Bellydance training with an injury

This post partly comes out of my recent post about managing my EDS for dance, because managing injury is an enormous part of being a dancer with EDS, however it is also something I have been meaning to write about for general reasons, because every dancer has to deal with this sometimes, whether it is because of ongoing issues, accidents or even a bout of flu.

Illness or injury has the potential to completely mess with your training schedule, knock out your opportunity to rehearse for performances and for a teacher upset your schemes of work and student progression as you plan your classes around your own physical limitations.

When an injury happens, you have to rest it, but I am always aware that while I am doing so, there is a risk of muscle deterioration, which means slipping backwards in terms of the joint stability I have worked so hard to build up, not to mention my general dance conditioning.
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I'm still trying to work out a solid strategy for injury management, but these are the things that have worked for me so far.

Recognising the problem, and not denying it.

Denial is really easy when you are used to regular twinges. It's easy to think "oh that's just a little sore, it'll be fine" and carry on. Well, it might be fine, but even if it is, taking care of it won't do any harm. I use a warming muscle rub on anything that feels tight or sore. It aids recovery from post-conditioning aches and I've also found it helpful for stiff and sore ankles.

An injury needs rest, elevation and ice asap, I usually take some ibuprofen at the time, to help stop the inflammation. There really are no prizes for being a hero here - admit there is a problem and deal with it before it turns into a bigger problem.

Then you have to actually rest it. Princess Farhana wrote recently about how dancers just can't leave their injuries alone. Stop poking it!

Modifying exercises

In my work as a perinatal yoga teacher I am used to finding workarounds for conventional exercises. There's no shame in using props or adapting to reduce impact or exclude a joint that won't tolerate the position. Usually modification means compromise in terms of results, but it's a much better option than doing nothing, and definitely a better option than continuing to work a damaged or weak joint.


Splitting the body

In general I try to work different areas of the body on different days. Core almost always happens, but I have legs days and upper body days and abs days. This is fairly conventional in fitness and allows recovery inbetween. If I have an ankle injury, I will focus on the other areas for a bit. I also keep my conditioning symmetrical, because an injury on one side of the body will strain the other, so that will need some respite and care too.

When I was pregnant and suffering with pelvis instability, I started drilling arm pathways, with weights, while sitting on a fitness ball. There's often a way to rest an injury without stopping completely!

Splitting the work

On reflection I have realised that I can split my practice into a variety of levels, each with their own internal goals, this helps a lot because it means I don't have to drop everything when one part is compromised.

• Basic fitness for cardiovascular and metabolic health - this is walking and generally being active.
• Strength and stability for joint health - simple hatha yoga, restorative yoga, basic pilates, wobble board etc.
• Strength and conditioning for dance - pilates, interval training, ashtanga yoga.
• Dance training - drills, technique and rehearsal

Only the first two are essential for managing my general health (though the others do make a marked difference). It is possible to "mark time" in recovery periods by identifying the activities that make the most positive difference for the least harm.


Managing the domino effect.

A couple of months back I sprained my right ankle, I'm not entirely sure how. A couple of weeks later my left ankle buckled under the pressure of compensating for the weakness. It just gave way underneath me and I sprained that too. The right was almost better, but after a day of the left being weak, it got much worse again. Another day later and I was suffering from excruciating muscle pain up the outside of my left calf and the inside of my right quad - as a result of losing the balance and alignment in my walk. The quad imbalance affected my kneed and my kneecap subluxated...

This is a pretty usual pattern in my experience and it characterises how devastating a relatively minor slip can be as well as reinforcing how important to rest.

I've become very aware of how the body compensates for injury, usually by compromising alignment. Appropriate use of supports and splints helps. If I damage one ankle/foot, I will use a support on both, to protect the good foot. I also use a lot of muscle rub, massage and stretching to prevent tightness and imbalance in the muscles that support the joints.

One of my postnatal yoga clients was asking me about using supports for an injury just this week. In particular she was concerned about relying on the support and losing the musculature that would naturally provide support. Ideally what you need to to is talk to a physiotherapist who can let you know exactly how to use supports appropriately. So... this is my personal experience and not advice... When I feel a weakness or pain, I use a support, always. Why? Because I have found that continuing to use a joint that is weak, wobbly or generally unreliable leads to further injury. A slight weakness due to reliance on a support is a much lesser issue than the risk of aggravating the injury or causing further injury. And I'm not convinced that a support will cause weakness, if your muscles/joints needed the extra help in the first place.

Total rest.

Sometimes the best thing to do is just stop and give yourself some recovery time. If you are ill, you need to get better and while in some cases taking a half hour to walk in the fresh air might do you the world of good, in others it might just prolong your illness and keep you out of training for much longer.

It's OK to have downtime, and downtime doesn't have to mean a break from dance entirely. I've written before about how you can improve your dance by watching and analysing video footage. So that's a start. There's also other things like mapping music for choreography (I hate this job but I've found it essential for really understanding all my performance music, improv too), or even just listening to tracks through services like Spotify or even on YouTube to find your next performance peace.

As a teacher I use downtime to plan lessons, or to type up my rough lesson plans, choreography and workshop notes from my notebooks. Or sort out the dreaded accounts.

You could also work on zills or drumming, or costume making. There's lots of ways you can turn a bit of time off your feet into genuinely productive work.

Reflecting on an intense year of dance.

So I've been a bit lax with this blog, and that's because I've just come to the end of an amazing chapter of dance.

I've had a phenomenal year which has involved multiple workshops, intensive instruction from Ashley Lopez and Ava Fleming, and the opportunity to participate in Alexis Southall's Tribal Fusion Education Programme.

I've really struggled to write this post and give everything the attention it deserves without going on too long, so I've reminded myself that most of these topics will get their own post in time. Now is a quick overview!

Working in a group

It's been a long while since I have worked consistently with the same bunch of people, as I have not been part of a troupe, or attended weekly classes for several years.

There is something really special about shared experience, knowing there are others working through the same material, preparing for the same goals. Being part of a collective can be restrictive in some ways, but it also gives you space to breathe and grow with the support of your peers.

Being back in a tight, shared dance space with lovely, talented dancers has been really refreshing. So much so that I decided to apply for this year's Juniper Project. And I was accepted, so I am really excited to have a group project, with a shared performance, on my training schedule for this year.

Diversity is amazing

One thing that really struck me was how different all of the dancers in the cohort were. We all came from different backgrounds and different influences, but everyone had something brilliant to offer and to be inspired by.

There's a lot of diversity in traditional Arabic dance as it is, but when you get fusion performers bringing in influences from other styles, along with their personality and aesthetic, the possibilities are endless.

One thing I have learned from bellydance is to see and appreciate something in everyone's dance, every individual has something worth watching. Working with the TFEP group I saw this phenomenon, but massively inflated. At the final showcase I was blown away with the high calibre of all the performances, though each one was vastly different from the next.

Seeing through others' eyes

Feedback is a super important part of improving your dance, but good feedback can be hard to come by. Much of the feedback I get for my dancing isn't true feedback, it's niceties, or its accurate, but not backed up with the information that helps me understand *exactly* what it is that made that feel that way, or what I have to do to improve.

With Alexis as a mentor I have had some really useful feedback, but in the course of our studio time we also got feedback from the other participants, and that was really useful too.

Another aspect that was fun, and revelatory, was the exercises where we got to evaluate each other's dance styles. I've been told before that my style is "distinctive" or "quirky" or all kinds of things, but I've never really understood what that meant until other dancers sat down, watched me then listed all the traits they saw that made my dance "me" (and I got to do the same in return). This brings me back to the last point, understanding how two dancers, dancing the same style, even taught by the same teacher, can be quite distinctive. It also helped me understand a very important point of artistic angst, the "what am I doing that everyone else isn't doing? Why would anyone want to watch *me*". Which brings me to my next point...

Self doubt is part of the process

I've talked to a lot of dancers this year, from international master teachers to dancers preparing their first solo, and I've come to realise that every one of them has moments of wondering why they are doing this to themselves, whether they can pull it off and whether it is worth it. This isn't just normal, it's vital if you want to keep your feet on the ground. Sometimes the answer is what you need to get you to put your big girl pantaloons on and get up there. Sometimes the answer is to sit this one out because it's not right, at this moment, and that's ok too, as long as it's authentic and honest.

Vulnerability is powerful

At Majma last year, I asked Ava how she managed to bring the raw emotion in her fusion pieces (like Too Close and Roxanne), which she explained always come from real, personal experiences, to the stage. How did she present her heart on her sleeve with such vulnerability? How does she get up there and take that risk?

Her answer: You just do it.

So at first that didn't seem all that helpful, but then I decided to take it as advice. At a friendly, local hafla, I took a track that touched me, but which I hadn't choreographed or rehearsed to the point where technique starts to erase the feels. And I just did it.

And no one laughed, or criticised the technical flaws, or threw things. In fact I got a lot of very good feedback. I didn't record it, because sometimes you don't need to sit there and cringe and dissect things, some things just have to live and die in the moment.

What I took away from that performance, was a little more confidence in allowing my dance to come from the heart. And every time I do that, it gets a little easier.

Don't be afraid to be a dancer

I've always had a certain amount of self conciousness about doing "dancey" things. There's bellydance moves, and that's fine because I'm a bellydancer, but some movements, gestures, delicate turns etc. Moves which have evolved from ballet or contemporary dance. They just feel a bit silly. Well they did, until I realised that what I had to do was just commit to them and remember that I am a dancer, so I better dance like one!

I realised through rehearsal, recording rehearsal, performing and recording performing, that sometimes I hold back, and actually I dance better without the audience, because I'm not afraid of looking daft. But of course the fear of looking daft, the holding back, that's what makes you look daft.

Or to make decisions

This seems like a small thing, but it's made a tremendous difference to my dance time. Alexis made us choreograph on a very tight time limit, and I learned to make snap decisions. To just put in something that is about 80% right to get that section choreographed and move on. You can always change it or embellish it later. Recent new work has shown that this just about halves my choreography time, giving me more time to actually perfect it.

A supportive mentor is priceless

Alexis has been great this year. I can't really explain quite why, but having a teacher who is genuinely invested in your progress makes a huge difference, even when they aren't doing anything. I suppose it's a bit like a doula, it's what they are as much as what they do, and knowing they are there makes all the difference. So I have to say a massive thank you to her, because she is fantastic.

The result

So I'm pretty proud to be able to present the video of my final performance at the Vernal Equinox showcase. It represents the culmination of a great year of growth in my dance. If you would like to see the work of some of my peers on the course, they are also available on the same channel.

EDS - dance and conditioning as physical therapy.

I've spent most of this year working very hard on my cross training, as well as general drill and practice schedule. I've written about what that means in dance terms (tldr: many good things) but I wanted to look at it from another angle.

I've written before about Ehlers Danlos Syndrome. It's a genetic disorder that affects my collagen structure and causes all kinds of fun complications, most of which are invisible to all but those closest to me. In my case, the most invasive symptoms are joint instability, the subsequent injury that causes (sprains, dislocations etc), chronic pain and fatigue.

I like to think of it a bit like this: Imagine you are building a machine, like a car, but where you need cable ties (it's a cheap car) you only have rubber bands, and where you need gaffa tape, you have elastoplast. It's not going to function quite right in a variety of different ways.

It is well understood that certain kinds of physical therapy are good for EDS patients. I had a lot of physiotherapy as a teenager,and some in my 20s but none of it really stuck. Then earlier in the year, I watched this lecture. It's long, but interesting. I'm going to summarise the bits that I found really relevant to my practice.

One thing that really struck me was that they felt that general physical therapy was just as effective as targeted therapy. For me this was super-good news. I have a whole catalog of really boring PT exercises I am supposed to do, but I never do. Why not? Because they are dull. It might sound like no problem to take time out 5 times a day to do 10 reps of a basic exercise, but it never happens because there are better things in life.

"I have never met an EDS patient who can ignore the pain and exercise in the gym and be successful at it" Jan Dommerholt

In the video they talk about an external focus. So that patients aren't exercising just for the sake of it, or even thinking about what muscles they are using or where there body is, they are doing a task where correct form is built in, but the goal is something far more compelling (you can see some examples of the speakers' less conventional PT tasks at about 35 min).

Another issue I have experienced this year is the notable lag in progress of my EDS symptoms behind my fitness. I have never in my adult life managed to push through to the point where my joint stability is good enough to match what my general strength and fitness is capable of.

For example, after about a month of daily interval training, I was feeling a lot stronger and healthier, but I was still having to modify some exercises to reduce the impact upon my joints. I kept at it. After 8 months I was finally able to do jump squats and burpees (putting aside a brief point where I let my burpee form slip a bit and ended up having to splint my wrist 24/7 for a month). For most people doing a jump squat is about having muscles strong enough and fast enough to get off the floor, for me it is about having enough stability in my knees not to collapse like a marionette when I land - and that was the hard part. I could do 80 standard squats a day for months before I was able to land a single jump squat.

It is also known that the gains from PT will drop off very quickly if you stop, which is something to consider when dealing with illness, injury or rest periods. In my summer dance-downtime this year, I continued with my fitness training for this reason.

Pain is the last symptom to go, and it never reaches zero. Well, that's depressing. And that's another reason why it is really hard for people with EDS to motivate themselves towards PT. My pain levels have reduced, inasmuch as I don't get particular pain from injuries, slips, trips and wobbles quite so much. The general background aches are still there. The truth is though, there is improvement. Marked improvement, but it is taking work. A short while ago a quote was posted on a Yoga for EDS forum I subscribe to: "he is in so much pain he has to exercise all the time". It's kind of perfect.

My programme

So I want to write a little about the parts of my training which I feel are having a positive impact on my EDS symptoms - it's just what is working for me, everyone's body is different, this is intended as reflection, not instruction. A summary of what I am learning on this year's fitness journey.

Feedback

So the most important thing I came into this year with, was an understanding of my issues. I analysed my posture meticulously. I watched videos of my dance practice and performance, I asked other dance teachers to do a postural analysis on me and I had a session with a physiotherapist for the same reason. With that in mind I started out aware of potential pitfalls, weak spots and problems to "fix".

I have/had: A deep lordosis in my lumbar spine, swayback, femoral torsion with a weakness in my external hip rotators which worsen that, pronation on my left foot, supernation on my right, plantar fasciitis and a few other fun things. A lot of work has gone into all of these and my posture, movement and proprioception are all improving - but that couldn't have happened nearly so well if I hadn't been aware of what to look out for from the start.

Another side to feedback that is important is observing my dance, either on video or in studio mirrors, and being aware of my alignment from an external perspective. People with EDS usually have poor proprioception (the sense of where the body is in space). You can train proprioception, but I have to be constantly mindful to keep my lines healthy and avoid "weird" and unnatural-looking joint positions.

Yoga/pilates

Some people get twitchy about yoga and EDS, because they think that yoga is about being bendy, and EDSers are already *too* bendy. When I practice yoga I am concentrating on good alignment and strength through postures and flow. EDS comes with poor proprioception, we often don't really know where our body parts are unless they are at an extreme of their range. Yoga is about being really conscious of that, and developing good movement patterns which become habits we carry into our daily lives.

Pilates has a lot in common with yoga, but with more ability to spot target and strengthen muscles. Pilates tends to be intense and is often about doing a few reps in good form, which makes it initially quite accessible. My physiotherapist runs clinical pilates sessions, which are a great option for anyone wanting to try it out while keeping a joint condition in mind.

Walking

One of the most basic exercise therapies suggested for EDS is 30 minutes walking a day. That's a good amount of walking, certainly enough to call yourself active for the sake of cardiovascular health etc. The great thing about walking is that you can choose how to pace yourself. If it takes 30 minutes to get to the end of the street and back, it's still 30 minutes walking, right?

I usually walk on a flat surface, like a pavement, although more recently I have been branching out to some cross country things. Uneven surfaces carry risks of wobbles which means ankles, knees, hips, falls, all that drama.

Finding motivation to walk isn't so hard. I started by walking the school run, or just walking into town and back. Then I got a puppy. Now I walk her. Walking with a dog feels much more purposeful. I like going places with her. I've just about doubled my daily distances as a result.

Kit for walking is helpful. I started out using a hiking pole when I am going off road. "Hiking pole" is sports for "walking stick for wobbly muppets who fall over in the mud too much". I find the difference it makes is phenomenal. I have mananged to avoid using a conventional walking stick for about 3 years now, but I used a pole religiously on rough ground while I was developing strength in my walking habit, and continue to use it on wet days or if I'm feeling a bit weak.

The other important thing is shoes. Shoes are a big deal for me generally, they have to be right or I end up with fallen arches, plantar fasciitis, odd dislocations in my metatarsals, all sorts. I started wearing trainer style, low top walking shoes for all my walks. I found them lacking on wet ground. I have old fashioned leather hiking boots, but I find them too restrictive, my feet can't flex and I get cramps and my joints ache for lack of movement (moving joints is really important for keeping the synovial fluid levels at their cushiony best). So I invested in some soft, high top walking boots and they are great, enough flexion in the sole to keep my feet busy, but loads of ankle support.


When I walk I also think about alignment and posture a lot too, just like a do when I am dancing. Is my pelvis level and stable? Are my toes facing forwards? Are my knees tracking over my toes?

I've noticed that the strength training in the pilates and yoga, as well as the more intense interval training, has changed the way I walk, I'm using more muscle groups now and my gait is smoother. I notice these things because I am a movement geek.

There are other parts of my training that are less relevant to my EDS, like weights, interval training and dance practice. Those are all happening too, but doing those parts is the goal, the stuff above is what keeps me well enough to get there.

Keeping track

One of my most surprising discoveries was how useful it has been to use a fitness tracker. I use a Fitbit Charge HR, which I find best for picking up my non-stepping exercise like weights and dance (when my arms are isolated and most of the effort is not in my feet)


So why is this so useful?

First off, it makes me be active every day. It is very easy to have a slack day, then let that drift into a slack 3 days and before you know it you are losing strength, getting wobbly and falling down the stairs again. I am naturally a bit goal driven, so I do make a point of hitting my daily goals and doing this consistently has definitely made me more active and stronger.

The thing that I wasn't expecting to make an impact on my EDS symptoms was the calories in/out tracker. I knew I had a problem with how I was eating on heavy training days. The disruption of travelling, dancing all day, taking short breaks with unusual sources of food etc was clearly problematic. Like many EDSers my digestive system likes routine and I would usually end up with stomach cramps etc due to the disruption. I also used to crash badly the next day. Total fatigue, brain fog, sometimes migraine.

I'd put this down to having exercised/pain managed hard the next day and just having no spoons, but when I started tracking my calorie intake, I realised there might be more than that. On my heavy dance days (and this means teaching/rehearsal days as well as taking classes), I was undereating terribly. It is quite usual, on a Monday, when I run a full morning of classes with rehearsal inbetween, for me to end the day having expended up to 2000 more calories than I consumed. No wonder my body was screaming for downtime after that!

The counter problem to that was that on my rest days I was using half as many calories and eating more. So basically my fuel system was completely upside down.

I use an app on my phone which allows me to record my intake throughout the day, and lets me know if I am on track according to what I am doing. This means I can not only match my intake to my output on a daily basis, but throughout the day, which gives me much better balanced energy levels. This in turn means I am much less fatigued the following day. Energy levels are also really important for pain management. Low blood sugar saps willpower.

Daily goals mean that I am more consistently used to being active, and that has helped a lot with training days too, they aren't such a shock to the system! I still have pain to manage, serious training does still give me a bit of a "hangover" but it is much, much better.

The dreaded injury

Injury is an inevitable part of living with EDS. PT can strengthen and stabilise the body, which makes it less likely, but eventually it will happen.

There are some things I can live with, like my right hip that jumps in and out of place like it's doing the joint Hokey Kokey, or "The Claw" when my hands just seize up from overuse. Other issues can cause more disruption.

This time last year I wrenched my shoulder (while feeding the rabbits, because of course I did). It took a very long time to work through all the issues this caused in my neck, shoulder and upper back. Spraining my wrist meant no burpees for a while (there's the silver lining). I also couldn't plank properly for a while, I had to modify to the elbows.

Earlier this year I managed to sprain both ankles, which caused a whole cascade of issues.

I had so much to say about how I cope when I have an injury, that I decided to put it into a whole separate post.

The final word

So I'm going to wrap this up here. The last year has been quite a journey on a number of levels. From a health/EDS perspective I was determined to see what my body was capable of if I cared for it, ruthlessly. It has exceeded my expectations. A couple of times last week on a dog walk I climbed Glastonbury Tor twice in a row (and went around the base inbetween) with absolutely no extra issues afterwards. This takes constant work though. I have to exercise every day, regardless and that takes commitment and scheduling.

Dr Dommerholt is correct. The pain doesn't go away. But it doesn't go away through rest either, so that's not part of the equation. Being stronger, more physically able and a better dancer has been worth the effort.

EDS affects different people in different ways, and I am very grateful that I have the ability to access this kind of training, many sufferers would struggle with the basic programme I began with, and I certainly wouldn't expect many people to be as driven as I am. Dance is one of my greatest priorities, but I have that luxury because it is also my job.

However, accessible activities are a great thing - I currently have plans to start a low-impact dance class for less able dancers - moving, in a safe and level appropriate way, motivated by something other than simply getting the exercise done is an excellent tool towards health and wellness.

The pregnant bellydancer

Every now and again I get approached by a dancer who announces she is pregnant. That's always rather nice, but more specifically they are looking for help and advice about dancing through pregnancy.

Now I love these conversations, because it's great to help out another dancer, and supporting women on their journey into motherhood is what I do on the other side of my working life. But I also felt that it would be good to put a bunch of information in one place (for the bits I forget to talk about) and to be able to share it with dancers who aren't going to contact me directly to ask. There's a lot of misunderstanding about dance, or physical activity in pregnancy, and I think that places a lot of unnecessary stress and restrictions on pregnant women.

In this post I am going to focus on continued dance for dancers who happen to be pregnant. There will also be a sister post on my doulaing blog for pregnant women who would like to dance.

Before we start. Who am I to be talking about this stuff?

Well, I'm a bellydancer, and teacher, hopefully that is clear or you have stumbled here via a stray internet link and are wondering what is going on. I have a background in teaching specific prenatal bellydance classes ( this used to be a regular thing, but now is something I offer as a workshop) which stems from my work as a doula.

I am also a trained doula, which for the uninitiated means that I provide practical and emotional support for women through pregnancy, childbirth and the postnatal period. This is not a medical position, I don't provide any medical treatment or advice, but part of the role is having a strong understanding of the processes of pregnancy and birth, as well as the various options, complications etc that might arise, so that if need be, I can serve as an advocate for a client, helping her to make informed choices that are right for her.

And I'm a perinatal yoga teacher. I have been teaching regular pre and postnatal yoga classes for just over 3 years and I have the privilege of watching a wide range of women progress through pregnancy, whilst analysing their posture an movement (in a totally not-weird way).

What I am not however, is an obstetrician. Or more importantly, your obstetrician. The information I am about to give you is based on my experience as a dancer, teacher and mother. Always seek the advice of a medical professional who knows your file and can actually see you and stuff.

Down to the questions. 

I'm going to FAQ this. Yes, it's a bit lazy, but it might make it easier to follow....

Can I bellydance in pregnancy?

Yes. Yes you can. There will be limits. For the most part they will be extremely clear to you.

This is assuming you are generally healthy. If you have complications in your pregnancy then those limits might be tighter, or you might need to rest up completely. I keep a quick checklist here for *my* prenatal class, which is beginner level and very low impact.

Generally if your health care professionals are not advising you to avoid light/moderate exercise, you can dance. Some HCPs don't know much about bellydance, and will err on the side of caution when asked, because they really have no idea what you are proposing to do with your expanding midriff. Discuss your concerns, and theirs and see how you feel. But the rule for most pregnancies is if you were doing it before you got pregnant, then you can keep doing it. Dancers in forms that are much tougher on the body, like ballet, continue to dance safely in pregnancy. Runners keep running, weightlifters keep lifting. You get my gist.

Is it going to cause a miscarriage?

The "usual" advice women are given is to lay off exercise for the first 12 weeks, as this is a risky window for miscarriage. Now, it's fine to lay off exercise if you are exhausted and nauseous, and it is very important to listen to the signals your body sends when you need to slow down.

But.... I need to get a bugbear off my chest. There is a reason most miscarriages happen in the first trimester. That reason has nothing to do with exercise. It has nothing to do with *anything* the woman does. To suggest otherwise is a cruel lie that leaves grieving women torturing themselves with blame over a pregnancy loss that could never have been prevented. The vast majority of first trimester miscarriages are genetic faults. Those embryos simply didn't have the right DNA to grow into a viable foetus. It's really common, happens all the time - we have actually evolved to only carry the strongest, most viable embryos. It is nobody's fault.

For many dancers, dance is what keeps them sane, and healthy. For many of us it is our main (or sole) form of exercise. Without it we lose our cardiovascular fitness, strength and posture. Those are all going to be important to keep healthy and comfortable through pregnancy. So telling a dancer to stop dancing for a couple of months is not actually beneficial to her health at all.

Is there anything I should be avoiding?

I have 3 answers to this question, the fluffy, the general and the sciencey

The fluffy

Listen to your body. If you feel tired, don't push yourself. If you feel dizzy or nauseous, stop spinning drills. If something hurts, don't do it.

Most of the time that will see you through. If you are dancing regularly and not consistently injuring yourself, the chances are you either have a fabulous and attentive teacher, or a fairly good understanding of your body. Both of those will serve you well here.

The general

Smooth movements are usually ok. Sharp movements can be uncomfortable. Twists, especially sharp twists need to be avoided. Camels/undulations - the general advice is no, I would certainly advise against deep pelvic undulations in the second half of pregnancy. Backbends are just ridiculous, don't even think about it. Belly rolls are probably possible (I could bellyroll at 34 weeks pregnant just fine) but it does put strain on a muscle that is already very stretched and you would probably like to go back to its original length eventually.

That said, Sadie is doing just fine....

The sciency

To unite the first 2 answers, sharp movements will probably feel uncomfortable anyhow. Your uterus will essentially become a hard and heavy wrecking ball, crashing about buffeting your insides (that's the science....). You will most likely not enjoy this sensation. You won't want to do the movements.

The other risk for sharp movements is relaxin. As your pregnancy progresses you will become more flexible as this hormone softens your ligaments in preparation for birth. Flexible joints are unstable joints and it will become easier for you to hurt yourself through an overenthusiastic movement. Some women find themselves getting really loose in pregnancy, and this can result in Pelvic Girdle Pain, when the usually fixed joints in the pelvis start to wriggle around. I suffered from PGP in both my pregnancies. I found that I could dance at times when walking was difficult, because my automatic dance posture activated my core into stabilising my pelvis. If you have PGP though, you need to take it steady and remember that if you overdo it, you might not feel it until the next day, so be careful.

That said, from my personal experience as a mum to be with pelvic pain, and as a yoga teacher with several women with PGP in my care, I strongly believe that the worst thing for a loose pelvis is complete rest. When your core muscles weaken, they support the pelvis less, the instability becomes worse, the pain becomes worse. The Pelvic Partnership have some great information about how to take care of your flexible pelvis in terms of avoiding the activities that make it worse. Maintaining core strength and good pelvic carriage in your posture usually reduces symptoms.

Generally stabilising the pelvis will help both pelvic and back pain. Be mindful of your posture and think about keeping the low abs engaged and avoiding "duck butt" at all costs. Your body will be fighting you on this one. Do this every day to help straighten things out.

Twisting the lumbar spine needs to be avoided in pregnancy, in prenatal yoga spinal twists are done sat on the floor or otherwise to root the pelvis in place and taken very gently. I personally found horizontal figure 8s just fine, but kept the range of the twist small.

The last thing to consider is dizziness. You'll probably be getting some of this. You'll also notice the headrush from standing up or bending over is much worse now. This is usual. Your balance will also be off, because your centre of gravity is different and constantly changing. This is going to limit your ability to spin.

Can I keep training?

For some dancers training might mean attending one class a week, for others it might mean a more punishing schedule of conditioning and dance. How you manage this is entirely up to you. I stopped taking classes at about 20 weeks in my first pregnancy. But at 17 weeks I made it through the Majma festival without sitting out of any workshops.

Of course dance isn't just about classes. I never truly stopped dancing in either of my pregnancies. Even after I stopped classes, or practice at home. Dance is integral to my life and I was still dancing, even briefly, on a daily basis.

If you want to maintain your fitness, it might be worth switching over to specialist pre-natal classes whose teachers have a better understanding of what is going on in your body and how to manage it. There are also some really good prenatal yoga and pilates DVDs on the market (Tara Lee held me together in my first pregnancy), and a couple of prenatal bellydance DVDs, which while basic, offer you a safe flow practice.

There are other ways you can work at your dance, without actually dancing. Like watching videos or studying music. So try them out to keep your dance monster fed. Lastly, be creative, if you can't do the entirety of your regular practice, what can you do? When my pelvis was at its worst, I sat on a fitness ball and drilled arm patterns. Great for core strength!

Can I perform during pregnancy?

Absolutely. If you can dance, you can perform. You might want to think about what your energy levels can handle, but if you feel up for it, most bellydance events love a pregnant dancer!

What about afterwards?

When I was pregnant people told me that dance would be the last thing on my mind after I had a baby. These people were wrong, and if you, like me, live and breathe bellydance, then you will understand the urge to get back into it fast.

You're going to have to wait a little, at least. Medical advice is to wait 6-8 weeks, at which point you will have your postnatal checkup and your doctor will tell you if you are OK to start exercise.

After my second baby (c-section) I went to a beginner level class at 10 weeks postpartum. Looking back on that it seems ridiculous, but at the time it was an absolute lifeline. One whole hour a week for me, where I wasn't caring for a tiny and perpetually hungry human.

***

I took my yoga teacher training during my second pregnancy. My teacher told me at the time that yoga teachers were far more likely to push themselves too far, maybe even without realising, because they felt the need to "keep up" or maintain a certain level to justify their position as a teacher.

I think that is something to be conscious of as a pregnant dancer too. You will lose condition, you will find yourself dancing more basic technique and fumbling movements that were previously easy.

You may even resent your body, or your baby for "taking away" something that is probably part of your identity. All of this is normal and OK.

When you come back, dancing will feel like driving an unfamiliar, and much less powerful, car. Your brain will know what it wants to do, but your body will not quite get there.

However, pregnancy did make me a better dancer. Living without dance, as I had known it, made me yearn for it more, and work for it harder once I could again. It made me less inhibited because I understood what I really had to lose. It made me dig deeper. Losing the edge on my skill made me reflect harder on the artistry, musicality, storytelling and emotion of dance. Don't be afraid of taking a little sabbatical, the dance will always be waiting for you.

Tasty metaphors....

Practice snacks - making a difference to your dance in bite size chunks.

I've been thinking a lot about training and practice for class students lately.

I often catch myself telling dancers in class that the move the move they are struggling with will come... with practice. We usually drill movement in class, both while learning it and in the drills section of the class, but I don't believe it is the best use of our class time to drill a single move for an extended period until everyone has nailed it (drill-specific classes excepted); once I know my students can execute a move safely, understand what they are aiming for and have had a little time to let their bodies feel it, we usually move on. Apart from anything else a little settling time usually helps things click.

I do understand that not every class participant is going to go home and practice the material they covered in class. At all. Let alone for hours of meticulous drilling. But I am also aware that many dance students want to practice, but don't really know how.

Also I am an evil taskmaster and setting homework pleases me.

Are your toes good or naughty?

I train stupidly hard, because I love it, it's my passion, my job and I am trying to maintain a steep learning curve. I am prepared to prioritise my training and make sacrifices for it. I don't expect every student to be quite so affected. So I got to thinking about what I could advise students to do that wouldn't cut into their lives too hard, but would still make a difference to their dance.

[though if you are interested in really raising your game through intense training and practice, this is the series for you]

I'm a real fan of the idea of 10 minute practices, because most of us can find 10 minutes a couple of times a week. Or even just 2 minutes a day. A lot can be accomplished in 2 minutes a day. It could be the time while you wait for the microwave to ping your porridge in the morning, a mid-afternoon break to freshen up your brain. Schedule that time and you will do it.

So I'm going to start a new series on here of little homework snippets that make a difference.

I'll get into specifics with the next post, but for today, here's  some general ideas to get you going.

Daily drills

Use my drill generator to pick something at random, and practice it! Picking at random means you will not just practice the moves you like best! Chose one thing to practice, do it for the duration of one song.

Class technique top up

In most classes you will probably learn 2-4 new techniques or steps. Put on a song, you can use Arabic music or just something you like with a beat (I have a bit of a playlist for students here). It could even just be a plain drumbeat (I use Guy Shalom's Tablatastic for drills to specific beats or Gypsy Caravan's Caravan Rhythms). Practice your new steps for the duration of the song, first slow, then full speed. Start small and increase your range as you warm into the movement. Think about posture and isolation. If the movement is a layer, practice the separate components briefly before putting it together.

Improvisation sensation

Choose 3 dance movements or steps. You decide how loose your definition is (for instance you could choose "figure 8s" which could be any and all variations on an 8, from mayas to chest 8s and one-hip 8s, or specifically stick with one type). Put on a song you know and like. Dance to it, using only those moves. We are working on musicality and spontaneity. Whatever happens, just keep dancing.

2015 round up

Well, that year happened quickly!

I've had an amazing year in dance this year and I am so grateful and happy for all the amazing opportunities I have had. I've been able to work with some wonderfully talented and generous teachers and determined and dedicated students.

In January I decided to completely overhaul the way I approached my dance practice. It's been a tough road but I've got a lot of work under my shimmy belt and I am really feeling the benefits. February was Valentines day, which meant preparing a special restaurant set, so I really did hit the ground running.

March was an amazing month, starting with Majma, where I did all 5 workshops with the wonderful Ava Fleming. I also managed to fit in a private lesson with Ava, which was absolutely brilliant. There really is nothing like spending an intensive lesson working on exactly what you need to work on with such a great teacher. I am still working on and growing through the inspiration and practical tips from that weekend. I also got to watch Ava dance "Too Close", one of my favourite fusion pieces of hers, from right by the stage.

Then there was Ashley Lopez. I was super lucky to bag a place on a low-ratio intensive weekend with Ashley. She is another brilliant teacher, both in terms of technical dance and inspiration. We did a lot of evil conditioning and some mad layering and technical geekery. We also had a really good session on creating a training schedule and a session on postural analysis, which I have applied to my own dance as well as my teaching.

I also started on Alexis Southall's Tribal Fusion Education programme. This means I have been whizzing up and down the M5 on a regular basis for studio time with Alexis. There are 17 of us on the programme and it has been a blast getting to train and hang out with the other dancers, many of whom were already good friends. We've been sharing ideas and discussions and our passion for Tribal Fusion dance in general. Alexis is a fabulous teacher, she's absolutely lovely but also understands the need to challenge us to push our boundaries. I would like to steal her and bring her down here so I can train with her every day!

It's been a good year for teaching too. I taught a fire dance workshop for Gina and the Bellygees on their glamping weekend, which was a great opportunity to hang out with those ladies and get to know them better.

Classes in Glastonbury and Bridgewater have continued and it's been great meeting a new wave of dancers coming into these groups. Glastonbury classes start back on the 11th and Bridgwater on the 5th (first session is a Burlesque session for giggles).

I've also taught a few hen parties which are always hilarious, a workshop at a large exhibition arena.

I hosted my second hafla in Glastonbury, which was a great success. I was also hosting Samantha Riggs and Demelza Fox who both taught workshops. Sam stayed with me for a little while and it was lovely to get to know her. One thing I love about the bellydance world is that I am always meeting such amazing, fun people. Sam's workshop was so much fun, and it was great to see the participants on stage with her showing off their new Bhangra skills. Demelza is another lovely, fun teacher and everyone got a lot out of her stage presence workshop. I also taught a Dark Fusion workshop. I was really impressed with the ladies who took part, the worked really hard and were totally game when I suggested we perform the choreography at the hafla, after just 2 hours spent learning it! They were fabulous!

We also had some great performances at the hafla in various styles. I am always impressed when people turn out and support events, but moreso when I see the calibre of performances on offer and the amount of work that clearly goes into it. I've also really enjoyed attending a whole bunch of haflas this year. It's been a crazy busy time, to the point that I sadly had to turn down invitations to events I really wanted to participate in.

Autumn brought the conception of the Laylet Amar Ensemble. I got the opportunity to rehearse and perform with talented, live musicians, as well as getting together with Oona for dance conspiracy! Here's a little video of part of the performance:

This performance also happened the same week as Infusion Emporium, which was a brilliant weekend of spending time with some of my best dancey people, training outside my comfort zone with Heather Stants and performing a duet with Kitty Kohl at the fabulous and hilarious Glitterball Shakedown.

I'm in my midwinter downtime now, where I sort out my accounting (yawn), plan my calendar for next year and start shortlisting performance ideas and music. Next year is going to be brilliant too. I already have some performances on the cards, a show in Wells, the TFEP showcase and some haflas. There's some good learning to be done and I'm looking forward to finding out what unfolds.

Whatever happens, I wish you a happy, dance filled new year.

What should I wear to bellydance class.

One of the most common questions asked of me by prospective new dancers joining my class is "what should I wear" so it's probably high time I wrote a blog about it.

I'm going to start with the straight answer that I offer students, if that's what you are looking for:

Wear something you feel comfortable moving in, and can see your movements in. Leggings or yoga pants with a vest or t shirt is fine, you can wear a shimmy belt if you like (I lend them out) bare feet or soft dance shoes are good.

There. Done.

But there's a little more to it than that - because otherwise I wouldn't have started writing about it.

I'm not going to talk about footwear though, because I've done it before.

Dressing for class

What dancers wear to class depends upon a number of factors. The style of the class and the preference of the teacher (and other students) dictates much, the dancer's approach to dance and what they are getting out of it, what the dancer feels comfortable and functional in and what stage of their dance career they are at.

Vashti's short article on Shira's site is spot on. I have been through all these stages and I'm now at the point where I have to remind myself when I am teaching not to dress as I do when I am learning, because people tend not to recognise me as the teacher and think I am a scruffy stray who wandered into the wrong room! [I think I am going to have to write a whole other article about dressing as a teacher, because that's a whole new can of worms.]

Skirt or pants?

Some dancers like to come to class in a skirt, the right shape skirt can help emphasize hip movements and if you want to dress up a little for class a pretty skirt is a good option. I often wear a 25 yard skirt for ATS classes (wrapped and tucked) and occasionally a straight or basic fishtail skirt for Orientale classes too. The downside with skirts is that if the class involves floorwork, yoga or certain types of conditioning you might find a skirt impractical. A skirt also covers your legs and often your feet, which means your teacher can't keep an eye on your footwork.

Pants could be yoga/jazz pants, harem pants, leggings or specialist bellydance pants like Melodias. I find longer pants trip me up a bit, so I tend to go for calf length, leggings or harems with elasticated hems. Really full pantaloons can be a trip hazard, but they are OK for styles that don't involve too much fancy footwork.

Tops

Fitted/stretchy tops that allow the line of your body to be visible are really helpful when you are learning bellydance. Often your movements will be small to start with and they'll get lost under a voluminous t shirt or layers. A cropped layer for warmth over a normal vest top is great. You don't need to bare your midriff, in fact I don't think any of my current students do.

For the ladies, I would also recommend a sports bra. Especially for saiidi and suchlike. You might get away without but holding back for "lack of support" takes some of the fun out of your class. And while we are on it, for the chaps, Google "dance belt". You are welcome.

Shimmy belts

Noisy coin belts are sometimes a bone of contention. I encourage them in my classes, because my classes are small and I think the weight and auditory feedback is really useful for learners. In a large class or an echoey venue a lot of students with noisy belts and ants in their pants can be massively distracting (see Stork's sweary guide to sins in large workshops, if you are comfortable with sweary ranting). Also be aware that cheaper coin belts with stamped coins will "shed" as the sharp edges work through the thread. If this happens be sure to pick up your beads and coins before they cause injury.

Hipscarves and belts also serve the important purpose of making your hip movements clearly visible. So go for a colour that stands out. If you don't like the noise you can get quieter beaded ones, or just a bright fabric scarf. I have a habit of using my neckscarf (because we are back to the bit where I dress for class like I had to buy my clothes at a charity shop 5 minutes ago).

Remember that what you are wearing helps your teacher to see your dancing, so the clearer your attire is, the better feedback you will get.

Dressing for workshops

OK, there are probably 2 kinds of workshops, and they aren't always that clearly delineated, it's more of a sliding scale. I'm going to call them "fun" and "serious". Not because the fun ones aren't serious or the serious ones not fun, but for want of a better term.

"Fun" workshops are the ones aimed at dancers who dance "just" for fun. Often they happen before a local hafla or as part of an end of term celebration. They have descriptors like "try out a fun folk dance", "suitable for all levels" and tend to be a great laugh with a bit of a party atmosphere.

"Serious" workshops have descriptors that say things like "bring a yoga mat and water", they are aimed at dancers who want to be challenged and push their dance to the highest level.

There are instances where a workshop will have a clear mixture of "fun" and "serious" participants, and that's just fine too.

Fun workshops

For a lower impact, party atmosphere class, you can dress up a bit if you want to. Go for the skirts and your fancy tops, add a little bling (but make sure there's nothing sharp or spiky or generally health and safety  bothersome). Don't wear your performance kit, you'll likely still sweat in it, crumple it and generally shorten its lifespan.

Don't wear anything that is going to affect the learning of others in the room, like enormous headdresses (yes, I've seen that) or extremely noisy costuming - shimmy belts are usually still fine although some teachers will ask you to remove them. I usually go for a quiet belt if I don't know the teacher.

If you don't want to dress up, that's also fine. You can join me in the lost property bin club.

Serious workshops

If you know your workshop teacher has a thing for yoga/pilates. If they have asked you to bring a yoga mat. If the write up suggests it will be sweaty/physically challenging. If the focus is drilling or advanced technique. Then you need to dress for a workout/general dance class, not a bellydance party.

You are wasting your time and money if you can't take part in the class because you are hampered by your outfit. Avoid long/loose pants you will trip over. Make sure you can get down on the floor, sit in a straddle etc without being restricted or flashing everyone.

Go for leggings/pants and a vest, with layers, which you will need for warming up and cooling down, and a light, quiet hipscarf.

If there is floorwork you are going to need kneepads, if there is spinning/turns you will likely need shoes or dancepaws.



So there you go, question well and truly answered to death. I hope that takes some of the mystery/anxiety when preparing for a dance learning environment, and if in doubt, just keep it simple and functional, you will develop your own style and preferences as you go. .