How to choose the best class type for you

:: About Nicola's classes :: Class schedules ::
:: Class Descriptions :: Studio Locations ::

:: Nicola's Class Policies and Guidelines ::

:: A note about your health :: Best type of class for you ::
:: Private Instruction :: Interested in booking a workshop? ::
:: Teaching Rates :: Recitals ::

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A teacher cannot be all things to all students. Nor can a single class. It is important to understand your own reasons for taking classes, in any dance form.
Here are some suggestions to help you pick.

Recreation Program/Continuing Education/Community Centre type classes:
In our city, classes through these kinds of programmes run under mandates of providing affordable, safe, enjoyable activity to participants.
They are generally lower -priced because the classes are subsidized to keep the fees down. These classes often run on large numbers (15+ people), as they are intended to generate income that helps pay for other no-charge or low-charge programmes, such as youth drop-in centres, summer wading pools, "mom & me" time, and so on.
Classes in these type of facilities are structured to be slower-paced and geared towards people with little to no dance experience. The focus is often on "sampling" the subject matter.
These classes, while educational and sometimes challenging, are not intended to be a serious training ground of dance. They are not mandated to be teaching for understanding or competency in a dance form. Programme organizers may not check or even ask for credentials from their instructors, who may have little to no training or experience. Some do not even have their First Aid/CPR certification.
Classes may be located in "studio" rooms with mirrors, in gyms, in classrooms, or recreation halls--locations are highly variable.
These classes are best for anyone:

wanting to sample Middle Eastern dance;
who is "just curious";
with limited income;
who may not be ready to commit to a more costly, serious-minded studio class;
who is looking for a relaxed pace and attitude;
who wants to take multiple classes with multiple teachers;
who wants the convenience of a class close to home;
who is not ready for the level of attention and interaction in a studio class

Be aware that you will probably end up with bad habits, poor technique, and a headful of misconceptions if you have been taking classes with someone who is undertrained and underexperienced. Sadly, MOST of the teachers in Winnipeg fall into this category. One of the majoyr drawbacks to a dance or fitness craze is that everyone gets into it, and the market becomes flooded with shoddy practitioners.
Even really experienced "teachers" are not often trained to, or even interested in, actually teaching you how to dance--they are merely demonstrating, in the "follow the bouncing bum" kind of format. A sure-fire way of finding out how much of a true teacher someone is to ask questions--teachers will have a variety of ways of explaining something and be very comforatable answering questions. A true teacher will also be comfortable saying "I don't know" and then help find the answer.

Studio classes:
Studio classes typically offer more focus, more attention, more thorough instruction, faster-paced classes, choreography in preparation for a year-end recital, and better facilities, e.g. mirrored walls, sprung floors, better stereos, and dressing rooms. There are often extra "perks" for studio attendees such as handouts, use of props, class music, audio-visual materials, and so on.
The goal of a studio class should be to educate and train students to become proficient in a given dance form, with a focus on long-term learning and acquisition of proper technique and competency. Students are expected to work harder and devote more time to practice. Studio classes typically run from September to June, with more long-term students. I typically structure my level curricula to cover the year, not just teaching in 8-10 week chunks, so we enjoy more continuity and students have a better understanding of long-term goals in each level.

Studio classes run on minimum and maximum numbers of students. Classes may be as small as 3 women, and up to 10. Fees are higher, as these classes are not subsidized in any manner. They are priced to be consistent with other studios, and to cover the costs of the teacher's fee, advertising and promotions, studio upkeep, music and supplies. If a teacher is running freelance classes--meaning she is renting the space and holding her classes there--she also has to cover this rental fee, all class supplies, her transportation, insurance, her hourly wage, and more.

A teacher who bothers to rent a high-quality facility is already putting herself above and beyond the typical. She is making a significant financial commitment that comes with high risk and low pay-out. She is putting the well-being of the class ahead of her own by choosing a space with better acoustics, better flooring, and better over-all "energy"--a space dedicated to art rather than, say, commerce.
These classes are right for you if you:

are done with dabbling
want a balance of fun and learning
want to understand and learn more
want more personal attention
want a different or bigger challenge
want to become "good" at bellydance
think you may want to perform
want to be in a better facility
like a smaller class size
want consistency in lessons and the people in the room
are willing to commit to higher fees
want to develop and grow as a dancer
want to do it right from the beginning
want a genuine feeling of community and comradery

About Levels

Levels are rarely consistent from teacher to teacher. It's in your best interest to contact any teacher prior to registering if you are coming from another instructor.
There are only a couple of widely-recognized teacher training programmes for Middle Eastern dance--the two I know of are Hadia's and Suhaila Salimpour's. I have taken 2 of 3 levels with Hadia. Even they do not prescribe a single set way of teaching dance. Most teachers will set their levels with little conscious thought, perhaps only regurgitating what they took as students, or, worse, trotting out a constantly different "salad bar" of bit and pieces taken from workshops and DVD's. Few teachers take the time to plan what to teach, and even more rarely, consider why and how . Still more confuse the needs of their own ego with the needs of students--a tell-tale sign of an ego-centric teacher is if she is constantly trying to outdance her students. This has been a source of disappointment and frustration for many dedicated teachers and students.
When coming from another instructor, it's wise to approach the new one with some humbleness and respect, and to sincerely discuss with her where you should be in her levels. It is not uncommon for teachers to suggest you try a couple and they be placed. It's typical to feel as if you have "dropped" a level, but try to practice some patience and allow yourself to adjust to the new system. You will often also be adjusting to a new voice, new body, new methods, new room, new classmates, and different music. This is enough of an adjustment. Try to think of it as different and new. Try not to compare your previous experiences with your current ones. It's not very helpful to anyone. If you experience a feeling of "starting over" because you discover your last teach was unskilled or inept, try to just breathe deep and stay positive. At least you are making things right from that moment on.
Kindly read all class descriptions and prerequisites to be sure of what level you should register for and what you will need to bring. This will be different for the 2011-2012 season, and Nicola thanks you for your patience as she works towards better and better dance instruction!
Nicola makes it a practice of encouraging students to try several teachers and to try more than one class per week. This helps you by offering:

repetition and variety
opportunities to experience several viewpoints and teaching styles
meet different people
work and learn in a different time and space.

Keep in mind that it takes the majority of students persistence, discipline, practice, talent, aptitude, research, and of course, an average of 5 years of training in classes, workshops and private lessons to become proficient in this dance form. Classes won't buy you talent or inspiration.

Taking a class that you hate, or seeing a show that you think is terrible, still teaches you--you learn what you prefer, what is out there in general, and what you need in a teacher and a class. Negative experiences can help motivate, re-focus, and direct your efforts, as well as save you money by knowing what classes, shows, and products to avoid.

About Teachers

Anyone can rent studio space and organize a class. Some studio owners do not check out credentials on instructors coming from different dance traditions than they are familiar with. All teachers vary widely in their teaching and performance philsosphies, practice, methods, and styles. Each teacher does have her own unique ways of breaking down moves, teaching prop work, correcting, and generally passing on knowledge. Some teachers teach choreography, some don't. Some are trained in folkstyles and/or have training in other dance traditions. Some teach veil, finger cymbals, both, or neither in beginner levels. Expect inconsistency.

Keep in mind that most teachers will teach privately and semiprivately (2-3 people) at varying rates; expect to pay $25-$55 per hour. This is a more focussed way of learning, and is helpful when you want specific corrections, drilling, and feedback on technique or choreography. Private lessons work best for students who have been dancing for at least a year.

When looking for a teacher or evaluating a DVD you should look for a combination of:

years of experience (5+ at advanced level and higher, as well as performance);
formal training (group, private , workshop classes) she has pursued and is still pursuing;
first aid training;
formal, standardized, certified teacher training in Middle Eastern dance, via Hadia or Suhaila Salimpour (the only 2 widely recognized courses);
fitness leadership and/or coaching training;
university or college-level coursework in education, dance instruction, anatomy, physiology, kinestheology, osteology, massage therapy, music, dance, and/or cultural anthropology/pre-history of the Middle East /North Africa;
membership in recognized dance organizations, such as Dance Manitoba;
awards (specific and actual) or other formal recognition by actual, viable, accepted institutions, organizations and associations (not just ones she has invented to award herself, e.g. "Golden Toe Ring" award for Best Hairdo; you should be able to look up and verify what the award was for and why/how it was awarded, e.g. Dance MB Provincial Dance Festival will award multiple gold medals in a single category because dancers are marked on a criteria out of 100 points, not ranked against each other
connections and collaborations to other dancers and participation in events such as workshops and stage shows (not just her own) held in the local area and nearby cities . She may not have all of these credentials, but she should have many or most to provide a safe class, with authentic technique and accurate cultural knowledge.

Take charge of your learning. Read her bio. Ask questions. Check references and other details. Beware of bios heavily peppered with vague, self-congratulatory terms such as "numerous", "huge", "always","hundreds", and so on. Check, ask, verify, be critical and keep your eyes open.

A dancer's cultural background is not necessarily important--it should not be a make-or-break point for you. There are many excellent dancers who are internationally recognized for their dancing and teaching talent who are not from the Middle East. Just as there are fine Flamenco and Highland dancers who are not Spanish or Scottish. A ballet dancer does not have to be French or Russian to be excellent. A dancer of Middle Eastern-descent will indeed have special knowledge and understanding of the language, music, and culture. But keep in mind that professional dancers working in the Middle East also pursue formal training for many years, in Orientale and other dance forms, have their own dance coaches and choreographers (and costumers), and have spent a lot of time adding to the homedance they grew up with. Think of it this way: not every person born in Scotland knows how to Highland dance, or could teach it, nor does every person born in Canada know how to play hockey, tap a maple tree for syrup, or trap beaver. My father coached junior hockey for most of my young life, but I can neither play the game, nor could I coach it.

Furthermore, not every person born and raised in the Middle East will have had direct experience with dancing, and fewer will have any training. Their experience may be limited to seeing it on TV, which is exactly like watching "Dancing With the Stars" and claiming to be a ballroom dance expert.

An Orientale dance performance in a stage or restaurant setting should leave you with the "wow" feeling--the dancer should be very well-dressed, well-groomed, demonstrate excellent rhythm and musical interpretation, and her movements should change to fit the different songs in her set. It should not be slutty, sloppy, overly repetitive, or leave you with the feeling that what you saw was wierd and silly.

Dancers in Winnipeg takes turns hosting a visiting professional or master-level instructor in a formal workshop, with a stage show, 1-3 times per year, which feature out-of-town and local dancers of many levels. Keep in mind, though, that you should approach a workshop experience with a similar, critical, eyes-open and brain-turned-on manner. Don't expect to be catered to in any way--you will do well to walk away with 3 things that you remember--and don't assume that because someone is teaching a workshop that they are as stupendous as it is claimed they are.

PLEASE BE AWARE: Teachers and performers are NOT trained and educated in a standardized way, so there are no guarantees of their talent, ability or knowledge. Bellydancing is plagued by bad dancers and worse teachers who may put your health and well-being at risk, tell you untrue or invented facts about Middle Eastern dance, and teach you poor or incorrect technique. It's student beware! Take your well-being seriously when you spend your money and make your commitments.