Dancing with Hypermobility.

In August 2014, the Yahoo Contributor Network was shut down. All the copyrights to articles thereon were returned to their authors, so I decided to publish certain articles of mine, originally written for Yahoo UK on my own blogs. This is one of them.


The mums at my baby group are planning a 5K road run. It's a frequent topic of conversation, and naturally, there came the part I had been dreading. "You should run with us" said one of the mums. "No thanks" said I with the affectation of a committed couch potato. "I don't do running." She continued to attempt to convince me, and I was forced to admit it, "I'm sorry, I just cannot run."


The secret is out. I'm a dance and yoga instructor, I am fit, strong and healthy, but if I tried to run, I would last less than 100 metres before the excruciating pain set in. Not long after my knees would give way and it would all be a bit embarrassing. I have an 'invisible condition', Ehlers Danlos Syndrome - Hypermobility Type (EDS-HM) with recent campaigns aiming to raise awareness, I am going to share my experience of living with and despite the condition.


EDS is a genetic mutation that causes the sufferer's collagen to be more elastic than it should be. EDS-HM is relatively mild, and characterised by extremely flexible joints; sadly flexible also means unstable; sufferers are prone to regular sprains and dislocations, the joints wear and take damage more easily than most, because the movement tends to be erratic and outside the "safe" range. EDS-HM sufferers often have other health problems as all our soft tissues are affected.


I was around 11 years old, when I started to get pain in my knees, and it escalated from there. Growing up with hidden health issues is never a smooth ride. I can recall vividly being shouted at, and called a liar by my PE teacher, because I was limping on the other leg that day.


I spent my teenaged years in an environment where sporting achievement was prized above all. I was the girl who wore supports on both knees, long socks instead of tights so I could more easily adjust the straps that held my kneecaps in place, this did not work out well for me socially. On the other hand I missed double German every week to for physiotherapy.


As an adult I adapted to my personal capabilities. I'm in pain every day. My knees creak and rattle from the damage caused by the joint surfaces mashing together at awkward angles. I have a running joke about how I fall down the stairs. There is a particular point where my knee is bent and it just can't hold anymore, it collapses, and down I go! I always cling to the bannister to take the weight off at that crucial point. Occasionally I find myself approached by someone ascending the stairs, and awkwardly have to choose between facing them down and appearing rude, or letting go of the rail and falling on them!


I have instability in my wrists, ankles, feet and hips, which means I get sprains quite a lot. My hands are always stiff and sore - the medical advice on that was to use my hands less! I bruise easily which does not combine well with the clumsiness that results from wobbly joints. I am very grateful however, that for the most part I can move quite normally within the boundaries that have become second nature to me. As a teen I was told I could expect a wheelchair in my future, but although I use a stick on a bad day, it happens rarely enough that people ask me what I have "done".


It's not all gloomy. As a dancer my natural flexibility serves me well, provided I support it with strength. The right kind of regular training actually eases my condition. Here are my tips for exercising with hypermobility.

- Alignment is crucial. I love gentle yoga for achieving strength in good posture. When you practice regularly you carry those good habits into your everyday actions.

- Impact and load bearing in exercise are tough on joints. I am able to do Arabic dance but I could not dance ballet.

- I always warm up properly, mobilising all the joints, locating the muscles that support them, and establishing good posture. I start my movements small and explore the limits of my safe range of movement safely.

- It is really important to have symmetry in strength training. Poorly balanced muscled drag joints out of alignment.

- Good footwear is essential, as hypermobile feet are prone to fallen arches. All of my footwear is supportive or equipped with insoles.

- I listen to my body and I am aware of my limits. If I get injured, I rest. I understand that I will never run, or do star jumps; but I am at peace with that, as long as I can dance.


More information about EDS can be found here http://www.ehlers-danlos.org/

Getting even better at bellydance

Part 4 - Steepening the learning curve.

So far we have looked at how your regular practice can help make you a better dancer, but what happens when that isn't hitting the spot?

Every dancer finds that they learn in fits and starts. It seems to be really hard for a bit, then you get it, then it feels easy, then it feels like you are coasting. You can sit in that happy place where the dance feels easy and you are learning few new elements. It's a good thing to do so sometimes, consolidate, let things stew, put some polish on it. After a while though, you will get the itch, the dissatisfaction that says you could do more, or just a touch of boredom because you want to do something new.

Breaking out of those plateaus means a change of approach, so lets look at what you could do.

1. Inspirational education

Plateau or no plateau, I think every dancer needs to have their dance training peppered with different experiences to keep things fresh.

Take a workshop. Lots of dance teachers regularly invite other dancers to come and teach workshops, often as a precursor to a hafla or show. Last year I invited Gwen Booth over for a workshop and hafla, this year we hosted Michelle Manx. I do this because I recognise that even though I am a scintillating teacher, something different, a different style, a different teaching approach, can really inspire student dancers. That builds strength and enthusiasm in the dance community and it is great for everyone.

Keep your ear to the ground, get on mailing lists, find out who is coming to your area, or travel to another area and make new dance friends.

If you are really up for a kick in the dance motivation place, then book into a festival. Do it anyway, I always go to at least one a year, more if I can. Majma is one of my regular favourites, I attended my 6th Majma this year, but they happen all over the country. Some are mixed styles, some focus on particular styles, some are like a little holiday with dancing. Whatever you choose, I can guarantee that you will come away brimming with new ideas, new things to practice and loving the dance more. At some point soon I will write a whole blog on making the most of festivals.

Speaking of holidays, there are also dancers who run overseas dance excursions, often to the Middle East where you can learn from the greats on their home soil. If you are stuck for inspiration, that has to be a way to find it.

So there it is, whether it's a £15 workshop or a £500 holiday, learning from a new source is a great way to get out of a dance rut.

2. Get focussed feedback

Feedback from teachers and other dancers can be an invaluable way to add a new perspective on your dance training.

You could take a private lesson with your regular teacher, or any other teacher. A private lesson means that you can concentrate on exactly what you need to be working on, and you get 100% of your teachers' attention. This can feel a little daunting, but a good teacher will put you at ease and soon you will just be focussing on working hard. In my experience a private lesson will leave me with enough material to keep me busy practising for several months.

If you are going to a workshop and would like to get some extra mileage and personalised training, you can ask if the teacher is available for privates while you are there. Some teachers even offer tuition via Skype, meaning you can train with teachers from all around the world.

Another option for getting feedback is to ask other dancers to appraise your dancing, usually in video form. There are a variety of online forums such as Bhuz, or specific groups on Facebook where many knowledgeable dancers are prepared to cast an eye over videos and give you pointers.

3. Set yourself challenges

I find that I work harder when I have something to work towards. You could book yourself in to perform at a hafla, or if you are feeling brave, a competition. If that feels like a big step, then how about preparing a piece just to show your teacher or class?

Sometimes it's fun to set a creative challenge, perhaps just a minute of dance a week, on a series of themes, video them and watch them back. Try doing short samples of different styles, different moods, try things you wouldn't usually dance, take yourself out of your comfort zone. You might surprise yourself.

Smaller challenges you could try might be mastering a new step every week or completing a set of drills on a regular basis. Give yourself a target and work hard at it.

4. Try something new

Sometimes taking yourself out of the pressure cooker is just what you need to relax into yourself and find your inspiration.

Recently I started attending a new dance class. I initially trained in Egyptian Classical Oriental style, and I have done quite a lot of Tribal Fusion, I teach both, but I had never trained in ATS, apart from a couple of workshops which I really enjoyed. ATS is at the roots of Tribal Fusion, and I like to know about roots. I came across my nearest Fat Chance Belly Dance Sister Studio, Kalash Tribal, at a hafla in Somerset, so I took the plunge and decided to go to class.

I know that I am not going to be performing this style anytime soon, much less teach it, and as a result I feel freed up to be a beginner. I am really enjoying the challenge of a sudden, steep learning curve, and the freedom to make mistakes, or to not get something straight away, because I am the newbie here.

As a result going to this class has given me a new drive and a new sense of joy in my dance, I really can dance like no one is watching. But I am still dancing, I am still keeping fit, the movements will creep into my Tribal Fusion, and will make it better, deeper. I am also being forced to play zills while I dance, which is great, because I always find excuses not to drill with zills when I am on my own!

So why not take some folkloric classes to inform your Orientale? Or adult ballet? Or Streetdance for the fusionistas? Put yourself back in beginner's shoes and fall in love with dancing all over again, with no pressure.

I hope this has given you some ideas for when you feel ready to launch your dance up another level. Remember this is all about inspiration and fun, it's the exciting new discoveries that keep the fire in your belly and the passion in your dance.

Bellydance and body image

A study came out recently that demonstrated what those of us in the bellydance community have known for some time: Bellydance is great for body image and self esteem.

Body positivity and body acceptance is often born out of an appreciation for the function of the body. A mother may come to terms with her postnatal body by considering the amazing function it has performed. A bellydance student learns to love her body because she knows that when she dances, it can do beautiful things, or she appreciates the joy that moving her body in dance can bring her.

I am ceaselessly amazed at how those who come to this dance blossom, over time as they grow in confidence, poise and grace; in the moment as the music starts and they transform from their everyday self, into the dancer, into a vision of the music itself.

One of the things I love about this dance is its inclusiveness. Bellydance is available to people of all genders, races, ages, shapes and sizes. None of these is a barrier to learning, or performing, everyone has the opportunity to express themselves, and to share their dance in the safe, accepting environment of the dance studio or halfa. Bellydance, is for every body.

When news of the above research came to light, there was a murmer in the background. Some experienced dancers were asking “what about the professional performers?”

For while it is true that a student or hobbyist is surrounded by encouraging peers and supportive audiences, the same cannot be said for those who choose to become entertainers for the general public, where employers and audiences, unaware of our more accepting (and dare I say, realistic) aesthetic demand and expect a dancer who fits within a narrow, “conventionally attractive” image.

When I was a fledgeling dancer, in a student troupe, our teacher related to us an enquiry she had had for a party booking. The organiser had specifically asked that she sent only the “young, slim” dancers. Our troupe was made up of dancers between the ages of roughly 18 and 60, dress sizes 8-20. Our teacher politely declined, and explained that this request was contrary to her dance ethos, and the spirit of the troupe itself.

I was reminded of this recently, when Shira reshared an old article from her site. It was based around a question from a dancer whose teacher had asked her to cover her stretchmarks for a performance.

The reaction to this was incredibly powerful. A few dancers agreed with the teacher, citing professionalism, client/audience expectations etc. Some moderate responses stated that the teacher was correct, but only to spare the dancer from the judgement of the audience. An overwhelming response, from dancers and dance teachers, was in support of the student, stating that it should be the individual dancer’s choice what to cover and what to reveal (within the bounds of culturally appropriate costuming).

My stance on this, was that as a teacher or mentor, I would avoid exposing students to a toxic environment where they might be judged according to their appearance rather than their dancing in favour of a safe opportunity to express themselves as they choose. As a performer I know that a critical audience can have a horribly negative impact, even on those who do “fit the mould”, because none of us will ever be “perfect” in the eyes of every observer. Striving for that perfection is not a route to happiness, but perhaps self-acceptance and appreciation of our reality might be.

I am left considering how this goes forward. In our insular community we have happy, well adjusted dancers. People who step out of their everyday lives to be together, to appreciate each other and learn to appreciate themselves. These people leave the studio and take that attitude with them, they walk taller, dress more adventurously. They model self-acceptance to their children and their peers. Little ripples. Can we make waves?

What happens when an older dancer, or a plus sized dancer goes out to perform professionally? What happens if the public audience doesn’t see the “young, slim, pretty” dancer they were expecting? Do they fall in love with the performance and broaden their perspective on beauty, or is the dancer ridiculed as an oddity. Sadly the latter is all too common and sadly this means that the less thick-skinned dancers find themselves having to cherry-pick their performance opportunities. If I had a pound for every time I heard the “oh she has the belly for bellydance” comment (and I am sure you can imagine my geektastic rebuttal regarding the misnomer, you don’t need a belly, just hips, bone ones or titanium ones, or not even, I’ve seen some lovely chair dancing too)

But if we could get out there, just a little more. Share our art and show people the power, grace, joy and beauty in out dance. Maybe we could inspire more people to be a little more comfortable in their skin.

Finding the bellydance joy - Kash performing with Doum Tekka on darbuka, photo credit: Jenny Balkam

How bellydance changed my life

In August 2014, the Yahoo Contributor Network was shut down. All the copyrights to articles thereon were returned to their authors, so I decided to publish certain articles of mine, originally written for Yahoo UK on my own blogs. This is one of them.

If you had told me once that I would dance for my living, let alone that this would come when I was already in my thirties, I would not have believed you. Here I am though, rhinestones and sequins everywhere (the homes of bellydancers have the most glamourous dustbunnies), an MP3 player full of Arabic music, planning my schedule around performances and classes.

Arabic dance is an excellent way to bring regular exercise into your life. Originating from folk dances, it is danced by people of all ages and physical abilities. The movements work with the body's natural motion and, as long as the posture is correct, puts very little strain on the joints. The dance builds core control with flexibility, grace with strength. As a long-term sufferer of joint problems with a taste for the exotic, bellydance seemed like the perfect, fun way to keep fit.

Little did I know it would become so much more than that.

My first class was actually a technique workshop with a famous dancer from out of town. The venue was huge, and I arrived to find a large number of women, in bright and jangly attire, catching up on news from their various circles. I believe I was the only raw beginner there. I struggled a little to follow the teacher from the midst of a large ballroom surrounded by my sparkling peers, but even as I fought for the compliance of my reluctant hips, I was falling in love.

I started regular classes, and I really mean classes, I attended two to three lessons with my teacher every week. I grew stronger, more flexible; I gained stamina, isolation and control. Stiff movements became gooey and smooth, stilted shimmies evolved into fast, effortless energy. The more I danced, the more I could dance, I progressed in a spiral of joy and beauty.

My joints became more stable, and less painful; I grew a full inch in height as my improved posture lengthened my spine. I became more poised and graceful, more confident and comfortable in my body - I became a dancer.

Not every individual who takes bellydance classes wants to perform, and that's just fine. A good class will offer every participant an opportunity to exercise, socialise and have fun, whilst still breaking down the movements and give feedback so that students learn to dance both safely, and beautifully. This allows them to ascend to a stage-worthy standard, should they choose to.

Tips for picking a good bellydance class:

Look for a local organisation. Or a not-so-local one, and ask about teachers. Failing that, seek out a reputable teacher further afield and ask for a recommendation. It is good for a teacher to be known by and involved with the wider dance community, that way they bring more opportunities for their students.

Speak to people already taking the class, but beware of bias. A personal recommendation is excellent, but if that person has only been exposed to the dance via their teacher, they may have a distorted view of the quality of the class.

Go to a local hafla (bellydance party) or showcase. Watch the teacher perform, watch the students perform, how do they compare with other groups at the show? Do you enjoy the style that they teach?

Ask your potential teacher about their training/qualifications. There is no governing body for bellydance in the UK, but there are a number of smaller schools with official training for bellydance teachers. I would also expect any decent teacher to be constantly working on her own dance, attending workshops, possibly even working under the mentorship of a master teacher. How a teacher trains will impact seriously on her students.

Talk to your teacher about their ethos and attitude to the dance. A good teacher will be passionate about the dance, music and culture. They will love to talk about it with you, and they will take great joy in infecting all their students with the same enthusiasm



Kash now teaches and performs as Scarlet Lotus Dancewww.scarletlotusdance.co.uk, in South West England.

Fitting your workout or dance practice into your busy routine.

In August 2014, the Yahoo Contributor Network was shut down. All the copyrights to articles thereon were returned to their authors, so I decided to publish certain articles of mine, originally written for Yahoo UK on my own blogs. This is one of them.





Are you struggling to keep up your daily exercise regime? Is life getting in the way of your good intentions? Do other people seem to be managing while you simply cannot? As a yoga and dance teacher I regularly speak to students who tell me that they simply cannot maintain their commitment to regular practice and conditioning. Here are some ideas to get you out of that rut.

1. Understand your sticking point

Why are you unable to find the time to exercise? Is it a true logistical lack of time, rather than a lack of motivation, or too-high an expectation of what you feel you should be doing? Be honest with yourself. Ultimately, your friends, your personal trainer or your teacher are not deeply affected by your practice regime, this is for you, and you need to appreciate that.

2. Working out is a necessity, not a luxury

Often it is a matter of priorities. We all (usually) find time to eat, wash, dress and suchlike. When your workout is viewed as another important task to aid your daily function, time can be found to incorporate it. If you aspire to a more healthful lifestyle, fitness should take priority. A morning run, circuit or yoga session will leave you just as prepared for the day as a sit down with a cuppa, it just requires a slight alteration in mindset to accept that choice.

3. Living your yoga practice

Pranayama can be practiced pretty much anywhere. Just the same as pelvic floor exercises! Sitting on the bus, or locked in a toilet cubicle at work for 5 minutes. Any time I feel tense, stressed or overwhelmed is a good time to take a short break, and focus simply on the breath. Taking lunch in the park and putting aside a few minutes for some quiet breathing to centre is a lovely way to break up the working day and recharge for the afternoon.


Also good posture can be practiced at all times. A general mindfulness of balance and posture when standing or seated is vastly beneficial, and in my mind more valuable than the occasional long session of asanas. This can begin by simply asking oneself "how am a sitting right now? Am I upright, are my feet on the floor? Does anything ache?" and making a habit of "checking in" regularly, to catch bad posture habits in the act!

4. Honour your workout window

Regularity and routine will help any form of exercise, become more of an automatic part of your life. Just like remembering to brush your teeth at certain times of day, a short practice can be part of the daily routine.


It's good to keep your practice at the same time of day, studies have shown athletes perform better if their race is at the time of day when they usually train, our bodies come to expect it.


My advice would be to try and fit in an early morning session, first thing when you wake, before you are awake enough to come up with a reason not to. If this means getting up slightly earlier, the vitality provided by the practice will make up for it. Drink a glass of lukewarm water, get straight into your workout clothes, then start with some simple asanas with pranayama. A sequence of asanas in earnest can follow (alternatively another preferred physical activity), then a brief relaxation. This can take between 10 and 30 minutes and is adaptable to each day. Actually practicing something, rather than skipping it because a full 30 minutes is not available, is vital to maintain the routine. If one day all you can manage is a few deep breaths and a sun salutation, that's fine, you are still working.


I actually practice in the evening, because my children are early risers, sometimes I don't start until 10pm, but I sleep better afterwards.


If you are unable to complete your workout, perhaps due to illness, fit in an alternative practice, whether it be breathing exercises, meditation or study. Never simply allow you sofa time to intrude on your workout time, it will become habit.

5. Something is always better than nothing

Long practices are great but 10 minutes a day is better than nothing. Equally a short fast run, or intense circuit set can easily be completed in less time that it takes to catch up on your favourite soap. It is much less of a trial to find time for, and accomplish, this, than holding out for an hour long workout.


Once you establish your regime, and adjust your mindset to accept that this will be a part of your day now, it is much easier to stick to, and expand upon your exercise programme.

The ecology of the bellydance community.

Why do you dance?

I have been writing a lot about pushing for improvement in your dance lately. I understand that although those posts are aimed at any dancer who wants to improve, whether they aspire to perform, or dance for their own satisfaction, I feel that a really important bunch of dancers are being overlooked, so this post is about/for them.

Our world is closed and mysterious to those on the outside, I try to do what I can to open our doors and let the general public see the awesomeness within, but most who are not part of it, are not aware of the richness and diversity of our members and their niches within the community.

I often get calls asking if my lessons are just for performers and the answer is absolutely not! If that were the case I would only ever teach private lessons, because there are just not that many aspiring bellydance stars about! More importantly I don't want that to be the case. I know from my experience, that of other dancers and from my own students, that learning to dance can be an awesome, transformative, healing and empowering process (the concept from where my Red Goddess course evolved). I want that to be available to everybody. I also know that the world of bellydance would not flourish as it does without a whole host of different kinds of contributors.

The lifeblood of the bellydance community.

The bellydance community is filled with all kinds of people, who dance or participate for all kinds of reasons, some are very immersed in the dance and community, some dip in and out as they will. We have:

• Students who go to a regular class, for social reasons and/or exercise
• Students who like (or aspire) to perform at haflas or in a student troupe
• Students who have a healthy obsession with the dance and want to learn as much as possible and train hard to get as good as they can be.
• Professional dancers, who may, or may not also teach.
• Teachers and troupe directors.
• Choreographers
• Partners of dancers who support events 
• Musicians
• Vendors and costume makers
• Events organisers
• Techy people like DJs, lighting techs, photographers and videographers
• Webmasters and forum moderators

And many more, I apologise if I have left you out!

All of these people working together is what makes our community so special. You don't have to get any more involved than simply doing the dancing you want to, but if you do want to immerse yourself in the world of bellydance, you don't need to be performing, or even dancing, to be a valued and loved member of our community.

Casual doesn't mean mediocre

One of the challenges I encounter when writing about dancers who dance as a hobby, or "just for fun" is avoiding the false implication that this is a "lesser" pursuit than taking on an ambitious training schedule or being a "serious" dancer.

The rewards of bellydance are not dependent upon your skill level, and although a greater commitment usually means greater rewards, the dancers who cannot put in an enormous amount of time are still having a valuable experience and make a valuable contribution.

There are many dancers who go to the same class every week for years and gradually become lovely dancers, but rarely, if ever, perform. There are dancers who begin with the intention of having a laugh with their mates for a term or so, then get hooked and throw themselves headlong into everything about the dance - they become mines of information about dance culture, Arabic music etc. There are dancers who become accomplished and will perform at the drop of a hat, but aren't interested in teaching, or performing professionally. Many of these become familiar faces and well-loved personalities in our circles. There is no "just" about it.

A heartfelt thanks

So I would like to honour the "casual" dancers and dance fans. The dancers who turn up regularly to lessons and book workshops - you are the ones that make these events possible. The students who sit on the door at haflas and take the money, or stage manage - your teacher/event organiser couldn't do it without you. The partners who drive us to events. The shy students who take the plunge and share a little of themselves on the hafla dance floor - you are an inspiration. The vendors who tirelessly seek out the best and shiniest baubles for us. All the people in this vast and beautiful community, I salute you.

If you are thinking about dipping your toe into bellydance, or are taking lessons and want to do more, but aren't sure whether there is a place for you - there is so much we have to offer you and you are very welcome to join us.

Penny from Everything Egyptian 
providing dancers at the Scarlet Lotus 2013 Glastonbury Hafla with lovely shiny things.

Getting good at bellydance, good habits.

Part 3 - The daily grind.

In my first installment of this series we looked at how you can set yourself up for a fulfilling and productive bellydance journey with a great mindset and a resilient attitude. In this post, I am going to look at the practical measures you can take, to help you fulfil your dance potential.

For the most part, consistency and dedication are the cornerstones of your dance progression. Intensive study can be great, we will look at that in the next instalment, but nothing beats regular tuition and practice. So let's see what that might look like.

Regular bellydance classes.

The benefits of attending a good regular class are enormous, and I am not just saying that because I teach them! Choose the right class for you and you will be getting a regular lift, physically and psychologically, you will make friends and get to explore the world of bellydance with expert guidance.

There is something very useful about having an outside influence decide what you are going to dance today, it saves us from getting into the rut where we only dance the steps and styles we like best. Ideally your teacher will also be following some kind of progression, so simply turning up will take you on a good, structured and targeted learning pathway.

Go to as many classes are you can afford to. When I started I did 3 classes a week! If you have other considerations outside dance in your life, you might not go that mad, but make it regular, even once a fortnight is better than nothing, or an unpredictable schedule - it is too easy to fall out of the habit if you don't make it a regular priority.

Get the right class for you

Choosing your class depends on how you like to dance, how you like to learn and what you would like to get out of your dance. Some classes are about getting stuck in and moving. This is great for the social aspect, and for gently improving your fitness. If you want to improve your dance repertoire, or become a technically better dancer, you probably need to look for a class that has a more technical focus, at least for some of the time.

One of the biggest reasons a live class with a good teacher is so good for your dance progress, is feedback. A good teacher will help you adjust your technique, not just to make it aesthetically better, but also to make movements safer, more comfortable and more efficient (which helps enormously when you start layering them). This is vital, because every body is different, and even very experienced dancers are often blind to, or can't see a way out of small, but influential, issues in their technique. Feedback can be very individual, I like to do the rounds of a group to give each dancer a couple of adjustments, but it might also be general. I never call out an individual in a group class, but I might spot an issue with one dancer, and advise the class as a whole to "watch out for..." because often that helps the other students too.

A smaller class means that you will get more of your teacher's time and attention, and s/he will be watching you more in order to give you better tips - this might feel a little daunting at first, but you get used to it, honest!

Finally, you have to enjoy your class. You are going to be there every week, possibly more, so the format, teaching style, personalities, music etc. have got to work for you, don't be afraid to shop around a bit, which brings me to....

Mix it up a bit

I always encourage my students to take up opportunities to dance with other teachers, and I am a little suspicious of those who don't. It is wise to stick with the same style while you are a beginner, as there are differences in posture and technique that can be confusing until you are competent in one or the other. Some teachers use different terms, but you will learn quickly what they are referring to. I have had students who dance with both myself, and another teacher on a regular basis, and find our classes complemented each other.

Even with the same teacher you might have the opportunity to take separate classes for technique, choreography, and conditioning. Mixing up your tuition, whilst keeping an anchor in a regular class, makes you a more rounded dancer.

Doing your homework

If going to your dance class is your brief, weekly escape, then there is nothing wrong with turning up, dancing and forgetting about it for the week, however, if you want to make good progress you need to be practising in between times. There are a few ways you can go about this, and again, I suggest you mix it up.

Do the stuff you did in class.

Take notes. Not reams of notes, you are in class to dance, not write. At the end, make a quick list of the things you did, just to remind you. Then over the next few days, pop some music on, and practice the techniques or combinations you learned.

Drill 

Pick some random steps. Roll back through your notes and choose something from a class a couple of months back, use my awesome drill generator, or use a DVD, and practice until your movements are stronger, cleaner, bigger and generally more awesome. One key thing though, is to make sure you have the technique down before you start drilling, ask your teacher to check, because drilling will write the movement into your muscle memory and you don't want to end up retaining a wrong move!

My favourite drill DVDs are Aziza's Ultimate Practice Companion (which sadly is quite hard to get ahold of now) and Michelle Joyce's Drills Drills Drills (which has finger cymbal drills too). I'd recommend checking onto Raqs TV for affordable streaming rental of dance practice videos, and you can also try out some of Michelle's DVDs on there. If you are a tribal dancer, Rachel Brice's Daily Dose session on Datura Online are a good, concentrated practice.

These sessions are generally fairly long and I know that it can be hard to fit dance practice in around family, work and other commitments, but you can always sneak in a little bit now and again....

Incidental dancing

What do you do while you are waiting for the microwave to ping, or the kettle to boil? How do you pass the time while you are on hold on the phone?

Dance. Dance all the time. Can you keep up a strong shimmy for as long as it takes the kettle to boil? What about a shimmy en releve? Did you just get up and walk when the doorbell rang? I didn't. I did a hagalla, or a travelling shimmy. In traffic jams I belly pop and beat out zill rhythms on the steering wheel. My babies have been shimmied and horizontal eighted to sleep.

How can you fit dance into your day today?

You're never too good for the basics.

It can be really tempting to keep pushing for bigger and better, fancier things. The sense of achievement from getting the hang of a tricky step is such a rush, but never forget your roots.

Keep drilling the basic, fundamental movements, do them slowly, do them in different poses, keep it precise. Good foundations will improve your dancing as a whole, but if sloppiness creeps in, that will show too.

Your regular class should be challenging, but it is an excellent exercise to visit a foundation level class fairly regularly too. I like to take beginner classes with other teachers, to hear how they break down the movements. You will always pick something new up.

Getting dance fit

Bellydance is a workout in itself, cardio, strength, flexibility, core control, plyometrics - it's all there! You can get fit for dance by just dancing, drilling moves makes you stronger and more flexible, the move gets better.

If you want a short-cut, targeted conditioning can really help by boosting your strength, control and flexibility in the right areas. For instance, if you are working on level changes, a good squat routine will give you a real boost. Many bellydancers teach classes, or have produced workout DVDs, specifically for bellydance conditioning. Datura Online has some really effective, and time efficient, conditioning videos that you can hire for a while to get that fitness boost. Or you could just join up to a regular fitness class that you enjoy.

My preference for dance conditioning is Vinyasa flow yoga and pilates. I didn't really enjoy fitness before I began dancing, but finding what works for me, and seeing how the results impact my dance has been really motivating.

Listen to the music

Arabic dance is all about musical interpretation, and all good bellydancers have a good ear for Arabic music. You can study the theory behind the music if you like, it is fascinating, but absorbing and quite hefty. I found the best way to become attuned to Arabic music is to listen to it. A lot.

To the Western ear, Middle Eastern sounds are a little alien, and sometimes jarring. It takes a while to learn to love the mizmar! I started with softer, popular music and Western fusion from easily accessible compilations, then gradually introduced more complex and challenging music as I became attuned to it. I am building music playlists for my students, one for general music theory and notable songs, one for some of the easier music I use in class. I also have some recommended compilations on the Amazon store on my site.

Listen to the music all the time, in the car, while you are washing up, let it seep into your brain quietly. Over time you will absorb the rhythms, without knowing what they are called, you will start to dance to fit those patterns because they will become familiar to you. The same goes for the phrasing and melody, the predictable structure of the music, you start to anticipate the direction of music you have never heard before, because you unconsciously recognise the pattern.

Dance too. Just throw on any track at random and see what you can do. Don't worry what it looks like, just feel the music and see what your body wants to do.

Musicality is a crucial part of a bellydancer's toolkit, and I believe it is most efficiently gained by immersing oneself in the music on an everyday basis.



So that's that. This is by no means comprehensive, and I am sure there will be dancers who feel that I have left things out, or included things that they did not find helpful, but I hope this gives you some ideas, and a little insight into the measures that I have found helpful in my own dance journey.