Bellydance is getting more complex. In just a few short decades, the artistic expression of an art with age-old cultural roots and ethos, has changed dramatically, reflecting the rapidly moving undercurrents of our new world. Movements are faster, choreographies are tighter and there seems to be an unspoken pressure on dancers to meet a certain criteria - one that would leave some of the world’s most famous Golden Era bellydancers lacking in the technical arena. Yes, times have changed and although the dance has evolved and branched out into new theatrical realms, bellydancers around the world have been expressing concerns about a pervasive sense of dissatisfaction, resulting in the type of frustration and internal conflict that can gradually erode one’s sense of artistic worth and self esteem. We know that bellydance is not an exacting art, and that traditionally, enjoyment, sensuality and self-expression were at its core. So how do you, as a dancer, maintain your artisti
In Somatic practices, ‘embodiment’ is a term often used, and with it comes a sense of richness and fulfilment. Somatics is more about the ‘noticing’ than the judging of movement – as this is when patterns of resistance and flow can be identified. From this authentic space the truth of the body’s bio-circuitry, sensory knowledge, even blockages from old traumatic memories, and their effect on movement, can be revealed. Only then, can a remedial approach be integrated, through movement and the body’s inner-knowing, to correct the energy flow, restore balance, refine movement and even improve health.
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Dear dancers, in this video I talk about the role of the autonomic nervous system in movement, and offer simple tips on how to bellydance with more fluidity & ease, to feel more relaxed and responsive. If you like this easeful way of dancing, you can see more of it in my Somatic work and A-Z Bellydance courses at www.ketisharif.com Click the video below to watch now!
Many dancers, musicians and performing artists have tried their hand at digitally editing performance footage at some time, perhaps from live gigs or for promotional clips . I've been editing for many years, and have several sound engineers in the family who digitally master music. We've found these waveforms to be quite revealing, highlighting nuances that are sometimes difficult to pick up by listening alone. To observe audio as digital waveforms is always fascinating, as they show the 'structural form' of sound. In recent years, whilst editing dance performance clips, some interesting patterns and differences between live music and pre-recorded waveforms have emerged, that have spiked my curiosity. The main difference is the syncopation of sound with visual performance footage that to live music, compared to choreographed work to pre-recorded cd tracks. In 1998, when I filmed and edited "Bellydance Live" in Cairo, with an Egyptian band, where we d