and computer documents, and reaching for excellence in everything you do.

Some of the areas that will need tending to before starting are:

• What is your business intention?
• How to structure your school/classes?
• What works and doesn’t work when choosing a venue?
• How to attract new students?
• How to retain and market to existing students?
• Insurance… and much more.

How many classes/levels do I offer?

When you start out teaching for yourself you will encounter what one of my fellow teachers jokingly calls the “The Belly Curious” phenomenon. I’m sure it is prevalent throughout all of adult teaching; they are the students who enrol just to try it out for size; the ones who just want to do something different and fun for a term, the ones who come full of expectations that it will be easy to learn, then get discouraged in their first term and drop out. They are the majority. The minority are the ones who will work hard on the dance and actually stick with it long enough to learn to dance. With this in mind, you need to structure things so that you can maximise the returns (both in joy and in financial terms) to you, and make the structure of your school/classes work for the students as well.

When you start you will most probably have a small school/small number of classes per week, with low attendance numbers. If you structure your school to have too many levels right from the start you simply won’t have enough numbers to fill your classes. This is not only financially unviable for you, it also affects the energy in the class (it is very hard to teach only 4-5 students unless it is a group private).

Also, as the majority of enrolments into your standard Belly Dance classes are the “Belly Curious” you will most probably not get huge numbers graduating to Intermediate level from the start. So, you need a way to maximise numbers per class, and so minimise rental and your own energetic output (teaching too many classes per week can burn you out), and maximise energy levels in each class.

To do this, offer mixed level Beginner classes. I started doing this and have never looked back. The reasons why I have found mixing Basic Beginners (first-timers) and Continuing Beginners (Beginners with 1, 2 or even 3 terms behind them) together to be hugely successful are threefold:

1. More people in the class; which is healthy from both an energetic and business point of view.
2. The Continuing Beginners are a huge inspiration for the first-timers, as the new comers can see living breathing examples of where they can be within 2-3 terms, which helps give them vision and drive, which helps reduce drop-out rates due to disheartenment.
3. The Continuing Beginners get to recap, recap, recap the basics, which they NEED to do for at least 3 terms. At the same time they get advanced at a healthy pace with extra tailored direction.

Doing this is not easy when you start; you need to know how to manage it. The “How to Teach Belly Dance” DVDs and Handbook give you clear instructions on how to run successful mixed level Beginner classes, what works and what doesn’t work, and how to make them an effective learning experience for all students involved.

Once you’ve gathered momentum in your school you will graduate your own Intermediates. That is the time to start offering Intermediate level classes.

Terms vs. causal weekly classes?

Also, when structuring your school you need to decide wether or not you run weekly classes all year round, or run in terms. Again, due to all of the points above, I recommend running in terms when you start out. It helps you gain control of your finances as payment for the term is upfront, as opposed to weekly casual classes whereby you don’t know who will attend from one week to another. Terms are the way to go for sure! I like to run 7/8 week terms inside school terms. This also gives you the flexibility to run holiday workshops to offer different challenges to your students. Plan your whole year in January and lock it into your diary, so that you can plan your life around it.

What do I charge, and how do I structure fee payment?

I have also found pre-payment a good way of controlling your finances, so you know upfront that you can pay your rent and yourself, and it is a good way of weeding out those who are not really serious about learning. Although you might be afraid of asking for pre-payment upfront (I was when I started!), I highly recommend it as you need to pay your venue rent upfront so you really need to know your numbers before starting the term. Make casual classes available by all means, price them considerably higher than the class price in the term costing, and do not advertise them widely - make the thrust of the advertising your term fee. When pricing your term do your homework for what is around and check community college prices. There is no use you running a term that is considerably more expensive than the local community college if you are in direct competition with it in your area.

To take enrolments or not?

Collect enrolments in writing! Verbal phone enrolments are not taken seriously. Get students to either email a filled-out enrolment form back to you, or post it with cheque/money order. When people fill out their name and details on a form they take the enrolment seriously. People saying they will come to classes verbally and not attending is an epidemic, and you can’t run your business like that. If you are like most Belly Dance schools starting out in your local suburb, every enrolment counts especially in the beginning, so take this seriously – I’ve seen the lack of enrolment taking break businesses!

So to sum up; when creating a structure that offers all of the above, I have found the following a good solid working structure for when you start out:

• 4 terms a year, inside school terms
• 7 or 8 weeks per term
• Offer mixed level Beginner classes; enrolling both Basic Beginners and Continuing Beginners in the one class
• A competitive price per term
• Pre-payment of term fee upon enrolment
• Take enrolments in writing

Section “B – Business End of Things” of the Handbook also covers how to look after marketing, how a venue location can make or break your business, insurance and much more.

Of course the most difficult aspect of starting to teach is creating a solid and successful curriculum, and “How to Teach Belly Dance” gives you a week-by-week curriculum that has been tried and tested over years of teaching, covered completely and comprehensively in 2 feature length DVDs. This is a world first to be offered by an award winning Middle Eastern teacher.

* * * * *

If you are new to teaching, Congratulations! You are at the doorstep of a very enriching time in your life! Teaching Belly Dance not only gives a gift to the students, it helps each teacher get better in touch with her own hidden gems and beauty, and provides an avenue for unlimited creativity and self-expression.

We cannot hold a torch to light another’s path
without brightening our own.

Ben Sweetland

I must say at this point that once you start teaching you take on an enormous responsibility towards your students and towards the dance itself, so please only start teaching for the right reasons and when you have enough experience under your belt (or should I say hip scarf!). Starting to teach prematurely or for the wrong reasons, such as making a quick dollar on the side, can be destructive to students and ultimately to your own sense of integrity. I encourage teachers to go into teaching Belly Dance because they have a burning passion for this beautiful and ancient dance, together with a calling to be of service to women, and a heart yearning to pass on something precious.

I wish you happy teaching!

Shemiran Ibrahim
www.shemiranibrahim.com

* * * * *

Shemiran Ibrahim’s “How to Teach Belly Dance – Belly Dancing from the Heart Method” Teacher Training Course - is a world first DVD/Handbook/CD teacher training pack. It has everything you need to start and grow a successful and thriving Belly Dance teaching business, offered by an award winning Middle Eastern teacher. This course is complete, easy to follow and affordable. Go to "How to Teach Belly Dance".

“ Through dancing people understand their feelings. Through the movement of the body the heart opens”.

Rosina-Fawzia Al-Rawi f rom her book
“Belly Dancing – Unlock the Secret Power of an Ancient Dance”

The movements of Belly Dance can awaken many latent emotions that are linked to our body. When Beginner Belly Dance students start classes, they have a lot to deal with. Not only are they plunged into a whole new world of movement and music, but they also start to move parts of their female body that they are neither used to moving, nor are they necessarily comfortable with even the idea of moving.

Body image cultivated through the media, and the resulting social beliefs about what a female body “should” look like pervade our thoughts more than we’d like to admit even to ourselves. In the West  especially, women’s breasts, bellies, thighs, hips and bottoms become a major source of mass scorn that ultimately leads to private humiliation. When a Beginner Belly Dance student starts moving the offending body parts, many deep seated emotions can start to surface such as fear, shame, self-loathing and anger.

When strong emotions arise it can be difficult not to react to them. Some students may find it too much and leave the course mid-term. Others may be more aware of what is happening and work through the fear. Self-knowledge is the key in such circumstances, so attention to yourself and what is coming up for you is the first step in pushing through limiting, sometimes debilitating, feelings.

Some of the common thoughts and feelings that come up in class are:

I’m not good enough

I’m useless, I can’t do this movement

Look at that woman, why can’t I move like that

My bum is too big, I’m ashamed to move it in public

My breasts are too small, I don’t look good

I’m too short; I wish my legs went on forever

I can’t move my rib cage at all, jeez I’m not good that this….

Some feelings are less articulate. You may simply feel horrid in class and not really know why. When I started Belly Dance classes I was so fearful of the Feminine in general that I felt sheer terror in class for a very long time. I really didn't know or understand what was happening at the time, but luckily I was self-aware enough not to run out the door and never return. I am very thankful for that; if I had reacted to my fear I would have missed out on all the gifts this dance has to offer. Reacting to fight or flight seldom really gives us an outcome we truely care for, unless of course it is a life-saving response such as getting out of the way of an oncoming car.

If you become aware of negative thoughts and feelings challenging you in class, it is useful to start a journal and write them down; this will help you get perspective and clarity on yourself. I repeatedly ask my students to become aware of what is coming up for them, and NOT REACT TO THE LIES. Just know that the mind will bring up things from the past all the time, but we choose wether or not we focus on them. Personal choice is the tool, and a decision made within yourself to help yourself is of utmost importance. The price may be to endure a certain level of discomfort, but that is the journey of a woman who is finding her true self. When fear stares us in the face, our only real option is to pick up our sword and slay a dragon. Any other action leaves us feeling smaller than we really are.

When fear stares us in the face, our only real option is to pick up our sword and slay a dragon. Any other action leaves us feeling smaller than we really are.

At the time of writing this I have been in professional Belly Dance training for eight years. It has seriously taken me up to last year to conquer my fear of the shimmy. Now I can actually have a smooth and balanced out shimmy for longer, and I have the ability to flick the switch in my head that had stopped me from enjoying a free shimmy for such a long time. It only took seven years! My hips were so locked, and my pelvis carried so much shame.

As a teacher of Belly Dance I see these switches or fuses go off in students' heads all the time. Whether you are a student or a teacher, it is useful to understand that each woman has a different relationship to her body in general, and to the different parts of her body as well. Some students will happily shake their bottom and thighs for the entire world to see, but will have trouble expressing emotion through their face and upper body. Other women will have locked hips and blockages around the pelvic area, while feeling much more comfortable using their arms, hands and face for the emotional expression of the music.

Stiffness around a movement is a messenger not to be judged by the teacher, other students or even ourselves. It is trying to tell you something and the most useful line of action is to be present with it, and feel whatever emotions that it gives rise to. Emotional blocks can stiffen the muscles and joints in the area that is being challenged. Breathe through the fear and other emotions that come up. Also, just knowing this information will help you be stronger in those moments.

Also, when in class make your first and foremost focus to have fun, and that will energise you through any negative thoughts and feelings. Becoming aware of what’s going on in your mind is empowering because only then does it lose its hold on you. Any journey will have dark places that need shining a light on, so too is a woman’s journey into herself; a journey which Belly Dance facilitates naturally. The upside as always is more joy that we are able to feel because of our discoveries.

“Dancing is an element that heightens life and a feeling of wholeness. Belly dancing leads to the deep dark cave, to the centre of the earth, before flying, in all its pride and life-force, up to the light, to inspiration, and to new awareness”.

Rosina-Fawzia Al-Rawi from her book
“Belly Dancing – Unlock the Secret Power of an Ancient Dance”

________________________________________________________________________

The Four Steps of Improvisation
A major key to improvisation is to “listen to the music”. Dancing is a channeling of music through your body, heart and spirit. What you feel in your body you will channel, and the audience will feel that same feeling. That’s why the act of watching dance can be such an emotional experience; the audience is on the receiving end of the dancer’s energy which includes her emotions.

Here are the four steps of improvisation in sequence:

1. Get centered:
   Be sure you are standing in a comfortable open posture, with your energy flowing through you. Feel your body from the inside, feel your feet on the ground, and feel your belly rising when you breathe into it. This will get you into your body. Also make sure you are in proper Belly Dance posture which will aid this openness; feet under hips/or in Classical pose, knees released, pelvis centered, lower belly muscle tucked in, rest of belly released, chest lifted, shoulders dropped back and relaxed, head high like a Queen. Above all, make sure you feel open and centered. Balance your weight over your feet to feel stable and grounded. Remember, improvisation is a meditative process, so prepare to meditate!
   
   
2. Be led by the music:
   Now listen to the music. Let it soak into your being. Don’t move just yet, let the music inform you. Once you’ve taken the music in, start moving in a way that is led by the music, not the other way around. Especially relevant when you already know the song!
   
   
3. Sit behind the beat:
   This leads to what is known as “sitting behind the beat”, were you are dancing a fraction after the sound, not on it or before it. Pace yourself and stay in this space. If it feels uncomfortable and you feel in a hurry, consciously slow yourself down. Sit in that discomfort and remember to breathe.
   
   
4. Stay in your body:
   Dance with your body, instead of dancing with your mind. Keep your attention on how it feels to be in your body while you’re generating the movement. Keep your mind in your feet and in your belly, this will keep you connected to your body. Order your mind to take a back seat, and let your body lead the movements according to what the music is telling it to do.

If you find this hard because of a wondering mind, keep bringing your focus onto your breath. Belly Dancing with constricted breath is no fun, does not feel good, and does not look good to the receiver – your audience. Feel your body, breathe WHILE you are moving, and take a moment out of your mind. This can lead to the ecstasy that Belly Dancing is renowned to bring to its participants. In the famous words of Mr. Myaki to the Karate Kid “Breathe through the movement”.

These four steps will put you in the right space to improvise; a lucid, emotionally channeling and energetically open space. Once in this space, remember to move the way the music moves you. By listening to the music, the right movements will come to you. In the words of Aziza “Become the music”.

It is all well and good to start improvising, but we can all be stricken by a moment where we freeze, what I call “The Moment of Doubt”. It is a moment when the mind says “What am I doing next?” and the fear of the unknown, the unplanned and the illogical takes hold of the body. This sends us into “fight or flight”, constricting our breathing which leads to hyperventilation and it all falls apart from there.

You might notice you get this freeze while improvising and you feel like you can’t recover from it. This is normal, and getting comfortable with the “Moment of Doubt” and pushing through it is a muscle one can build.

When struck with the “Moment of Doubt”, understand that your mind is scrambling for something to hold on to, and follow these three steps:

1. Firstly, go to your “Fall Back Movement”:
   Stand-up comics use this technique for when they fall out of flow. The “Fall Back Movement” is a routine they know inside-out and can do with their eyes closed. When stricken by the “Moment of Doubt” go to a movement or routine you know well and feel at home with. This is far better than stopping and scratching your head or pulling a face. Always remember; you know you’re freaking out, but the audience doesn’t until you show it. This step will help you turn the first corner out of the “Moment of Doubt”.
   
   
2. Watch your breathing:
   Take your attention off your fear and put it firmly onto your breathing; in through the nose, out through the mouth, and slow it down. Breathe while moving. Breathe all the way down into your belly, feel your belly fill up and rise. Do this while performing your “Fall Back Movement”. Once you do this you refill with energy and the anxiety starts to subside allowing you to pull it together again. This step is what will shift you out of the fear inherent in “Moment of Doubt” into an open space again.
   
   
3. Be led by the music:
   Now that you can think straight again, give your mind the music. Melt into the music. Think of nothing else. Feel the music in your body. Don’t just think about what the music sounds like, feel it in your body and ask it “What do you want me to do?” Is it a big sound? Is it soft? Is it flowing, or has it a strong rhythm? Is it sad, happy, melancholy, giving and extroverted or sensitive and introverted? Take your queues from the music and give these queues to your mind as something to interpret. This diversion of your attention from the fear of the “Moment of Doubt” to the music is what will connect you back to your flow.

These three steps might look long, but they take place in seconds. Practice them time and time again to strengthen the mental muscle needed to pull yourself out of the “Moment of Doubt”.

As a dancer you are an interpreter of the music, of its feeling and vibration as well as its notes, melody and rhythm. Step out the rhythm with your lower body (feet and hips) and express the melody with your upper body (torso, chest, shoulders, arms, hands, head, eyes, lips and facial expression).

True, moving and inspiring Belly Dancing, not to mention Belly Dancing that feels ecstatic to the dancer, is Belly Dancing done with feeling. Belly Dancing danced with attention on the body, not thinking the movements to death in the mind and trying ever so hard to squeeze them out of the body. Belly Dancing done with an abandon from logic and ego and “what looks good or impressive”, and done in that sacred space where ego melts away to allow the heart of the dancer to shine through. It is a modest space and a vulnerable one, but it is where the epitome of dance resides.

What holds us back from this space is fear. The most common problem people have with improvisation (in dance as well as life) is that “Moment of Doubt”, so I hope the above steps will help you in dealing with such moments next time you improvise.

Taqsim (or Taksim) is often a solo improvisation played by a melody musician on a melody instrument such as the Oud (Arabic lute), Nai (reed flute), Qanoon (horizontal harp), or Violin (tuned to Arabic scales). It is traditionally a slow piece of music that requires the emotional expression of the dancer. Taqsim is known as the most emotional of Belly Dancing styles, it is impossible to choreograph as it is a spontaneous emotive expression of improvised music.

“Do not deny yourself the opportunity for a spontaneous exchange between the musician and yourself. Let the music come inside of you and dance that music. It is this most intimate musical self and your most intimate dancing self. Feel the music. Fill yourself with it….This is the art of Taqsim”. Artemis.

Movements used for Taqsim are:

Circles
Undulations
Figure 8’s – horizontal and Maya
Small fluttering shimmies
The Omi (pelvic tilting circle)

Taqsim is at the heart of improvisation, and if you feel like learning to improvise, find yourself some beautiful Taqsim music and start dancing to it. Use your arms and upper body a lot as they are great in expressing the melody.

Because improvisation is not planned, you need to learn how to plan in the moment; you need to think on your feet. This sort of thinking is learnable.

Once you’ve learnt the basic movements and travel steps that make up Belly Dance, you will need what I call “gluing” devices, techniques to glue the basic moves together in a way that will give an authentic feel and look to your dance. These tips and tricks will help you bring everything together, giving you a structure upon which you can build your self expression in the moment. Following are two concepts to empower your Belly Dancing improvisation;

Even improvisation needs structure for it to feel good to the dancer, and look good to the viewer. A major component of adding structure is to travel with some sort of floor plan in mind; traveling to the front, back, left and right, drawing a geometrical sign on the dance floor and always being able to go back to your start point. This is called “sacred geometry” and some basic shapes you can draw are:

Circle ○
Triangle ∆
Cross +
Cross ×
Figure 8 on its side ∞
Diamond ◊

Decide on a shape and stick to it for your chosen song. Let the song inform you as to what might be more suitable.

When traveling use the 4/4 rhythm to travel 4 forward and 4 back, or 4 right and 4 left, or break it down into 2 and 2. Balance traveling in one direction with the other to give your dance more structure. Here are a few suggestions for traveling steps:

Short Travels Forward
Flat-Toe with hip movements
Flat-Toe-Flat with hip movements
Cross Over & Point with hip movements

Short Travels Back
Triple Step with Hip Drop
Reverse Cross Over & Point

Short Travels to the Sides
Three Step Turn
Undulation Travels
Step to Side with Hip Roll

Seven Ways to Add Texture to Your Improvisation
Texture is important so that you and your audience don’t get bored. Some ways to add texture are:

1. Size:
   Nearly all the basic movements can be done in three sizes: small, medium and large. Varying the size of the most basic movements can add instant interest. When dancing the small movements, think of your core when dancing; connect to your centre, your belly. Keep your thoughts there and your movements will have more energy to them.
   
   
2. Speed:
   This is about how you deal with the 4/4 rhythm, the basic rhythm you find in most Arabic music. You can break it down to 1 & 2 & 3 & 4 &. By counting out the “&” you effectively create double-time, which you can switch to for a while then back to the slower 4/4. Varying speed is another way to add texture.
   
   
3. Rule of 3 & Pause:
   Break down the 4 beats to 3 & Pause. This is a common usage of the 4/4 beat where movement happens on the 1, 2 and 3, and there is a clearly held pause, a hold, on the 4. Say you’re doing a very simple Classical hip drop (with one foot forward and up on the ball), if you did four in a row followed by four in a row, that’s eight hip drops in a row which will look and feel monotonous. Using the Rule of 3 & 1 with a pause on the 1, you practically add a punctuation mark to your sentence. Remember, you are always telling a story with your dance, and like any language, you need punctuation marks to make it flow. The moment of lack of movement creates appreciation for when there is movement. In this quiet moment, speak with your eyes instead.
   
   
4. Levels:
   Change the vertical level of your body by using your feet going from Flat to Toe; this can be used on the spot or in the Basic Arabic step (forward and back step) or Undulation Travels (camel walks) and other forms of travels. Or you can change levels using the knees, bending your knees and moving closer to the ground when doing a series of Basic Lifts and Drops, or a series of Vertical Fig 8’s, for instance, then traveling back up again. Done slowly this can be very mesmerizing. On the other hand, learning to drop down suddenly and rise back up again gracefully can be a stunning break in the dance. Lean into the balls of your feet and keep your knees together to keep your balance when rising up.
   
   
5. Direction of Standing:
   The same movement can look dramatically different to the audience because of a change of point of view, simply by changing the direction you are facing. Instead of facing the audience all the time, stand on the diagonal at times (essential when doing movements that can not be viewed well from the front like on-the-spot undulations and vertical hip circles on the Classical Pose). Also, don’t be afraid to turn your back to the audience for a short while.
   
   
6. Arms:
   Arms can add a lot of texture to your dance. Vary their positions gliding them gracefully from one position to the other, or simple hand waves or circles can be very effective. Standing on the spot with a long shimmy for example can be made more interesting with arms traveling up then down, to behind your back, to behind your head and so on. Remember, when moving arms imagine you are under water, and move them with grace, fluidity, intention and slowness. Feel your energy in the palms of your hands, traveling from your heart to your fingertips, and out to the world.
   
   
7. Pauses:
   Adding a pause when not expected can really spice up a routine. ALWAYS LISTEN TO THE MUSIC! And if there is a small pause in the music you must honour it in your interpretation by pausing appropriately. For instance if you are in the middle of a round of Classical Hip Drops and a pause happens in the music, hold your hip drop down on the pause. You don’t have to keep your whole body frozen though, feel free to finish the phrase with an upper body movement like a head slide or a hand movement.

If improvisation scares you it may be trying to give you a message. Improvisation is based in the Feminine, and facing ones fears of improvisation can be a journey into our relationship to our Feminine nature. Like facing any other fear, the journey may include some dark places asking to be investigated. And like any other fear, once you face it you come out at the other end of the tunnel feeling like you can conquer the world.

Belly Dancing improvisation feels totally unique. The feeling is fuller and richer than following a set choreography from start to finish. Somehow it breathes the life of the music into the dancer, and that in turn shines through and touches the audience. So if you’ve been too scared to try improvisation, I hope this series of articles has inspired you to pick up your sword and slay that dragon once and for all. The treasures you will find will blow your mind!

* * * * * 

Read Part 1 of Secrets of Improvisation.