Showing posts with label workshops. Show all posts
Showing posts with label workshops. Show all posts
Tuesday, December 10, 2013
Let us dance, Weather!
Oh December, how fickle you are!
Some days have been warm, even almost 70 degrees; but this past week we're getting Virginia's winter worst: sleet, freezing rain, and ice. I had to reschedule my Improvisation workshop to this coming weekend, and my fingers are crossed. Let us dance, weather!
I've got a new Improv Handout ready to go; I'm all about one-page handouts lately so I distilled a bunch of different tactics down to just 6 ideas... after the workshop it may turn up here in a new post.
Meanwhile I'm updating my website, streamlining and reformatting the pages; and getting that done will keep me busy during the holidays when we don't have many classes. Since I started my site in 1999 it's really grown, I think there's over 125 pages - lots of articles of course, a couple of sewing tutorials, history pages, and a handful of photo pages from "before Facebook"!
I used to make one Photo page each year and include it on my site, but that was getting out of hand. Now most of our belly dance event photos are going right online to Instagram, FB, Google+ and Twitter... I don't really like having them all spread out like that, but there it is. Belly dancers end up with so many photos! Is there a better way to organize and save them now?
Anthea / Kawakib
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Tuesday, November 12, 2013
planning an improv workshop
This morning it's supposed to snow, or as they put it, a 'wintry mix'! I'm keeping my fingers crossed that it doesn't so my outdoor plans for today stay on track. But whatever it's doing outside, at least I can start planning the workshop I'm offering at my home studio next month, on "SIMPLE SECRETS TO BELLY DANCE IMPROV".
Our dancing is another manifestation of the sacred shapes, geometric patterns, and universal vibrations all around us.
Those are the two keys that really unlock improv for me. I've written so much about this, not only in my Dance Tips booklet but in several of my Zaghareet magazine articles (and even The Belly Dance Reader) that I'm always a little surprised when people still want me to explain or teach it. But I'm happy to do so!
As I wrote in my previous post, last month all my local classes focused on solo improvisation so the students would feel comfortable dancing at the Hafla we had just before Halloween. Each week we looked at a different strategy or trick to do improv. What I heard was that even though they all "knew" the concepts and had my booklets, and read about it, they liked being led through the concepts in class. I like it myself because then I can just dance, as me, and how I feel the music.
This is probably the way the workshop will go, taking the concepts apart a bit at a time and doing a little "follow me"; and experimenting (as a group) with each other's ideas. We won't have time for much else, the workshop is only two hours, barely time to sample all the delicious improv flavors; just enough time to give everyone a little taste and help them discover these simple secrets!
Anthea / Kawakib
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Dancers want to know how to do solo improvisation, and seem almost afraid of it - especially with live music; yet it's so easy once you SEE the music patterns, and FEEL the music pulsing through your body.
Our dancing is another manifestation of the sacred shapes, geometric patterns, and universal vibrations all around us.
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| Indian Line Art |
As I wrote in my previous post, last month all my local classes focused on solo improvisation so the students would feel comfortable dancing at the Hafla we had just before Halloween. Each week we looked at a different strategy or trick to do improv. What I heard was that even though they all "knew" the concepts and had my booklets, and read about it, they liked being led through the concepts in class. I like it myself because then I can just dance, as me, and how I feel the music.
This is probably the way the workshop will go, taking the concepts apart a bit at a time and doing a little "follow me"; and experimenting (as a group) with each other's ideas. We won't have time for much else, the workshop is only two hours, barely time to sample all the delicious improv flavors; just enough time to give everyone a little taste and help them discover these simple secrets!
Anthea / Kawakib
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Monday, September 9, 2013
stop being so modest!
I recently read an article (via @PAMGRIER on twitter) about taking credit when it's due instead of giving it away: Why You Need To Brag More (and How To Do It) by Dr. Peggy Drexler.
This really resonates with me because I've erred that way too many times, sometimes with unexpected and unfortunate results.
Of course I still believe strongly in giving credit where it's deserved, even trying to remember to put photographer's names on my own dance photos in my extensive archive (it's not easy after all these years!). Other ways dancers give due credit is by mentioning who they have learned from; and often when teaching, we will even include the specific teacher or dancer who taught a certain move - who hasn't heard of "Soheir Zaki hips" or the "Dina hip circle"? I also credit my former troupe with helping in the creation of the group improv format "Tribal Odyssey Bellydance", because working out the details DID require having real bodies dancing in real time. And of course in class I also mention which moves were developed by Miramar, who helped create the format. Maybe it's because I'm a visual learner, but often I can even remember not only the teacher, but also the surroundings when I first learned a move - for instance, whether it was my teacher's studio, or at a particular workshop.
Do you find yourself remembering learning moves like this too? It's funny how much I remember about dance considering my memory isn't that great in other areas! At least it makes it easy to pass on the creative "dance credits" to my students and helps teach respect for our bellydance lineage. But I wonder if I need to toot my own horn a bit more?
I love being a "team player" and sharing creative projects with others, but giving away too much undeserved credit and then expecting to be treated fairly in return doesn't seem to work. The recipients of the "free credit" can actually come to believe they deserve it; and a real and factual accounting of the situation can even lead to a fight over rights. I imagine this sometimes happens in troupes, and helps bring on their demise. Certainly, bringing financial considerations into the picture is a sure-fire way to test whether everyone has a clear mental accounting of the facts - or not.
In examining why I've tended to over-credit sometimes, I think my concern for people's feelings - that they feel included, appreciated, and important - is behind it. As I look back on these situations, I see that I've shortchanged myself; perhaps hoping that my gesture would be accepted gratefully and create "warm fuzzies". Could it even be seen as patronizing on my part to do this? Maybe so, but it really comes from a desire to be kind. However, the old adage that people don't value things that are free seems to hold true in this case too - as my husband would say in his rustic way, being "too kind" can come back and bite you in the ass!
Experience can be a hard, unpleasant teacher, but it does teach well. Now I'm learning to honor myself by NOT "giving away" credit when it's unfounded. Like the article says, if we own up to our mistakes, why wouldn't we do the the same for our victories?
Stealing choreography is anathema in the dance world, and it does happen; but outright theft is not the same as delusional thinking, which is what undue credit seems to engender in the recipient. When you look at it like that, it's really not a good gift at all, is it? So stop being so modest and feeding someone else's ego - you're just creating a monster!
I'm sure taking due credit is something many of you struggle with too; according to the article, it's more prevalent in women. It's a trap I can fall into if I'm not careful - maybe I'm afraid I won't find a balance, and will become one of those empty braggarts (brag-arts!). I'd almost rather stay unnoticed. How do you feel about taking credit and giving credit - is it easy to find a balance?
Anthea / Kawakib
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This really resonates with me because I've erred that way too many times, sometimes with unexpected and unfortunate results.
Of course I still believe strongly in giving credit where it's deserved, even trying to remember to put photographer's names on my own dance photos in my extensive archive (it's not easy after all these years!). Other ways dancers give due credit is by mentioning who they have learned from; and often when teaching, we will even include the specific teacher or dancer who taught a certain move - who hasn't heard of "Soheir Zaki hips" or the "Dina hip circle"? I also credit my former troupe with helping in the creation of the group improv format "Tribal Odyssey Bellydance", because working out the details DID require having real bodies dancing in real time. And of course in class I also mention which moves were developed by Miramar, who helped create the format. Maybe it's because I'm a visual learner, but often I can even remember not only the teacher, but also the surroundings when I first learned a move - for instance, whether it was my teacher's studio, or at a particular workshop.
Do you find yourself remembering learning moves like this too? It's funny how much I remember about dance considering my memory isn't that great in other areas! At least it makes it easy to pass on the creative "dance credits" to my students and helps teach respect for our bellydance lineage. But I wonder if I need to toot my own horn a bit more?
I love being a "team player" and sharing creative projects with others, but giving away too much undeserved credit and then expecting to be treated fairly in return doesn't seem to work. The recipients of the "free credit" can actually come to believe they deserve it; and a real and factual accounting of the situation can even lead to a fight over rights. I imagine this sometimes happens in troupes, and helps bring on their demise. Certainly, bringing financial considerations into the picture is a sure-fire way to test whether everyone has a clear mental accounting of the facts - or not.
In examining why I've tended to over-credit sometimes, I think my concern for people's feelings - that they feel included, appreciated, and important - is behind it. As I look back on these situations, I see that I've shortchanged myself; perhaps hoping that my gesture would be accepted gratefully and create "warm fuzzies". Could it even be seen as patronizing on my part to do this? Maybe so, but it really comes from a desire to be kind. However, the old adage that people don't value things that are free seems to hold true in this case too - as my husband would say in his rustic way, being "too kind" can come back and bite you in the ass!
Experience can be a hard, unpleasant teacher, but it does teach well. Now I'm learning to honor myself by NOT "giving away" credit when it's unfounded. Like the article says, if we own up to our mistakes, why wouldn't we do the the same for our victories?
Stealing choreography is anathema in the dance world, and it does happen; but outright theft is not the same as delusional thinking, which is what undue credit seems to engender in the recipient. When you look at it like that, it's really not a good gift at all, is it? So stop being so modest and feeding someone else's ego - you're just creating a monster!
I'm sure taking due credit is something many of you struggle with too; according to the article, it's more prevalent in women. It's a trap I can fall into if I'm not careful - maybe I'm afraid I won't find a balance, and will become one of those empty braggarts (brag-arts!). I'd almost rather stay unnoticed. How do you feel about taking credit and giving credit - is it easy to find a balance?
Anthea / Kawakib
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Tuesday, March 6, 2012
Teach, rest... Perform!
Another milestone: this past weekend was my first out-of-town workshop and show since my hip replacement. It's been a long four years!
I love how this photo from the show Saturday (in Charlottesville VA) captures how I feel when I'm dancing - special thanks to Kathleen for sharing it with me.
One of my former Charlottesville belly dance students (I taught down there for 10 years before moving to Fredericksburg) swooped in after my morning class and carried me off to her lovely studio oasis so I could rest in between teaching and performing in the evening show. We ate, chatted, and napped! Yabani Cicek (Lou) is well-known locally for her classic American bellydance, the style that prevailed here prior to the "Egyptian invasion" of the 1980's. She battles Parkinsons with bellydancing, keeping active, fit, and busy in the community by performing in local shows in Charlottesville and the nearby capital city of Richmond. Kisses to Lou!
Another "blast from the past" is the costume I decided to wear, a lace jumpsuit I made at least 20 years ago. It's the only piece I have left from a 1940's-style costume I made that was inspired by photos of Tahia Carioca. I'm surprised it's holding up after so long - AND that it fits!
It's funny how bellydance goes through stylistic phases... we used to complain about shows being one "cabaret" dancer after another. But this past weekend my Egyptian oriental number ("Layal"), a traditional Raks Sharki entrance piece, stood out as the oddball in the show's lineup of Tribal Fusion, American Interpretive, and Vaudeville! Although some might think of my style as the "safe" choice, the same-old same-old bellydancing, all I can say is: THAT dancing is ME; that's the music I like, that's how it makes me feel, and that's how it makes me dance. And I think audiences probably enjoy seeing a variety of styles and hearing different kinds of music... at least, I hope so!
Anthea / Kawakib
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I love how this photo from the show Saturday (in Charlottesville VA) captures how I feel when I'm dancing - special thanks to Kathleen for sharing it with me.
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| Doing it Old School! |
One of my former Charlottesville belly dance students (I taught down there for 10 years before moving to Fredericksburg) swooped in after my morning class and carried me off to her lovely studio oasis so I could rest in between teaching and performing in the evening show. We ate, chatted, and napped! Yabani Cicek (Lou) is well-known locally for her classic American bellydance, the style that prevailed here prior to the "Egyptian invasion" of the 1980's. She battles Parkinsons with bellydancing, keeping active, fit, and busy in the community by performing in local shows in Charlottesville and the nearby capital city of Richmond. Kisses to Lou!
Another "blast from the past" is the costume I decided to wear, a lace jumpsuit I made at least 20 years ago. It's the only piece I have left from a 1940's-style costume I made that was inspired by photos of Tahia Carioca. I'm surprised it's holding up after so long - AND that it fits!
It's funny how bellydance goes through stylistic phases... we used to complain about shows being one "cabaret" dancer after another. But this past weekend my Egyptian oriental number ("Layal"), a traditional Raks Sharki entrance piece, stood out as the oddball in the show's lineup of Tribal Fusion, American Interpretive, and Vaudeville! Although some might think of my style as the "safe" choice, the same-old same-old bellydancing, all I can say is: THAT dancing is ME; that's the music I like, that's how it makes me feel, and that's how it makes me dance. And I think audiences probably enjoy seeing a variety of styles and hearing different kinds of music... at least, I hope so!
Anthea / Kawakib
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