Information & Resources
(A.K.A. "NIKKIPEDIA")

Q - I see classes advertised in various places, and the fees are so different. Even yours have different prices. Some are in studios, some in gyms. Why?

Teachers don't always have a say in how much their class will cost. Those of us who teach for an institution or facility that runs its own programmes and registration are often simply "contract workers". We are paid hourly rates and students charged class fees as set by the directors/coordinators of such programmes. Teachers may have little say in where the class is held (facility/type of room), or how many people can attend. I have had classes run out of gyms, studios, hallways, pool observation decks, and school classrooms. I have had classes of more than 30 people, which is far too many in my opinion. Examples of these kind of programmes would include the City of Winnipeg, University of Manitoba, Con Ed, and sometimes also dances studios. These classes average from $3 to $7 per class. Studio classes, or those set up independently by a teacher (e.g. her renting space, in a studio or otherwise) should charge a "going rate". If you look at several studios in your city and find out what dance classes (any/all kinds) cost, a belly dance class should be about that much. For example, I am part of the Bravado Studio staff, and I have a say in when the class runs, how many people can be in a class, and how much classes are. They are roughly the same or slightly more than the other classes taught at that studio. Any differences in cost are due to my class being longer, and that the other studio students pay their fees as a yearly tuition, not by the session. My class at Rising Star Dance Academy is a bit different. I rent that space, advertise the classes, and I collect the fees and registration. I still, however, make sure I charge consistently with my other studio class and with those of other teachers in other studios. Discounts for members of groups/organizations or for taking multiple classes may be offered by studios or teachers, but should still keep the class in line with going rates of $8 or more per class.
HOW MUCH SHOULD YOU PAY? In my opinion, a teacher setting up her own class or teaching out of a studio should charge at least $8 per 1-1.5 hour class, more if the classes are 2 + hours. When I started nearly 10 years ago, the classes I took were $8 each. Class prices have not gone up by much in that time. My studio/independent classes were $10 each for several years running, and were increased this year to $11. Specialty classes such as one-time-only workshops and intensives should be priced slightly higher per hour. Teachers have few excuses for engaging in undercutting. If no one else is teaching in your town, set your prices by those set in the nearest city or town.

Q - I took a session with another instructor and didn't like it. I am in your class now and it's totally different. I feel like I am starting over. Why are classes so inconsistent?

 

I am sorry to hear that you had a negative experience. Sometimes you have to take several classes with several teachers before you find the right one for you. You may require a different kind of room (mirrors vs. no mirrors, cool vs. warm, bright vs. dark), a different teaching style, prefer a different dance style, need a more or less intensive class, or maybe a smaller class. Changing instructors can feel like a set-back, because you may be changing many factors: the room; the voice you hear; the body you are watching; teaching and dancing style; ability; experience; techniques; atmosphere, attitude and/or mood; philosophy; and the other students in the room. You may also be using new props. Furthermore, we tend to use different names for movements, since there is no universally-accepted lexicon (vocabulary) for dance movements in our genre. Change can challenge us all in surprising ways, and yes, it can feel overwhelming or frustrating.
There are only a few widely-recognized teacher/professional training courses offered in the world. Not every teacher has pursued the opportunity to become better trained, more experienced, and more educated. There are certainly many ways to go about this. For more information, please refer to "Choosing a Teacher" in the Classes Directory. Some dance associations introduce certifications or standards for their teachers to adhere to. We don't have that here, yet

Q - How long will it take me to "get good"?

 

Well, that depends on a lot of variables. It helps to have some natural talent and previous dance experience, however, the average person can expect to become comfortable with the basic movements in 1-2 years, gain some control and confidence by 3-4 years, and become proficient after about 5 years, IF they:

• attend class at least once a week, with at least one teacher,
• practice at least 3 times a week,
• apply what the instructor is teaching, including corrections,
• are motivated and disciplined,
• attending workshops and private lessons.

Q - Will I have to dance in a recital or learn a choregraphy?

In my classes, the choice to dance in recitals is yours. I don't believe teachers should rush or push students into making costumes and performing. That would not happen in an adult dance class in any other genre. I consider it appropriate to ask students in my studio classes if they want to perform in the year end recital.
Many students are in class for fun, and may have no previous dance experience. Learning and remembering a choreography may be very stressful for them. Scripted dances should be viewed as a teaching tool, not an expectation of perfection. In my classes, we all learn the choreographies, as an example of how different movements and steps fit a chosen piece of music.
Some teachers like to crank out "dancers" to show how great they are as teachers. I am skeptical and suspicious of those who are rushed, or who themselves rush into performing. Learn the craft and you will enjoy respect and appreciation.
There are lots of opportunities to dance in recitals and dance events, in many Middle Eastern dance communities, for you if and when you are ready to make the big leap.
It is a very difficult thing to recover from a bad reputation that you may earn by going out there and performing badly as a soloist, particularly if you portray yourself as a "professional" when you are nowhere near ready.

Q - I am changing to a new teacher. What level should I take?

Generally, it is always a good idea to talk to the new teacher beforehand and ask. She will probably want to know who you have taken with and for how long. A respectful way of doing things is to drop "down" a level. Often, the change to new way of breaking down technique, a new teaching style, a new voice, a new room, a new body to observe, and new content, will be more than enough of a challenge. You can always change later, or take more than one class.

Q - I have a beginner video. Can I take intermediate class?

No, I would not recommend it. There is no substitute for a great teacher, live and in the flesh! You need to make sure you are doing the basic movements safely and correctly.

Q - There are so many classes advertised. How do I know who is a good teacher?

Read some of the articles I have posted. Check out some of the links. Call or email teachers and ask them lots of questions. Understand your reasons for taking the class and be clear about that with any potential teacher. Ask for her experience and training (she should have both - check out my articles on "What to expect" and links to recognized teacher training programmes). Take classes with more than one teacher, and compare. Talk to to other students. Go to a dance event. Eventually you will find the teacher who is right for you. Along the way, you will learn about what you do and don't like, how your learn best, and what style of the dance suites you.

Q - I saw a dancer once in a restaurant. I thought bellydance was cheesy and dumb. Why should I bother taking a class or going to another show?

Unfortunately, not every dancer out there is good at performing or teaching. Any one can "hang their shingle" out there. Not all dancers understand that what they do reflects upon every other dancer. Come to a class, come to a show, and allow those of us who really care about the art form to change your mind!

Q - Why do I need to learn finger cymbals right away?

Not every teacher chooses to teach zills in beginner levels, but I recently became convinced by this approach by Cassandra.
It may seem counterintuitive, but it is actually easier to learn to play the cymbals at the same time you learn to dance. That way, the rhythms become part of your muscle memory with the dancing. Learning them at the same time takes advantage of the basic patterns of learning and remembering that your brain uses.
Cassandra's intermediate and advanced students are zill maniacs--they can play rhythms I had never even heard of!
You will also learn to pay closer attention to the music, and to hear as well as FEEL the rhythm. The rhythm is, after all, the heartbeat of the dance. Great dancing is the music made physical and tangible. Your learning curve will be steep at first, but once your hands are playing the zills automatically, you free up energy to concentrate on more difficult dance technique.
My current group of intermediate students can play finger cymbals much better after 2-3 years than I could after 6 or 7. I learned "after the fact", in intermediate level, and I found that I was nearly paralyzed--I could not move and play. I have experience playing musical instruments going back to the age of 6, so I can't imagine how others in that boat were feeling!
We do 5-15 minutes of zill practice in most, but not all, classes. In between, you can practice at home. A little bit every day will help speed the process of ingraining the rhythms in your muscle memory. You do not need to own zills, oddly enough--the process of acquiring the muscle memory so you can play with less thinking is about your hands being on "autopilot", not about the sound you are making. That kind of polishing of your technique can come later.
If you think you can, or if you think you can't, either way, you will be right! Expect yourself to learn something new and wonderful. Approach it with an open mind and a willing heart.

Q - I have no rhythm. Will bellydance classes help??

The very first sound we hear is our mother's heartbeat. Your own heart, lungs, and blood keep a steady rhythm. Your whole body is based on rhythms. You have rhythm.
However, many of us do not grow up in families or cultures where rhythm-based dance is an everyday part of life. Furthermore, we may have had very negative childhood experiences in music, dance, or gym classes that create anxiety, apprehension and inhibition about our bodies and abilities. Your sense of rhythm may have been squashed out of you.
Over time, particularly if you learn with a teacher who really understands the music, and who teaches finger cymbals, you can learn to feel rhythm with confidence and move to it with grace. It may take a lot of practice, patience, and hard work (in so small part to get through the mental blocks you have). Relax and have fun. Taking multiple, rhythm-focused dance classes can help (e.g. flamenco, West African, swing, jive, tap), as well as drumming lessons.

Q - I am pregnant. I heard that bellydance will be good for me. Is this true?

Not necessarily. Starting ANY new physical activity when pregnant is a potential risk. Check with your caregiver that you are in a general state of fitness. A bellydance class may be similar to a low-impact aerobics class or yoga in terms of muscular strain. Your joints and connective tissues will be softer and more prone to injury. The kinds of movements we do may, fact, cause pulls and pain.
Done correctly, under the guidance of an experienced teacher, many movements in Middle Eastern Dance can strengthen the pelvic floor, abdomen, back and hips. (There are no training courses that I know of for prenatal bellydance instruction.) So, if you are already dancing, it may help your pregnancy and labour.
Women of the Arab world have grown up with this dance form, over many generations. The dance's roots in birthing preparation are ancient. But if you haven't grown up dancing it, belly dancing may be no more helpful or safe for you than any other dance class. It may help you feel more accepting of your new, round, shape, and to feel more beautiful and womanly in general.
Please refer to the special section of my website on Pregnancy & Bellydance.

Q - Do I have to buy a costume right away?

NO! I generally recommend that students wear a shawl of some kind at the hips. It is helpful that it be a coin scarf made for bellydance, as these have movement and sound that helps focus, guide and motivate. Some students may need special dance slippers. Otherwise, wear what you would wear to any other dance or exercise class.
It is reasonable to expect that if your teacher is asking you to dance in a studio recital or other larger event, that you may have to sew or buy some basic costume pieces to match other students in the class.For a beginner to intermediate student, I suggest a coin scarf or 2 (basic colours like black or red), a crop top (again, a basic colour), and a straight skirt, circle skirt, or harem pants. Your teacher should be able to offer you some advice and help with sewing and shopping.

Q - Do I have to show my navel?

No. Nor do you have to show cleavage. There are no costume must-do's for beginners. You should feel quite accepted in class in a unitard or other leotard that covers the belly. Most modern dance costumes are dresses or include body stockings. Middle Eastern dance is friendly for many body types and shapes.

Q - There is so much on eBay and the Internet in general! What do I buy?

Start slow, ask your teacher for some guidance (her favourite sites, what to watch out for, and so on). Check out my links--I don't promote crap.
Beware--many items for sale may not be made for bellydance, but are marketed as such. Often, you get what you pay for. I have seen a lot of items purchased fall apart or tarnish or simply have the wrong look, culturally. Be careful when it comes to parting with your money.
Ask or check into where the product is made--there are a lot of goods coming out of India, Pakistan and China, but outside of some lovely fabrics, most of the jewellery, belts, and beading are not meant to put up with the rigors of bellydancing. The thread is often too thin, not sewn well, or sensitive to friction.
Consider the recent health scares with lead in toys and cosmetics--there is also a big concern with low-end metals used for costume jewellery from central and east Asia. Protect your health.
Be aware, also, of the style of costume suitable for the style of dancing you are doing. Cholis and tassels and bitty bells are not suited for Egyptian raks sharqi, and filmy see-through pantaloons flatter no one but Barbara Eden on "I Dream of Jeannie".
I prefer to buy items from Turkey, Egypt or North America. I shop from 1 or 2 sites, usually Dahlal Internationale, at <www.dahlal.com>.

Q - Is fancy lingerie acceptable as bedlah? ... have a beautiful sequined bra.

No, no and no. If it looks like lingerie, it is just that, and lingerie, no matter how pretty, is still underwear. It lacks sufficient reinforcement and decoration to be a proper costume piece.
Teachers may be forgiving/understanding in recital situations where you may be putting together your first effort, on a budget, and without a lot of experience, time to prepare, or knowledge. Out in the wider public, and if you are dancing at a paid gig, you have to look the part and dress properly. Get informed and educated, make the time and effort, and spend the money. Check out the numerous resources that tell you how to construct a proper costume bedlah (bra and belt), or ask a pro if you can take a close look at hers.
Properly made, properly fitting bras for Middle Eastern dance are custom fitted to your body, have no bounce or give, have fully decorated straps (not the kind that come with a bra), and have no visible closures. Typically, if a store-bought bra is used, the back strap, shoulder straps and hooks have all been removed and replaced with non-stretchy, reinforced, multi-layered sections and heavy-duty hooks and eyes. A dance costume is very heavy and often very stiff, and is intended to hold you up, in, and still (e.g. no continuous bounce in the bosom as you dance). Usually, the cups are thick, stiffened, lined, and have the push-up silhouette. They take a lot of care and time to make, but you will be happy you did it, especially if you are curvy.
You don't want to be falling out the top or bottom, so always start with a bra that fits beautifully.
NOTE: Many bras made in the Middle East are not built on conventional bras at all, but pieced from scratch by the costumer

Q - I was at the recent Jalilah workshop in Winnipeg, which was GREAT! I loved it. I saw brochures for another workshop there, but someone told me I shouldn't go. What's up with that?

Yes, Jalilah was amazing, wasn't she?! I know which workshop you are talking about, and can personally vouch for the talent and experience of the dancers as teachers and as performers (see the Events listings). Workshops are a lot of work (pardon the pun) to put on. When a host bothers to spend the time and money to bring someone in from out of town, she/he has to promote a workshop and show, pay for the venues, tickets, brochures, posters, provide food for the participants, billet or or pay hotel costs for that visiting dancer, and run things in general for 2-3 days straight. Workshops can cost thousands of dollars to host and months of planning and preparation. The host has to pay that money out her/his own pocket and hope that the workshop and show cover the costs.
You may not like the STYLE of dance being taught, e.g. if you dance ATS, you may not see the point of going to an Egyptian Orientale workshop. However, if a host is bothering to do all that work and pay all that money to bring someone in, that visiting dancer will be of a very high calibre. This is especially true if someone has been invited back after a previous workshop. It means their last one was successful and popular. Go to the workshop and find out for yourself.

Q - I want to hire a dancer for an event, but I don't want it to be too sexy. How do I tell her this?

Most of us do not put on racy, provocative shows. Sometimes we are playful, and we are paid to be entertaining. If we know (and usually we ask questions about your event) that there will be children and/or elders there, we will tailor our dance and costuming to be more conservative. A great dancer will put on a great show, no matter who is watching.

Q - I saw a dancer once in a restaurant. I thought bellydance was cheesy and dumb. Why should I bother taking a class or going to another show?

Unfortunately, not every dancer out there is good at performing or teaching. Any one can "hang their shingle" out there. Not all dancers understand that what they do reflects upon every other dancer. Come to a class, come to a show, and allow those of us who really care about the art form to change your mind!

Q - What is appropriate behaviour if my partner (husband, boyfriend, whatever) is in the audience when I'm on stage or in a resturant dancing? / I was invited to see a bellydancer at a resturant. where is it polite to look/not look? - I'm not sure how to act!

Westerners are used to a very polite distance between themselves and a dancer. We are used to sitting back in a darkened theatre with the dancer elevated on a stage. She or he can't even see us out there. Most of us performers of Orientale dance/bellydance consider it fine for audience members to look at the parts of the body that are in motion - watch our hips when we shimmy, our belly when we undulate, our face when we do headslides, and so on. There is a much closer, warmer, more playful connection with the audience in Middle Eastern Dance. It is meant to be shared and actively enjoyed. In fact, the eyes, hands, head, and arms are all used to focus attention on certain parts of the body, as are props like veil and cane. We have worked hard on our isolations, shimmies, and undulations - we want you to notice! There is an important difference between attentive watching and leering. Most of us can tell (and feel) the difference. By all means, show you are enjoying the show. Clap if you feel the desire to - especially if the dancer shows that she wants the audience to - tip if you are really enjoying the show (but not for a stage show, and never, ever throw money at a dancer), get up and dance if she pulls you up (don't make her drag you), smile, and cheer. No cat calls or wolf whistles. You can call out "Aiewa" (AY-wah, approximately) which roughly translates as "Oh yeah!", and means you really like the dancing and want to encourage the dancer. Personally, I love a really active, energetic audience, be it in a theatre or in a restaurant. When it comes to dancing with your partner in the audience, especially in a restaurant, be tasteful and classy. You should not sit in his/her lap or otherwise be overtly sexual towards your partner. Playful and lighthearted flirting is (to me) acceptable, but avoid being lurid. Do not rub up against him/her, or allow yourself to be touched. No bum smacks or pinches. I would not kiss or hug my husband during a performance. I might pull him up to dance, or drape my veil around his shoulders. Think about what you might see any other professional dancer do in performance, be it ballet, tap, or flamenco. You are dressed up to perform a cultural dance, not to satisfy or inflame your partner"s desires. Save that for your bedroom, and keep that to yourself. There is nothing romantic, sexy or appealing about harem girl fantasies, in my opinion. Read about the actual, historical lives of women in harems (or any other kind of concubines) and you should get over any fantastical notions that it would have been fun. I find very little appeal in a dancer who tries really hard to be sultry and sexy. I enjoy watching dancers who are having fun, who enjoy their music, who have great technique, who are sharing their energy with their audience.

Q - Where does bellydance come from?

There are lots of books and links with good, reliable information on the history of the dance (see LINKS). Generally, it comes from the Middle East and North Africa, when we include all the folk and regional forms of the dance.

Q - What are the veils all about?

The veil, in bellydance, is not worn as a garment, nor over the face. Veiling in that sense has important religious and cultural connotations that most of us try to respect when we dance.The veil is a large piece of fabric, usually chiffon or silk, that is used as a prop. In American style dance, it is often tucked into the costume, and the process of unveiling becomes part of the dance. This unveiling happens in slow, subtle and surprising ways, conveying a mood of playfulness, mystery, introspection, or whatever suits the dancer. The veil is then twirled, flipped, draped and posed with to create shapes and lines (while in motion) or used as a frame for the body (when still). Veil dance is a very personal expression and should be an extension of your energy.
In Middle Eastern regional or classical styles, there are few indigenous uses of the dance veil. Many historians believe the veil was introduced in the 1920's, at the beginning of the golden age of great Egyptian films, to encourage dancers to improve their posture, extend their arms, and create more visual interest.
In the raks sharqi routine, the veil is typically treated like a cape, or a backdrop for the dancer, and held behind the body as she promenades during the entrance portion of her dance. She then drops the veil and continues with the next rhythm. There is also the playful Melayya Leff, the coquettish, going-to-find-a-husband dance that celebrates the sometimes eager, sometimes demure energy of young, unmarried women. The heavy, black modesty wrap is twirled, flipped, wrapped and unwrapped in charming and lovely ways. Many dancers now perform this regularly - wonderful examples may be seen on Hadia"s and Sahra"s videos and DVDs. Denise Enan performs an adorable version captured on "Embrace of Egypt", a show taped in Winnipeg in 2000 (contact me if you would like to purchase a copy of the video).