tag:blogger.com,1999:blog-17992665205299088002024-03-14T06:05:38.249-07:00Directions in DanceExploring the decisions that affect artistic direction.Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-1799266520529908800.post-67289431920182668502021-06-22T23:58:00.006-07:002021-06-23T00:21:10.282-07:00The Return of Egyptian Dance Students<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7b49iQ7ANMCPDq6NuV44kGW88Ja_cfPzuoVlCZ82D8rtutz5jXj8rmt80eB1TjsN7wfBRMTiybGtvzVjMEXL5XL-sBbdspoPXqXdqLiS7PUtvF3ERaMfIBOCQqHMZL-89vHxE9V2_SpE/s795/126929410_10159254112284175_5085984673725943922_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="795" height="377" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7b49iQ7ANMCPDq6NuV44kGW88Ja_cfPzuoVlCZ82D8rtutz5jXj8rmt80eB1TjsN7wfBRMTiybGtvzVjMEXL5XL-sBbdspoPXqXdqLiS7PUtvF3ERaMfIBOCQqHMZL-89vHxE9V2_SpE/w557-h377/126929410_10159254112284175_5085984673725943922_n.jpg" width="557" /></a></div><br /><p><br /></p><p>Hi everyone, as you know online classes are becoming more popular around the world as many countries have experienced covid lockdowns and temporary studio closures.<br /><br />I ran events, festivals and classes in Egypt for many years, but of course like many others, am still waiting until its the right time to recommence. For now, we have online options for dancers to study various cultural dance arts with live Egyptian music & percussion. One of the courses I offer is A-Z Bellydance.<br /><br />Recently, many of my former Egyptian students (from Cairo, Luxor, Alexandria, Fayoum, Red Sea) and new students from Egypt, are taking A-Z Bellydance classes. I was curious as to why they were interested in taking classes when they already know how to Bellydance... a social norm in Egypt! <br /><br />Here's a short 4 minute chat about why they are doing bellydance classes. <br /><br />Listen here:<br /><br /><a href="http://ketisharif.com/music/egyptiandancestudents.mp3">http://ketisharif.com/music/egyptiandancestudents.mp3</a><br /><br />Warm wishes,</p><p>Keti</p>Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com0tag:blogger.com,1999:blog-1799266520529908800.post-87055421979480052782020-07-11T08:09:00.001-07:002020-07-11T08:10:29.798-07:00How to Bellydance with More Ease<span style="font-family: "roboto" , "noto" , sans-serif; font-size: 15px; white-space: pre-wrap;">Dear dancers, </span><br />
<span style="font-family: "roboto" , "noto" , sans-serif; font-size: 15px; white-space: pre-wrap;"><br /></span>
<span style="font-family: "roboto" , "noto" , sans-serif; font-size: 15px; white-space: pre-wrap;">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. </span><br />
<span style="font-family: "roboto" , "noto" , sans-serif; font-size: 15px; white-space: pre-wrap;"><br /></span>
<span style="font-family: "roboto" , "noto" , sans-serif; font-size: 15px; white-space: pre-wrap;">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</span><br />
<span style="font-family: "roboto" , "noto" , sans-serif; font-size: 15px; white-space: pre-wrap;"><br /></span>
<span style="font-family: "roboto" , "noto" , sans-serif; font-size: 15px; white-space: pre-wrap;">Click the video below to watch now!</span><br />
<span style="font-family: "roboto" , "noto" , sans-serif; font-size: 15px; white-space: pre-wrap;"><br /></span>
<span style="color: rgba(0 , 0 , 0 , 0.87); font-family: "roboto" , "noto" , sans-serif; font-size: 15px; white-space: pre-wrap;"><br /></span>
<br />
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Hqa0EFQic-w/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/Hqa0EFQic-w?feature=player_embedded" style="clear: left; float: left;" width="320"></iframe><span style="color: rgba(0 , 0 , 0 , 0.87); font-family: "roboto" , "noto" , sans-serif; font-size: 15px; white-space: pre-wrap;"><br /></span>
<span style="color: rgba(0 , 0 , 0 , 0.87); font-family: "roboto" , "noto" , sans-serif; font-size: 15px; white-space: pre-wrap;"><br /></span>
<span style="color: rgba(0 , 0 , 0 , 0.87); font-family: "roboto" , "noto" , sans-serif; font-size: 15px; white-space: pre-wrap;"><br /></span>Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com0tag:blogger.com,1999:blog-1799266520529908800.post-36560999994748490182020-03-30T18:43:00.004-07:002020-08-26T05:38:38.221-07:0010 Things Bellydancers Can Enjoy in Lockdown<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_bQRxp3XHjw4WbfLdC5nQ2VksjkKXVWTTjnDwcLS3lfu4YgGNO-IHymMthGnl47Xr__6U5LINqar-AkWrVj2qCtNTThO9IN-IzCzfFYDvAz_k4l1VYAi63Oq80zWYurPML2Kwhzov6dY/s1600/ketidress.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="700" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_bQRxp3XHjw4WbfLdC5nQ2VksjkKXVWTTjnDwcLS3lfu4YgGNO-IHymMthGnl47Xr__6U5LINqar-AkWrVj2qCtNTThO9IN-IzCzfFYDvAz_k4l1VYAi63Oq80zWYurPML2Kwhzov6dY/s640/ketidress.jpg" width="465" /></a></div>
<div class="MsoNormal" style="font-family: "Times New Roman"; font-size: 12pt; margin: 0in 0in 10pt;">
<span style="font-family: "century gothic";"><br /><br />Dear Bellydancers in covid-19 lockdown, here are 10 things you can do that can be fun and productive!<br /><br /><br /><b>1. GET MUSICAL: <br />Sort Out Your Music Playlists</b><br />Group your lists into various playlists - these could be grouped as: rhythms, orchestral compositions, taqsim, drum solos, folkloric music, pop, and a variety of cultural or regional styles & genres. And then make some teaching, performance or simply favourites or easy listening lists.<br /><br /><o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: "Times New Roman"; font-size: 12pt; margin: 0in 0in 10pt;">
<span style="font-family: "century gothic";"><b>2. GLAMOURIZE YOUR </b></span><b style="font-family: "Century Gothic";">COSTUME WARDROBE</b><span style="font-family: "century gothic"; font-size: 12pt;"><b>: <br />Organise, Mend or Update Costumes</b></span><span style="font-family: "century gothic"; font-size: 12pt;"><br />Organise all your costumes and accessories, plus the fabric and decorations you’ve been collecting for years! Mend any costumes that need fixing and consider making some updates to existing costumes or hip scarves.</span></div>
<div class="MsoNormal" style="font-family: "Times New Roman"; font-size: 12pt; margin: 0in 0in 10pt;">
<span style="font-family: "century gothic";"><b><br />3. BUILD A VIDEO WATCH-LIST: <br />Keep a Video File of Great Bellydance Videos</b><br />Simply copy and paste youtube or vimeo urls into a word document, with a bit of info about your favourite dancers and their clips. If you sort these into groups, you’ll have a great reference for all your favourite videos, when you need to find something to watch.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: "Times New Roman"; font-size: 12pt; margin: 0in 0in 10pt;">
<span style="font-family: "century gothic";"><b><br />4. DEVELOP YOUR DANCE SKILLS:<br />Take some Dance Classes Online!</b><br />Many of your favourite teachers are offering classes, either live real-time sessions on Zoom or Skype, or downloads that you can view any time. It's a good time to use this full spectrum of new videos and classes for your benefit! You might even like to try a new bellydance style or related practice, like yoga for bellydancers.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: "Times New Roman"; font-size: 12pt; margin: 0in 0in 10pt;">
<span style="font-family: "century gothic";"><b><br />5. DESIGN YOUR OWN PERSONAL DANCE CLASS:<br />Create a Practice or Program of Your Own</b><br />Now that you have your refreshed musical playlists and favourite videos, why not create your own hour long daily practice? You might even like to create several practice sessions to choose from – slow, fast, improvisation, etc. Who knows, you might even like to share this online with students if you are a teacher. Note: Be mindful of copyright & legalities.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: "Times New Roman"; font-size: 12pt; margin: 0in 0in 10pt;">
<span style="font-family: "century gothic";"><b><br /></b></span><b style="font-family: "Century Gothic";">6. CREATE A DAZZLING </b><span style="font-family: "century gothic";"><b>CHOREOGRAPHY!</b><b><br />Choreograph</b><b> and Refine an Amazing New Dance!</b><br />Utilise your lockdown time to develop a fabulous new dance and film yourself a few times to refine it. Now you have a lovely choreo to perform when things get back to normal and the haflas and shows resume.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: "Times New Roman"; font-size: 12pt; margin: 0in 0in 10pt;">
<span style="font-family: "century gothic";"><b><br />7. SHARE SOME SPARLKLING SELFIES!<br />Try a New Make Up and Costume Look!</b><br />Have some fun creating a new look for your bellydancing self, and take some awesome selfies for your bellydance friends!<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: "Times New Roman"; font-size: 12pt; margin: 0in 0in 10pt;">
<span style="font-family: "century gothic";"><br /><b>8. INDULGE IN A HOME SPA<br />Spruce Your Self Up with a Beauty Spa</b><br />Enjoy the simple things that make you feel better, like manicures, pedicures and facials at home.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: "Times New Roman"; font-size: 12pt; margin: 0in 0in 10pt;">
<span style="font-family: "century gothic";"><br /></span><b style="font-family: "Century Gothic";">9. CREATE A SACRED SPACE</b><span style="font-family: "century gothic";"><b> FOR WELLNESS<br />Enjoy a Daily Calming Ritual for Wellbeing</b><br />In these stressful times, you can benefit from creating a gentle calming ritual that grounds you and helps you feel more relaxed. You might create a sacred space with some silk scarves, calming aromatherapy oils, soft music, candles, etc. Spend a little time at your special space daily and breathe, pray, make affirmations, stretch – or whatever makes you feel better for the day.<o:p></o:p></span></div>
<div class="MsoNormal" style="font-family: "Times New Roman"; font-size: 12pt; margin: 0in 0in 10pt;">
<span style="font-family: "century gothic";"><br /><b>10. REACH OUT & CONNECT<br />Stay in Touch with Bellydance Buddies!</b><br />Contact your bellydance friends and community via social media, post photos, short clips and keep up the contact. Bellydancers are usually a pretty positive bunch who will cheer you up when you feel isolated. </span></div>
<div class="MsoNormal" style="font-family: "Times New Roman"; font-size: 12pt; margin: 0in 0in 10pt;">
<span style="font-family: "century gothic";">Stay healthy and safe!<br /><br /><o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "century gothic"; font-size: 12pt;">Keti Sharif<br /><a href="http://www.ketisharif.com/" style="color: purple;">www.ketisharif.com</a><br /><a href="http://www.rhythmicessence.com/" style="color: purple;">www.rhythmicessence.com</a></span><span style="font-family: "courier"; font-size: 12pt;"><br /></span><span style="text-align: start;"></span></div>
<br />Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.comtag:blogger.com,1999:blog-1799266520529908800.post-72076755692631316452019-12-04T18:48:00.001-08:002019-12-04T18:48:57.641-08:00Teaching Bellydance - Physical Limitations and Pregnancy<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/38icsK4oGhs" width="480"></iframe>Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com0tag:blogger.com,1999:blog-1799266520529908800.post-46015217641623175412019-06-06T20:55:00.000-07:002019-06-06T21:03:13.978-07:00Focus and Flow - How to Bring Creative Action to Artistic Projects<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSc7OCXBCUolYnH5d8X09VXv1_8jpK2xqzaHBJmF_xsGFuvY6157EtMju-IQN9MwLCdiP1DtPI5I1Ew-f6LCRHlIGha0Fh_oUIMdfOY-EQ3Qcr2C5ghGmbonJPM2Wc5ykwypqwwUOn0N8/s1600/room+copy.jpg" imageanchor="1"><img border="0" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSc7OCXBCUolYnH5d8X09VXv1_8jpK2xqzaHBJmF_xsGFuvY6157EtMju-IQN9MwLCdiP1DtPI5I1Ew-f6LCRHlIGha0Fh_oUIMdfOY-EQ3Qcr2C5ghGmbonJPM2Wc5ykwypqwwUOn0N8/s640/room+copy.jpg" width="640" /></a><br />
<br />
<br />
Hi dancers, <br />
<br />
do you have a project or awesome idea that you've been contemplating for some time? Does it seem to stop and start, with a wavering kind of energy... and even though the logistics of the process seem do-able, something prevents you from getting past the finish line?<br />
<br />
I know what that feels like. Successful projects can be a real balancing act. They need a spirit of fun and play to make you want to stick with them. Yet the step-by-step process is essential of you want to get it completed. So, why do we see so many 'abandoned ideas' and how can we integrate the polarities of "exploration" and "action".<br />
<br />
My June blog is in the form of a very short audio. I too am in the process of working through a timeline of practical steps required to finish some dance projects, and am familiar with the process of navigating between focus and flow. I also know what getting too caught up with either polarity can do... and its usually detrimental to reaching the ultimate goal.<br />
<br />
Projects flourish when they feel like they're fun. They get abandoned when they're not fun anymore, or feel too hard or costly in terms of personal "effort" or "time". Actually, the truth is that we can always make time for what we like, or what feels good... so there is something else lying at the bottom of this! It is usually the illusion of "perfection". Perfectionists possibly have the hardest time with projects, because in the perfectionist's mind - unless its 'perfect' its not worth doing. Which leaves many artists cold... because art is about creativity and exploration. <br />
<br />
Again, the bottom line is it has to be FUN to make you want to stick with it!!<br />
<br />
This month's topic relates to staying open and curious even when working through a linear course of steps on the way to project completion. Reaching an artistic goal is a process that can quickly become quite linear (i.e.: boring, feels like hard work), yet at the same time, too much option and curiosity can take us off track and lead us on a path of procrastination or even worse, never actually actualizing an idea or finishing a project that could have massively propelled our artistic journey. <br /><br />Here is an easy way of working within the timeline of your dream-projects, with a sense of balance offers both fun and action... supported by two core "curiosity vs action" pathways from Somatics and Bartenieff Fundamentals. <br />
<br />
Have a lovely month!<br />
Keti<br />
<br />
<a href="http://ketisharif.com/focusflow.mp3">http://ketisharif.com/focusflow.mp3</a>Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com0tag:blogger.com,1999:blog-1799266520529908800.post-62242525882203171952019-03-25T23:01:00.002-07:002019-03-26T01:02:35.653-07:00Bellydance - The Difference Between Structure and Form<style type="text/css">
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px 'Century Gothic'; -webkit-text-stroke: #000000}
span.s1 {font-kerning: none}
</style>
<br />
<div class="p1">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1yJT-IfEbiHEsILGbny3qenuyIskjlKUtt_B_wr5B6uThoRe6AiTE75XDSDpZs1s2alD-XDIjxwpR_utEDwBXk63-LLB4kEW-nEFQ-Hj1fTdgoJjR8NAibML8IDD_XNHubMsb1yRmgp4/s1600/nesrin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1yJT-IfEbiHEsILGbny3qenuyIskjlKUtt_B_wr5B6uThoRe6AiTE75XDSDpZs1s2alD-XDIjxwpR_utEDwBXk63-LLB4kEW-nEFQ-Hj1fTdgoJjR8NAibML8IDD_XNHubMsb1yRmgp4/s1600/nesrin.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo of Nesrin at Musical Heart of Egypt Event</td></tr>
</tbody></table>
<span id="goog_1242504883"></span><span id="goog_1242504884"></span><br />
<br />
<br /></div>
<div class="p1">
Dear dancers,<br />
<br />
this blog ended up being an audio file; an ad-lib talk about structure and form, and how they apply to dancing. Understanding the difference between the two can be key to the some of the big decisions we make about the foundation of our art and how it can shape other qualities, such as aesthetic, interpretation and personal style.<br />
<br />
Best wishes, <br />
Keti</div>
<div class="p1">
<br /></div>
<div class="p1">
<span class="s1"><a href="http://ketisharif.com/StructureandForm.mp3">http://ketisharif.com/StructureandForm.mp3</a></span></div>
Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com0tag:blogger.com,1999:blog-1799266520529908800.post-43304470409373458192019-02-12T01:41:00.002-08:002019-02-24T17:47:34.771-08:00The truth about taking online dance classes – dealing with the distraction trap!<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:Zoom>0</w:Zoom>
<w:TrackMoves>false</w:TrackMoves>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing>
<w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing>
<w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery>
<w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:DontGrowAutofit/>
<w:DontAutofitConstrainedTables/>
<w:DontVertAlignInTxbx/>
</w:Compatibility>
</w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" LatentStyleCount="276">
</w:LatentStyles>
</xml><![endif]-->
<style>
<!--
/* Font Definitions */
@font-face
{font-family:Cambria;
panose-1:2 4 5 3 5 4 6 3 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:3 0 0 0 1 0;}
@font-face
{font-family:"Century Gothic";
panose-1:2 11 5 2 2 2 2 2 2 4;
mso-font-charset:0;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:3 0 0 0 1 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-parent:"";
margin-top:0in;
margin-right:0in;
margin-bottom:10.0pt;
margin-left:0in;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:"Times New Roman";
mso-ascii-font-family:Courier;
mso-fareast-font-family:Cambria;
mso-fareast-theme-font:minor-latin;
mso-hansi-font-family:Courier;
mso-bidi-font-family:"Times New Roman";
mso-bidi-theme-font:minor-bidi;}
@page Section1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.Section1
{page:Section1;}
-->
</style>
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
mso-ascii-font-family:Courier;
mso-hansi-font-family:Courier;}
</style>
<![endif]-->
<!--StartFragment-->
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7p3GM30q-7hWESNaxsNHSzx_YTtQw1PT0SWxji4vcZfk1-UfOKRhWpmKk2eUH-7v7tTjSpW4y_DvU0eScwTMayXayMuemMINhyphenhyphenZGoFW5nq_G2aJ8B6mQjciDJqo-UnY8jHd7ylPD05tw/s1600/article2.jpg" imageanchor="1"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7p3GM30q-7hWESNaxsNHSzx_YTtQw1PT0SWxji4vcZfk1-UfOKRhWpmKk2eUH-7v7tTjSpW4y_DvU0eScwTMayXayMuemMINhyphenhyphenZGoFW5nq_G2aJ8B6mQjciDJqo-UnY8jHd7ylPD05tw/s640/article2.jpg" width="640" /></a></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #323133; font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><br />Today, if
you can't get to a regular dance class due to time or distance, you can easily
study dance online. Students often ask, "Are online dance classes
easier?" Put simply, the answer is no. It’s true that online courses offer
greater flexibility, allowing you to learn in your own time and space, but that
doesn’t change the amount of work and practice you need to put in. You still have the
same amount of work—just without the formal classroom setting. <br /><br />As with many dancers who sign up for online study, I also had challenges when I first started as a student in digital courses. In fact, I even had a great course sit on my laptop for a year until I viewed it! I became aware that various distractions were the major blocks to learning, and worked out ways to overcome it, and ended up being able to study successfully. From then on, online learning became a pleasurable experience, and something I looked forward to in my week. It offered opportunities I would never have access to in my immediate locale. Digital courses can truly provide a wonderful learning experience, and with preparation and planning, you will be able to enjoy getting the most of the class or course you invested in.</span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #323133;">As a dance teacher of many years, I would
always suggest taking a live class whenever possible, however, if you wish to
study with a teacher outside your locale, or do a specialty workshop or course,
then you may decide to choose online study. The flexibility of online classes can be
extremely helpful to busy students, but that same freedom also creates
additional pressures on those enrolled. The ball is in your court—meaning it’s
up to you to avoid distractions and keep yourself on track.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #323133;">On the
plus side, online dance studies, which are usually presented via video clips, give you the ability to pause and re-watch parts you
didn’t quite understand the first time. Plus, you can always reach out to your
teacher through a message to ask questions about material you didn’t
understand.<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--></span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #323133;">However,
one of the most difficult aspects of online studies is procrastination. This
slippery slope can affect your dance practice negatively. For successful online studies, it’s important to
stay organized, prepare in advance and commit to following a schedule because it can be
difficult to catch up once you fall behind. Many students abandon courses they
have paid for, so by taking time to prepare, you have more chance of seeing the
course through. Plus you will enjoying the fruits of your studies, through improved
dancing and embodying new techniques and skills!<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--></span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #323133;">Here are
several ways to deal with distractions and carve out time to study online:</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />
<span style="color: #323133;">1. <b>SET UP THE CORRECT TECH: </b>Have the right
technology and connection. Be sure to have a reliable internet connection and
correct operating system – this is crucial to staying on top of your practice.
If you are able to download materials, do this early on. An external hard drive or dedicated USB provides handy storage space.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #323133;"><br />
2. <b>HAVE GOOD AUDIO/VISUAL:</b> Make sure you have ample sound and
vision for your practice requirements. If music is used, be sure to connect
good speakers and if you need to dance and view a screen, make sure the size is
large enough. Avoid following from a smart phone. Turn off all other apps and notifications, including email alerts and social media pings.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />
3.
<b>A DEDICATED SPACE: </b>Have a dedicated, well ventilated, and well lit space
with enough room to move. You should be able to take a large turn to the left
and right with ease, and be able to use a prop easily such as a veil or cane.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #323133;"><br />
4. <b>SCHEDULE YOUR TIME: </b>Schedule study times and dates into
your monthly diary. Choose times when you will not be disturbed. Set the time
you need, 30-60 minutes is normally required for personal dance practice. Aim
to practice regularly, 3-4 times a week is ideal to support muscle memory and
conditioning.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #323133;"><br />
5. <b>BE PREPARED: </b>Prepare yourself by having the right
dancewear ready, perhaps even have your meal (or family meal) prepared in advance, so you don't
need to focus on anything else whilst you engage in your dance session. This helps avoid distraction and last minute panic as you will have all your necessities nearby.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #323133;"><br />
6. <b>CREATE A STARTING EXERCISE:</b> Begin with breathing and
centering exercises to make you feel more present and calm before you start to
study, to help you embody the movement more fully. Some dancers have a small
movement ritual (breathing and movement) to prepare themselves for practice
session.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #323133;"><br />
7. <b>TAKE NOTES:</b> Take notes of what you are studying and add
any key points. This will help you with understanding any new concepts. If you
have online PDFs, printed notes tend to be more versatile as you can highlight
areas and read them anywhere.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />
8.
<b>BALANCE SCREEN TIME WITH NO SCREEN:</b> To build muscle memory,
practice movement in various directions, and avoid 100% screen time for your
practice session. Try to view your class instructions and follow these on
screen. Then pause whilst practicing and memorizing new movements, to allow a
more natural flow and spatial integration to support your movement practice.
Sometimes you can turn around and face the back of the room if you still need
to hear the instruction or music. The same goes for mirrors!<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">9. <b>RETURN
TO THE BASICS:</b> When moves become complex, remember to return to the
basics: weight, space and time. If you can find these basic somatic qualities
in the movement, at least you have the core foundations to work with.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />
10. <b>TEAM
UP WITH FRIENDS:</b> If you need to engage in live practice, try doing the course
with a friend. Usually that means that you both sign up to the course
individually, and then meet up at regular intervals to practice what you have
learnt. It's a great time to catch up and offer, and receive constructive
feedback.<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">11. <b>SELF-ASSESSMENT
& SUPPORT:</b> <span style="color: #323133;">Create a self-assessment system
or get support. Because you don't usually have a teacher correcting your
posture and technique, unless there is a filmed assessment component or live
one-on-one interactive classes, you need to self assess. You can do this by
filming yourself, or presenting your work at a schedules live or online event.
Not all courses require feedback, but it can be very helpful to your
development.<br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--></span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">12. <b>POST COURSE FOLLOW
UP:</b> <span style="color: #323133;">When you complete your course, inform the
teacher and see if there is a way to connect or share your findings, and offer
feedback about the course and what you have learnt.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Once you’ve completed a
course, its great to have some kind of finishing ritual or celebration. Some
people blog or announce this on social media, and other might prefer a more
private approach. Either way, its important to celebrate your success.<span style="mso-spacerun: yes;"> </span>So, if you are enjoying some digital
learning, I wish you happy dance studies! Feel free to add any comments about
your own experiences. <br />
<br />
Keti Sharif<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment--><br />Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com0tag:blogger.com,1999:blog-1799266520529908800.post-3778322176358567492019-01-26T04:05:00.003-08:002019-01-26T13:15:59.142-08:00Why Returning to the Basics is Essential to Your Dance Practice <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_bU9NGVLHfgFcrWDOonPV5MEI4aKUCHBq9_x3Dsu2v67hSC5vQmz9ummCBK3Fe0qNZdVLKX8FMrwyfc71OV__pymRj1urYJ2aAVHGu8sshnhkG-vbigGaWdOwz4YO1j-JgPZ2VyDNbo/s1600/ketipink.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="756" data-original-width="1034" height="465" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_bU9NGVLHfgFcrWDOonPV5MEI4aKUCHBq9_x3Dsu2v67hSC5vQmz9ummCBK3Fe0qNZdVLKX8FMrwyfc71OV__pymRj1urYJ2aAVHGu8sshnhkG-vbigGaWdOwz4YO1j-JgPZ2VyDNbo/s640/ketipink.jpg" width="640" /></a></div>
<span style="caret-color: rgb(0, 0, 0);"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;"><br /></span></span>
<br />
<div style="caret-color: rgb(0, 0, 0); font-family: HelveticaNeue; text-size-adjust: auto;">
<span style="font-family: "arial";"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="caret-color: rgb(0, 0, 0); font-family: "arial"; text-size-adjust: auto;"><b>Bellydance is getting more complex.</b> 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 </span><span style="caret-color: rgb(0, 0, 0); font-family: "arial"; text-size-adjust: auto;">been <span style="caret-color: rgb(0, 0, 0);"><span style="font-family: "arial" , "helvetica" , sans-serif;">expressing</span></span> 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. </span></span></span><br />
<br />
<span style="font-family: "arial";"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>We know that bellydance is not an exacting art, and that traditionally, enjoyment, sensuality and self-expression were at its core.</b> So how do you, as a dancer, maintain your artistic integrity and enjoyment whist relating to the outer landscape of dance? You can begin by assessing your growth within your own capabilities and true interests. I</span></span><span style="font-family: arial, helvetica, sans-serif;">ncreased cyber visibility and instant access to performances by popular dancers, whether self-documented, or filmed at festivals and competitions, has created a new set-point which dancers are measuring themselves against. If you build your dance from a solid infrastructure where the basics are practiced regularly, you will become more internally-focused.</span><br />
<span style="font-family: "arial";"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><b>Life has sped up. With our fast-paced environment comes an urgency to learn quickly and achieve perfection by focusing on an ultimate goal.</b> In current bellydance trends, the complex choreography appearing on stages and competitions, is what many dancers aspire to. In their enthusiasm to level up to their bellydance idols, they often rush through the most important stage: embodying the basic essentials. So, when you slow down, your growth may be more gradual but it will also be more sustainable. Returning to the basics ensures you take the time to acknowledge the roots of your art, to maintain strength and adaptability.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Embodiment is integral to owning your dance. </b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>The key to dance satisfaction is to return to the self.</b> </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Embodiment is a Somatic state that lies within your cells, neural pathways and body-mind connectivity. As you boost your sense of self, through personalising your art in a shifting world, you also build resilience. A resilient dancer is also more self reliant, even when working with community. Resilience is a blend of adaptability and steadfastness; the result of strong foundations.<br /><br /><b>Whether you are a student, teacher or performer, returning to the basics is essential to your practice as a dancer.</b> Like the professional ballerina who returns to the barre to practice </span><span style="font-family: "arial" , "helvetica" , sans-serif;">the basic ballet positions</span><span style="font-family: "arial" , "helvetica" , sans-serif;">, you can enjoy your basic bellydance moves, transitions and pathways, by creating a simple drill. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">If your basic practice includes fluid, percussive and kinetic moves, you will strengthen multiple pathways. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Then, in the fluid spirit of bellydance, allow some time to improvise. You will find that your basics will naturally integrate themselves within free style movement, as the muscle memory is fresh. </span></span></div>
<div style="caret-color: rgb(0, 0, 0); font-family: HelveticaNeue; text-size-adjust: auto;">
<span style="font-family: "arial";"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>By spending quality time on your foundational movements, your body-mind connectivity is strengthened and supported in many ways. </b>When dancers engage with complex new movement and choreography, they tend to focus on the new details and often feel they must learn complex movement pathways from scratch. However, the basics that lie within are often overlooked. Without the proper grounding required to initiate the new processes, these more advanced activities can feel challenging or frustrating, leaving the dancer feeling less than competent. By regularly integrating simple grass-roots movements and finding the basic structural pathways and body connectivity before adding detail, this process becomes simpler. Focus on the basics, including how you are feeling your weight, space and timing.<br /> </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>A simple Somatic warm up can boost your dance practice - your own movement ritual. </b></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;">The somatic </span><span style="font-family: "arial" , "helvetica" , sans-serif;">approach </span><span style="font-family: "arial" , "helvetica" , sans-serif;">creates a heightened awareness of even the simplest movement - by moving slowly, deliberately and consciously, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">as though it is the first time you have experienced it. The act of slowing down to feel and embody movement is essential for the creation of deeper neural pathways and understanding the flow of dance movement - from weight sensing and internal sequencing, to relating to the spatial field and feeling the dynamics of the movement’s qualities. Performing movements slowly, with your full attention and awareness, is necessary not only in the developmental stages, but at all stages - particularly when initiating a new level of complexity. By integrating basic movements regularly, and finding them within complex sequences, you will enjoy a more natural and embodied mode of dancing.</span><br />
<span style="font-family: "arial";"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><b>Whether you wish to explore within specific styles or genres, or </b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>if you prefer personalised free-form bellydance, returning the basics will support your dancing at any level.</b></span></span></div>
<br />
<div style="caret-color: rgb(0, 0, 0); font-family: HelveticaNeue; text-size-adjust: auto;">
<div>
<div style="text-align: center;">
<span style="font-family: "arial";">***</span></div>
</div>
</div>
<div style="caret-color: rgb(0, 0, 0); text-size-adjust: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span>Resources: </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><br />* Somatics for Bellydancers Course</b> (with 14 day practice) </span><span style="font-family: "arial" , "helvetica" , sans-serif;"> <a href="https://a-zbellydance.teachable.com/p/somatics-for-bellydance">View here</a><br /><b><br />* Balanced Bellydance Complete Program</b> with mentoring by Shemiran Ibrahim and Keti Sharif <a href="http://www.balancedbellydance.com/">www.balancedbellydance.com</a><br /><br />Stay tuned for my upcoming DVD series: <br /><b>Core Essentials: 120 Bellydance Moves</b> by Keti Sharif, out March 2019. <a href="http://www.ketisharif.com/">www.ketisharif.com</a></span></div>
Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com4tag:blogger.com,1999:blog-1799266520529908800.post-55918202356801268472018-12-27T16:20:00.002-08:002019-01-26T09:47:42.723-08:00Space and Sound: The effects of live and pre-recorded music on dance<style type="text/css">
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px 'Helvetica Neue'; color: #1b1e21; -webkit-text-stroke: #1b1e21}
span.s1 {font-kerning: none}
</style>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAu_SQJ8387wBlmfle9MHCPFdbV9YbvWuBi6aGgPlqM2sCZfWh8bZmdZ-ru_2S0XPc2ZnqvidKc1uhYe-uNUrGFuirIldkvQggbHpSY36J-_T6RkAFhkx3e212kJumyZldUex3VnMEtnQ/s1600/spaceandsound.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="750" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAu_SQJ8387wBlmfle9MHCPFdbV9YbvWuBi6aGgPlqM2sCZfWh8bZmdZ-ru_2S0XPc2ZnqvidKc1uhYe-uNUrGFuirIldkvQggbHpSY36J-_T6RkAFhkx3e212kJumyZldUex3VnMEtnQ/s640/spaceandsound.jpg" width="640" /></a></div>
<div class="p1">
<span class="s1"><br /><br /><span style="font-family: Arial, Helvetica, sans-serif;">Many dancers, musicians and performing artists have tried their hand at digitally editing performance footage at some time, perhaps from live gigs or </span></span><span style="font-family: Arial, Helvetica, sans-serif;">for promotional clips<span style="-webkit-text-stroke-width: initial;">. 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. <br /><br />In recent years, whilst editing dance performance clips, some interesting patterns and differences between </span><span style="-webkit-text-stroke-width: initial;">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.</span></span></div>
<div class="p1">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="s1"><br />In 1998, when I filmed and edited "Bellydance Live" in Cairo, with an Egyptian band, where we demonstrated music-movement relationships, some of these differences became apparent. I was explaining connections between instruments and their naturally corresponding dance movements, and also filmed several Egyptian dancers at their shows, performing with live music. Simultaneously, I was editing footage for another project featuring s</span>everal professional dancers, and their <span class="s1">various stage choreographies performed to cd tracks. During the edit process, </span>the music-movement patterns made sense, depicted clearly through waveforms. Even though it was represented within a somewhat abstract format, <span style="-webkit-text-stroke-width: initial;">the audio and visuals were shown as two separate digital forms, visuals stacked over audio for easy comparison and clean editing. However, the edit process also revealed a unique quality of movement generated from the live musical experience, compared to dancing to pre-recorded tracks.</span></span></div>
<div class="p1">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="s1"><br />For the </span>"Bellydance Live" <span style="-webkit-text-stroke-width: initial;">video, I filmed some of Cairo's well known bellydancers, like Lucy at the Pyramisa, dancing with her orchestra, along with other baladi style dancers like Doaa, Neni and Hendeya. Not only were these dancers very in tune with their live music, but there was a pattern emerging in the edit files. Every time the audio waveforms reflected a distinct pattern, the feet, weight and accents synched with a transition that followed it - either just on the tail-end of the beat or lagging for a few milliseconds or more. Visually, a millisecond is usually three frames. The earth beat was almost always expressed by a connection to gravity in various points in the body. The musical bass beats and body's gravity points synched up, characterised by a very small delay. Yet, with the dancing performed to cd tracks, there was no delay, and in some cases, the movement came before the beat, as if it was leading the beat - which was very interesting.</span></span></div>
<div class="p1">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="s1"><br />In both cases, the rhythm waveforms reflected a consistent matrix, and the dancers found ways to respond within the invisible structure with their own feel. The dancer's gravity points remained fairly similar in look and feel, but when dancing to live music, the movements were either just on the beat or a fraction behind - indicating responsive movement. To the observer they appeared more relaxed, and more about the dancer's interaction with the music.<br /><br />Compared to footage of dancers performing to cd music, especially pre-choreographed works, there was a distinct difference in the timing and syncopation of sound with movement from live recordings; dancing to live music allowed a more relaxed syncopation with sound, and the music led the movement</span>, whereas pre-recorded, and particularly heavily mastered tracks, saw very little gap, and in some cases the movement was initiated before the sound. In the live music recording edits, there was distinct space <span style="-webkit-text-stroke-width: initial;">between the audio and the visuals, whereas choreographed pieces tended to not only lack space, but the movement often appeared before the audio. I am guessing this is because of the 'known' factor, the preparation is more pre-meditated and</span><span style="-webkit-text-stroke-width: initial;"> anticipated.<br /><br />In both live and recorded track performances, the higher frequency instruments affected the energies and movement higher in the body, the bass frequencies lower in the body, and when several instruments co-join within the same note range, the dancer usually turns. I conducted a worldwide survey a few years back which showed very similar results, suggesting a range of naturally occurring movement responses. </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="-webkit-text-stroke-width: initial;"><br /></span>
In LMA (Laban Movement Analysis) terms, in my edits over the years, I have noticed that <span style="-webkit-text-stroke-width: initial;">bellydance movements to live music, when responding to bass beats and gravity points, usually manifest with 'pressing', 'wringing', 'slashing' or 'punching' qualities - the four 'strong' or weight-sensing movements from Laban's Eight Efforts. Responses to melodic sounds and spaces between beats usually elicit off-gravity movement, such as 'floating', 'dabbing', 'gliding' or 'flicking' movements - which are the four light movement qualities from Laban's Eight Efforts. With live music, </span>movements with <span style="-webkit-text-stroke-width: initial;">both light and strong qualities seem to occur with a sense of more space and often less movement occupies the sound. In the live music scenario, the dancer's body will often unconsciously turn toward the instrument, particularly in taqsim - almost as if the whole body is actively listening and judging where in space the sound is emanating. In contrast, pre-choreographed dances have a tighter sense of space and more control of destination, which are often intrinsic, if not essential to stagecraft and group performances.</span></span></div>
<div class="p1">
<span style="-webkit-text-stroke-width: initial; font-family: Arial, Helvetica, sans-serif;"><br />In recent years, I'm noticing the patterns within the spatial structure of various maqamat (Arabic musical scales) and how they relate to dance movement creation. Each maqamat creates a feel through it's unique matrix, and the dancer's body fills this form and acknowledges its space; the higher frequencies elicit movements from the levity centre, the lower frequencies and bass beats create the weight shifts from the centre of gravity. Music always informs the dance. However, only in the live scenario, does the dancer also inform the music.<br /><br />If you have danced to both live and recorded music, are there any differences you feel within your own dancing?</span><br />
<span style="-webkit-text-stroke-width: initial; font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="p1">
<span style="font-family: Arial, Helvetica, sans-serif;"><i><span style="-webkit-text-stroke-width: initial;">Musical exploration is a part of the new A-Z Bellydance;</span><span class="Apple-converted-space" style="-webkit-text-stroke-width: initial;"> </span></i><span style="-webkit-text-stroke-width: initial;"><i>finding creative ways of making personal and meaningful movement through the layers within the music. The new courses include live Egyptian music and rhythms. www.ketisharif.com</i></span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<i><span style="font-family: Arial, Helvetica, sans-serif;">The Art of Mixing: A visual Guide to Recording, Engineering, and Production by David Gibson is a great book to read if you are interested in how sound appears as form in the digital space.</span></i></div>
<br />Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com10tag:blogger.com,1999:blog-1799266520529908800.post-29134826500251502262018-05-25T22:25:00.001-07:002019-01-26T12:39:46.036-08:00What is Somatics and how can it Benefit Bellydancers?<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<i style="font-family: 'helvetica neue', arial, helvetica, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVhbDpppfpmMRKEeEqh7LhCfwUWH2-vZdUxKWXfFO-gDoFMe3lkjRvEgOO1JgQmOZJQQw4s4YTyfDKZ7M0ZJONPP7vr6le03CPhaDPhYKrL3r6_q1yGiLXFL8OEYQdhnVq7Z48p6cLKqg/s1600/somaticsclass.jpg" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVhbDpppfpmMRKEeEqh7LhCfwUWH2-vZdUxKWXfFO-gDoFMe3lkjRvEgOO1JgQmOZJQQw4s4YTyfDKZ7M0ZJONPP7vr6le03CPhaDPhYKrL3r6_q1yGiLXFL8OEYQdhnVq7Z48p6cLKqg/s640/somaticsclass.jpg" width="640" /></a></i><br />
<h2>
<span style="font-size: large;"><i style="font-family: 'helvetica neue', arial, helvetica, sans-serif;"><span style="color: #6aa84f; font-family: "georgia" , "times new roman" , serif;">'</span></i><span style="color: #6aa84f; font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><i style="font-family: 'helvetica neue', arial, helvetica, sans-serif;">Soma' is derived from the Greek word </i><i style="font-family: 'helvetica neue', arial, helvetica, sans-serif;">σ</i><i style="font-family: 'helvetica neue', arial, helvetica, sans-serif;">ῶ</i><i style="font-family: 'helvetica neue', arial, helvetica, sans-serif;">μα</i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">, </span></span><i style="font-family: 'helvetica neue', arial, helvetica, sans-serif;"><span style="font-family: "georgia" , "times new roman" , serif;">meaning 'the Living Body’</span></i></span></span></h2>
</div>
<div class="MsoNormal" style="margin-bottom: 14.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<div class="MsoNormal" style="caret-color: rgb(0, 0, 0); margin-bottom: 14pt; text-size-adjust: auto;">
<div style="caret-color: rgb(0, 0, 0); font-family: HelveticaNeue; text-size-adjust: auto;">
<div style="font-family: helveticaneue;">
<div style="caret-color: rgb(0, 0, 0); font-family: HelveticaNeue; text-size-adjust: auto;">
<h4>
<span style="font-family: "arial";"><span style="background-color: white; color: #262626; font-family: "arial"; font-weight: normal;"><br /></span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br /></span></span><span style="font-family: "arial";"><span style="color: #262626; font-family: "arial";"><span style="font-weight: normal;">Somatics is a field of body-mind inquiry that allows the body's innate intelligence to guide movement for a deeper, more conscious awareness and experience of the moving body. At its core, Somatics is mindful movement. Sensory terms that are used in Somatics, to identify various areas of heightened awareness are:</span><br /><br />Interoception</span><span style="color: #262626; font-family: "arial";"> </span><span style="color: #262626; font-family: "arial"; font-weight: normal;">- awareness of sensations within the body;</span></span><span style="font-family: "arial";"><span style="color: #262626; font-family: "arial";"><br />Exteroception</span><span style="color: #262626; font-family: "arial"; font-weight: normal;"> </span><span style="color: #262626; font-family: "arial"; font-weight: normal;">- sensitivity to stimuli outside of the body;</span></span><span style="font-family: "arial";"><span style="color: #262626; font-family: "arial";"><br />Proprioception</span><span style="color: #262626; font-family: "arial"; font-weight: normal;"> </span><span style="color: #262626; font-family: "arial"; font-weight: normal;">- awareness of the body’s position</span><span style="color: #262626; font-family: "arial"; font-weight: normal;"> </span><span style="color: #424242; font-family: "arial"; font-weight: normal;">and movement in space;</span></span><span style="font-family: "arial";"><span style="color: #262626; font-family: "arial";"><br />Graviception</span><span style="color: #262626; font-family: "arial"; font-weight: normal;"> </span><span style="color: #424242; font-family: "arial"; font-weight: normal;">- how the body connects with, or senses, gravity.</span></span></h4>
<h4>
</h4>
<h4>
<span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial";"><span style="color: #262626;">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.</span><span style="color: #222222;"><br /></span></span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial";"><br /></span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial";">Somatics provides bellydancers with a toolkit of user-friendly resources that can enhance their dancing, in terms of skill, movement technique, musicality and emotional connection. It is an opportunity to explore the dynamics or form and flow more deeply and personally. </span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial";">At its heart, Somatics for Bellydance blends science and art, and is about mindful movement applied to the art of Bellydancing.</span><span style="color: #262626; font-family: "arial";"> </span><span style="color: #262626; font-family: "arial";">Through Somatic exercises, dancers will develop a new vocabulary and be able to articulate their movement more clearly. They will enjoy enhanced mindfulness; the ability to take notice, be present, and pay more attention to the nuances within their body and the essence of its motion and mobility.<br /><br />All exercises should allow flexibility to suit the dancer’s own personal preferences, and eventually inspire a personal practice.</span><span style="color: #222222; font-family: "arial";"> </span><span style="color: #262626; font-family: "arial";">These exercises or ‘flows’ reflect the key movements, shapes and postures that are the foundation of bellydance styles and genres worldwide. They can be considered the ‘roots’ of the movement. They allow the dancer to experience effective ways of tuning into their body’s innate “knowing” and to become familiar with the body’s unique energy flows. It also makes for a more visceral experience, or dancing from “within” which allows the dancer to connect more deeply with the music, and become aware of the energetic resonance between music and movement, which will enrich their sense of musicality.<br /><br />As dance becomes more responsive to its musical impetus, and movement is internalized before being expressed - lyrical movement flows with more ease, naturalness, confidence and interconnectedness.</span></span><br /><span style="font-family: "arial"; font-size: x-small; font-weight: normal;"><span style="color: #262626; font-family: "arial"; font-size: xx-small;"><br /></span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial";">Somatics supports safe dance practice and lessens the need to ‘drive’ or push’ the movement. Rather than use force, Somatic awareness allows the elements of gravity, levity, self and space to generate movement. Knowledge of breath work, the fundamentals of Laban Movement Analysis (LMA), Bartenieff Fundamentals (BF) and basic principles of physics for motion, provide an effective means of understanding the dynamics of movement, and their psychophysical relationships to the self. This is just one aspect of Somatics, and there are many more branches; for example, the internal experiencing of movement as researched by Bonnie Bainbridge Cohen’s Body Mind Centering (BMC) can help the dancer discover the interconnectedness of body systems (such as circulatory, organ systems, skeletal, muscular, etc) which in turn can help to establish neural-pathways that feel easier on the body, as new movements are assimilated with the least resistance.<br /><br />The dancer can also use Somatics to learn more about the energy behind the movement and ways of allowing a state of flow, to clarify their technique. In my own practice I also bring in 20 years of music-movement connectivity, and several body-mind disciplines including Yoga, Meridian flows, breath-work and dance movement sequencing.</span></span><br /><br /><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial";">A regular Somatic practice can be as short as 10 minutes a day. After even the first few sessions you will be sure to feel the benefits! Some benefits of incorporating a regular Somatic practice are:</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br /><br />* Improved breathing when dancing</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* More fulfilling and present experience when dancing</span><span style="color: #262626; font-family: "arial";"> </span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Deeper visceral experience, feeling the dance more fully</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Ease of movement and flow – distinguishing gravity from force</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Enhanced weight sensing ability</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;">* Improved confidence and skills for improvisation</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Better sense of musicality and rhythmic aptitude</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Refinement of technique and choreographic choices</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* More effective ways of describing and understanding your dance</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Ability to bring more authentic expression to movement</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Better proprioception - less reliance on mirrors</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Being able to dance in an alert yet relaxed state</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Ability to identify energy ‘knots’ and how to remedy them</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Better sense of awareness of the interconnected systems of the moving body</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Psychophysical understanding of movement and practice</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Linking movements to support emotional issues</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;">* Less injury, better self care and movement preparation</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Better sleep and more relaxed responses in everyday life</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial"; mso-bidi-font-size: 7.5pt;"><br />* Means of self support in everyday life</span></span><span style="font-family: "arial"; font-weight: normal;"><span style="color: #262626; font-family: "arial";"><br /><br />As Somatics is about mindful movement, there are also other practices that are relevant, such as Dr Peter Levine’s Somatic Experiencing exercises, to support mental health, trauma release and clarify the profound connection between body and mind. Many dancers report that these exercises have supported them on the emotional level, and provide a means of self-support when needed in many real-life situations, particularly when coping with the more stressful elements of life. Stress can affect our dancing, and this may be seen as social, mental or physical stress that occurs within the class environment, or if you are running a bellydance business or related service in the community.</span></span><span style="color: #262626; font-family: "arial"; font-weight: normal;"><br /><br />Keti Sharif</span><span style="color: #262626; font-family: "arial"; font-weight: normal;"><br /></span><span style="color: #262626; font-family: "arial"; font-weight: normal;">For more discovery – the Somatics for Bellydance online course is available and includes a 14 day practice. <a href="https://a-zbellydance.teachable.com/">https://a-zbellydance.teachable.com/</a></span></h4>
<div>
<br /></div>
</div>
</div>
</div>
</div>
<div style="caret-color: rgb(0, 0, 0); font-family: HelveticaNeue; text-size-adjust: auto;">
<div style="font-family: helveticaneue;">
<div style="caret-color: rgb(0, 0, 0); font-family: HelveticaNeue; text-size-adjust: auto;">
</div>
</div>
<div style="caret-color: rgb(0, 0, 0); font-family: HelveticaNeue; font-size: 12px; text-size-adjust: auto;">
</div>
</div>
</div>
Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com0tag:blogger.com,1999:blog-1799266520529908800.post-8305288798533782272018-05-12T22:51:00.000-07:002019-01-26T21:30:54.130-08:00Teaching Dance with Support for Participants with Autism, ADHD or Depression<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
</div>
<div style="text-align: center;">
<i style="color: #a64d79; font-family: Georgia, 'Times New Roman', serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheXgsew4RGfslK1Ph9o3f_6YlKIwKuFuL6kxhywJ5HzFLpcHgXfpK5VHZHT4CYjq7-pS2ynNBpnaOKlBjVgbP-6bXDqCTSLc1XmP-YPIMTdzWGVeVgNCHneLRywhwGZv4AjVWFWxHMmAE/s1600/classcol.jpg" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheXgsew4RGfslK1Ph9o3f_6YlKIwKuFuL6kxhywJ5HzFLpcHgXfpK5VHZHT4CYjq7-pS2ynNBpnaOKlBjVgbP-6bXDqCTSLc1XmP-YPIMTdzWGVeVgNCHneLRywhwGZv4AjVWFWxHMmAE/s640/classcol.jpg" width="640" /></a><br /><br /><br />“Adult
praise, focused attention that communicates approval and positive regard … is
an abundantly available natural resource that is (all too often) greatly
underutilised.” </i></div>
<span style="color: #a64d79; font-family: "georgia" , "times new roman" , serif;">
<i></i></span>
<br />
<div style="text-align: center;">
<span style="color: #a64d79; font-family: "georgia" , "times new roman" , serif;"><i><i>Walker, Ramsey, & Gresham</i></i></span></div>
<span style="color: #a64d79; font-family: "georgia" , "times new roman" , serif;"><i>
</i></span>
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Dance
has the potential to support every learner in a variety of ways, including
people dealing with several common mental challenges that affect many nowadays, including Autism,
ADHD or depression. </b>Unless asked, participants may be reluctant to share this
information with the instructor, so it is often left unspoken. In any dance class, the teacher may have participants living
with these circumstances, so it is important to be aware of, and understand more
about these conditions. <br />
<br />
<b>Teachers can benefit from
having some awareness of Autism and by teaching with
compassion.</b> Knowing that a participant has Autism is helpful for the teacher, so together, student and teacher can build their relationship with this insight. For teachers, it is respectful to
maintain the confidentiality of the student's specific condition,
whether given verbally as part of an introductory chat or via a confidential
section on the enrolment form. <br />
<br />
<b>Dance is temporal, happening in real
time.</b> Emotions and mental elements play a key role in the learning process,
and with a clearer understanding of Autism, ADHD or depression, less misunderstanding will arise between the teacher and student. As body and mind are connected in dance, the participant’s
sense of “integrated self” can indeed serve to support them as they move through life.
Remember, they are already dealing with their own process, and these conditions, especially in the case of depression, are these states can be particularly difficult for one to live with. Yet dance can become a positive, supportive and strengthening force in their
lives.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;"><b>Autism
is one of the most rapidly expanding
categories of ‘disability’. It profoundly affects four areas of development:
language, socialisation, sensory, and motor skills.</b> The term Autism Spectrum Disorders (ASD) is used to
indicate that there are different types and degrees of symptoms associated with
this disorder. Participants with ASD often have problems with attention and eye
contact and have significant problems interacting with others. Signs of Autism may show up
in movement patterns, such as rocking or fidgeting, or with repeating verbalisations or
activities. </span><br />
<span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="text-align: center;">
<span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9dBe93t2qtvE2Um_j4koTfHG5O9J5nhapKgP3Z8FAwY1xqkvywl8Kl9jotEEpFCnq60evJkO5tw3ll58gZUp2f7RzYqJ20hxdSffjSTr-WJdBovaJ-Zq8jJwA6WbBXaAULSNVGDrpKYg/s1600/Autism_Spectrum_Disorder.png" imageanchor="1"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9dBe93t2qtvE2Um_j4koTfHG5O9J5nhapKgP3Z8FAwY1xqkvywl8Kl9jotEEpFCnq60evJkO5tw3ll58gZUp2f7RzYqJ20hxdSffjSTr-WJdBovaJ-Zq8jJwA6WbBXaAULSNVGDrpKYg/s1600/Autism_Spectrum_Disorder.png" /></a></span></div>
<span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;">
<br /><b><br />Dance students with Autism often have a strong preference for routines but may have
problems with transitions and directional movement. Subsequent behavior difficulties such as distress can result
from confusion or anxiety. </b>You can minimise these by providing well-structured
dance activities with clear instruction and giving advance notice of
transitions. It is also helpful to pre-frame the class content, and provide a program or schedule so participants know when
activities are being scheduled. People with ASD are often visual-spatial learners, and
it is important to support verbal instructions with imagery and modelling. Clear notes with images are also useful. Despite proficiency with language, participants with ASD may have difficulty in
using and interpreting nonverbal behaviours, such as facial expressions and body
language, as well as conventions such as taking turns to do movements in class,
individually. As a teacher, you can support students to develop their understanding
of nonverbal communication, and spatial movement by being clear in your own
intentions, and verbalise rather than assume people are ‘reading’ your body
language signals.<o:p></o:p></span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;"><b>ADHD
or Attention-Deficit/Hyperactivity Disorder is
a common disabling condition that adversely affects learning. It is
characterised by inattention, hyperactivity or impulsivity. </b>Participants may
have difficulty with following directions and may be easily distracted. Participants
with ADHD may have difficulty waiting and often blurt out answers or interrupt,
causing interpersonal problems within the class with those who are less
tolerant. Dance activities that emphasise body control, musicality and focusing
on changes between fast and slow, help support balance and foster a sense of self-control.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;"><b>Depression
is distinguished from ordinary sadness
by the intensity and duration of symptoms. </b>Psycho-physical complaints such as
frequent headaches and stomachaches, irritability, and restlessness are common
in adults who are depressed, or they may be lethargic, or have distressing
ideas that they dwell on. People who are depressed may sleep or eat too little
or too much, and are often withdrawn. Dance is a good way for people with
depression to ‘get out of their mind and back into their body’ so as a teacher,
encourage the student to move, but avoid pushing them to perform or do solos
where they may feel vulnerable. Allowing people to go at their own pace and
also letting people know that are free to leave at anytime, and will not be
judged, is a useful way of keeping the environment safe. I have found that a focus on musicality before technique is beneficial for students prone to depression, as is the study of Somatics - dancing that is felt from within.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;"><b><br /><span style="color: #990000;">Several core
principles may assist the teacher with their relationship with their students
dealing with Autism, ADHD or depression:</span></b><br />
<br /><b style="color: #444444;">
#1: Meet every student at their current
level of learning</b><span style="color: #444444;">, and move them toward achievement with realistic progress. Students
with disabilities deserve the same high expectations for their own appropriate
levels of achievement.</span><br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--><span style="color: #444444;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;"><b>#2: Create a caring relationship
in a structured setting,</b> with the
understanding that in our art form, there is a therapeutic aspect to our work. We
have the opportunity to reinforce positive behaviours, social interactions, and
help our students improve their self-image.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;"><br />
<b>#3: Be aware of appropriate boundaries</b>: over-involvement and ambiguous relationships are not helpful
to students’ growth. It is important to maintain professionalism, especially
when responding to challenging behaviour. Do not take students’ behaviour
personally. Appropriate boundaries enable dance educators to be firm, fair, and
respectful. Managing our students’ behaviour starts with managing ourselves.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;"><b>#4:
Teach with clarity </b>- articulate body parts,
shapes and actions. Utilise tools such as imagery and motif symbols to
represent and remember dance experiences. Descriptive language helps distinguish
between contrasting movements, both as performer and observer. By making connections
between dance concepts and the world outside the classroom, participants become
more deeply aware of personal space and its relation to safety and well-being.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
</div>
<div style="text-align: center;">
<i style="color: #a64d79;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br />"Most importantly... Mean
what you say, say what you mean, but don't be mean!"</span></i></div>
<!--[if !supportLineBreakNewLine]--><span style="font-family: "arial" , "helvetica" , sans-serif;"><br style="mso-special-character: line-break;" /></span>
<!--[endif]--><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><o:p></o:p></span><br /></span>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:WordDocument>
<w:Zoom>0</w:Zoom>
<w:TrackMoves>false</w:TrackMoves>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing>
<w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing>
<w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery>
<w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:DontGrowAutofit/>
<w:DontAutofitConstrainedTables/>
<w:DontVertAlignInTxbx/>
</w:Compatibility>
</w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" LatentStyleCount="276">
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:10.0pt;
mso-para-margin-left:0in;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:"Times New Roman";
mso-ascii-font-family:Cambria;
mso-ascii-theme-font:minor-latin;
mso-fareast-font-family:"Times New Roman";
mso-fareast-theme-font:minor-fareast;
mso-hansi-font-family:Cambria;
mso-hansi-theme-font:minor-latin;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br />To
conclude, here is a Dance Activity Benchmark chart I have found very useful, by Sandra Stratton-Gonzalez.</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNdbaMjZchd3F_zYFAJD3T8ugpB40eBlcAhL1rgweNgRnXDo-LAhCVCoACd5TnblWpKFk5K6NA8s1s_HhyphenhyphenY5YgGh2CYj_Xv4A2tt0SCvcFHjYGM4ujslc9gy_-Q0otU4mn2lWKz7kEols/s1600/dancechart.jpg" imageanchor="1" style="font-family: "helvetica neue", arial, helvetica, sans-serif;"><img border="0" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNdbaMjZchd3F_zYFAJD3T8ugpB40eBlcAhL1rgweNgRnXDo-LAhCVCoACd5TnblWpKFk5K6NA8s1s_HhyphenhyphenY5YgGh2CYj_Xv4A2tt0SCvcFHjYGM4ujslc9gy_-Q0otU4mn2lWKz7kEols/s640/dancechart.jpg" width="640" /></a><br /><br /><br /><span style="font-family: "arial" , "helvetica" , sans-serif;">By Keti Sharif (May 2018)<br /><br />Thanks to Dr Delmonte, </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "century gothic";"><o:p></o:p></span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Sandra Stratton-Gonzalez, Blueprint for Dance NTC Education, Paul L King, Joan Finkelstein.</span></span></div>
Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com0tag:blogger.com,1999:blog-1799266520529908800.post-64080410211586585152018-02-20T05:07:00.003-08:002019-01-26T11:03:29.955-08:00Creating Dance Products and Resources<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi76ihof_6Bg0PZgFrEQbrs4s6OUmgjQxLTlm_VUbRsKVfH7Y3QqAaVp45-u8ASq6tfzooBxaIaXFMeLPSqxywJj-jfxUQl0uAUEIAAbyJ8YAn8aP4ImhCia6YT3Huu3yoKbOm4G7rORKg/s1600/D18_32_096_0004_600.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="316" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi76ihof_6Bg0PZgFrEQbrs4s6OUmgjQxLTlm_VUbRsKVfH7Y3QqAaVp45-u8ASq6tfzooBxaIaXFMeLPSqxywJj-jfxUQl0uAUEIAAbyJ8YAn8aP4ImhCia6YT3Huu3yoKbOm4G7rORKg/s1600/D18_32_096_0004_600.jpg" /></a></div>
<div class="MsoNormal">
<span style="font-family: "century gothic";"><br /><br /><span style="font-family: "arial" , "helvetica" , sans-serif;">Hi everyone, <br /><br /><b>I’d like to talk about ‘creating a product or resource’ as an integral part of
your dance teaching or event production.</b> Many dancers who teach, or have an
interest in a specific topic, are quite capable of creating a resource that can
be of benefit to others. Even starting with a small audience, your product can
become a useful addition to your dance enterprise, whether you run a weekly
class or if dance related work is something you do full time, as a career. The
creation of products and resources can also generate extra income, whilst enhancing
your own collection of resources.<br />
<br /><b>
It may be useful to re-frame how you see a product fitting into your artistic
creations, and view it as:</b><br />
<br />
1. An extension of your research and knowledge;<br />2. A way to clarify and propagate your vision;<br />3. A means of facilitating the educational process;<br />4. An educational resource or tool that provides opportunity for a more
intensive learning experience. <br />
<br /><b>
A ‘product’ or ‘resource’ needn’t be commercial in nature, and in reality it
doesn't need to sell massive quantities to be effective and successful.</b> Many
teachers use products and resources to supplement their live, real-time
connectivity with people, to bring a new dimension to their student’s educational
experience, and to supplement the developmental progress of students,
participants and audience progress, through various forms of media. By refining an idea, the product or resource is created - for the student's benefit. <br /><br />The dictionary meaning of <b>product</b> is: "An article or substance that is manufactured or refined for sale".<br /><br />The meaning of <b>resource</b> is: "A source of help or information".<br /><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>
Products and resources can be inspired by the artist’s original ideas, or consist
of innovative amalgams of various teaching methodologies, and usually reflect
years of intensive research.</b> These tools for productivity can be extremely functional
for both the creative development of the artist/producer as well for their
audience. Creating a good quality, original product is a way of archiving your
work and giving you the means to share it with a wider audience. These items
are useful, take-home works that support a class, workshop, concept or event.
They provide a means of formally gathered information that references class
themes and content, giving the student or viewer an opportunity integrate the
learning more fully. Ownership of some kind of support material is often imperative
to the full learning experience.<br />
<br /><b>
A product can be a stand-alone concept, or be an offshoot of your teaching,
following though a specific line of enquiry or area of interest.</b> Stand-alone
products can offer clarity and insight into an area that requires further
study, and perhaps venture into new territory for both you and your audience. Post-event,
useful product media supplies definitive information that may have not been
fully absorbed during the event. We often see this phenomenon wit the rapid
learning that occurs during workshops or festivals, where the class is very
exciting, yet the participant fails to retain information that seemed vital at
the time. <span style="mso-spacerun: yes;"> </span>This is because the
nervous system can only process one thing at a time, and overload of
information is common in the live experience. <br />
<br /><b>
Following a live class, course, workshop or exhibit, this additional material
can be very useful.</b> Usually, the products that work best are not those that
simply recreate a learnt choreography, or re-hash the workshop content, but
give the student an inroad into their own creative exploration.<br />
<br /><b>
Copyright is an important issue to consider, as music is usually required.</b> Gaining
the artist’s permission in writing, promoting the artist in lieu of use of
their music, and providing a link to their resources is a fair way of working
with music if you don't have a budget for the outright payment and ownership of
the tracks. Alternatively you can create your own music, electronically or
live, or get it composed for a fee, and even hire musicians to play live to
work within the project guidelines. If working with concepts, be sure to
contact and credit the person who brought forth the original idea, and of
course be sure to be clear on permission and guidelines.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Drafting your
work in terms of title, aims, production phases, timeline of events and final
delivery method is essential from the onset.</b> It's a good idea to have a
notebook dedicated just to the single production topic, as here are more
factors that appear, than we initially envisage, with any project of this
nature. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">The process is
ideally clear and focused on a topic without digressing too much, as digression
can lead to a watered down version of an otherwise powerful topic. Niches tend
to work in the dance product world, whether they pertain to genre, style or
creative or cultural influence.</span></span></div>
<div class="MsoNormal">
<span style="font-family: "century gothic";"><span style="font-family: "arial" , "helvetica" , sans-serif;">
<br /><b>
If you have your materials, and have planned your phases to stay on track with incremental
mini-goals and deadlines, the project unfolds relatively easily. </b>Determining the
delivery method in the early stages will assist with your overall planning
strategy. Sometimes you will find that you need more time, so rather than rush
a project, it is better to backtrack or slow the process and do it properly. The
start up is the fun part, when enthusiasm propels you, but the follow through will
often become tedious, as after the initial excitement, media projects
inevitably take a certain amount of time, energy and focus to finalise. After
the product is finished, the delivery must be tested properly before launch.
These days digital delivery has a wider outreach, although hard copy resources like
cds, dvds and books are still popular at live events and for those who prefer a
tangible object. Notify your audience, and celebrate the launch of your
creative new offering.<br />
<br />
<br />
Keti</span><span style="font-family: "century gothic";"><o:p></o:p></span></span></div>
Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com2tag:blogger.com,1999:blog-1799266520529908800.post-31337280305230770322017-11-19T01:56:00.000-08:002019-01-26T12:05:50.902-08:00Cultural Appropriation & Enculturation in the Middle Eastern Dance Arts<div class="separator" style="clear: both; text-align: center;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7aFx-WbBmt_SUtRbdsWOFhSlMuND6L8TRGwgq9dV2CmClqZ53mYm9B4Ppfi25P_fl99zHE0mrb5MS1BRs4-nVV64MJtbX1jwS_W4-cW5GcJltoOZbbBXA82FOumPOipS-SftKXEMoy88/s640/2+Three+ladies+classical+milaya+posed+b%253Aw.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Trio of dancers with Milayah Laff - photo courtesy Mahmoud Reda</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;"><br /></span>
</td></tr>
</tbody></table>
<h4 style="caret-color: rgb(0, 0, 0); font-family: Geneva; text-size-adjust: auto;">
<div>
<div style="margin: 0px;">
<span style="font-family: "arial";"><span style="color: #444444;">There has recently been much controversy about 'cultural appropriation', both in our dance circles and in popular broadcast media.<span style="font-weight: normal;"> </span></span><span style="color: #444444; font-weight: normal;">As bellydancers, we will be affected by this issue at some point in our dance-lives; both individually and collectively. Bellydance is largely an appropriated, and often homogenized art form, utilizing bits and pieces from various cultural dances, many of which cross over in terms of historical transfer, innate movement quality, cultural motif and design. So how and where do we need to create boundaries that distinguish ethical use of another culture’s traditions, verses non-ethical treatment of cultural arts, or even worse… how do we deal with total ignorance of the matter? How can we become more discerning as artists, performers and teachers, and establish common ethical ground to better handle the way we understand cultural transference, and are more discerning with the concept of appropriation?</span></span></div>
</div>
<div>
<div style="margin: 0px;">
<span style="font-family: "arial"; font-size: x-small;"><span style="color: #444444; font-family: "arial"; font-weight: normal;"><br /></span></span></div>
<div style="margin: 0px;">
<span style="font-family: "arial";"><span style="color: #444444;"><span style="color: #444444; font-family: "arial";"><span style="color: #444444;">Cultural appropriation is a social concept dealing with the adoption of certain elements of one culture by members of another, without the consent of the people who belong to that culture</span><span style="color: #444444;">.</span> </span><span style="font-weight: normal;">The subject, by its innate nature and layering of cultural heritages, challenges us to make informed personal decisions during the developmental timeline of our own evolving dance practice. It </span></span><span style="color: #444444; font-weight: normal;">has been a topic generating both debate and perplexity within the wider international Middle Eastern, or ‘bellydance motivated’ art and dance communities. Apart from site-specific cases, m</span><span style="color: #444444; font-weight: normal;">any of the arguments are either vague or disapproving in nature</span><span style="color: #444444; font-weight: normal;">. It is a touchy subject between traditionalists and contemporary or fusion artists especially, and the concept of</span><span style="color: #444444; font-weight: normal;"> cultural appropriation </span><span style="color: #444444; font-weight: normal;">has lately been confronted, defended, argued or rationalized… but more often than not, the issue has been selectively ignored.</span></span></div>
</div>
</h4>
<h4 style="caret-color: rgb(0, 0, 0); font-family: Geneva; text-size-adjust: auto;">
<span style="font-family: "arial";"><span style="color: #444444;">The sliding scale at the point of cultural representation is vast in itself – even before considering the more indiscriminate or arbitrary use of cultural art forms.<span style="font-family: "arial"; font-size: 14px; font-weight: normal;"> </span><span style="font-weight: normal;">In the world of ‘authentic’ Middle Eastern cultural or heritage dance forms (and of course, to be geographically specific, this discussion is inclusive neighbouring dances hailing from the regions of North Africa, The Levant, Turkey, Greece, the Balkans and the Caucasus) we have seen a vast array of cultural appropriations as these dances find their way into the Western world, often instigated by people of the country of origin, then adopted by Western dancers. Due to the level of promotion these arts experience in the Western world, the increase in adaptation is exponential. Unless a researcher’s goal is anthropological study, the newer, progressive forms of the original dance will retain cultural elements whilst diversifying; which is a natural process in creative evolution. The purist aims for certainty, and is ethically bound to represent the original format, whilst the creative developer adapts the original forms to create a new collaborative: either cross-cultural or culturally inspired.</span></span></span></h4>
<h4>
<div style="font-family: helveticaneue;">
<span style="font-family: "arial";"><span style="color: #444444;">‘Enculturation’ is the process by which people learn the requirements of their surrounding culture and acquire values and behaviours appropriate or necessary in that culture.<span style="font-weight: normal;"> </span></span><span style="color: #444444; font-weight: normal;">As part of this process, influencers include parents, other adults, and peers. If successful, enculturation results in competence in the language, values, and rituals of the culture. We see this in areas of traditional arts within Egypt, for example in various styles of ‘Baladi’ urban woman’s dance, daughters learn from their mothers, aunts, grandmothers and close female friends of the family. As the girls mature, they integrate current movement influences from MTV and television dance clips. The trajectory of their dance, and the follow through of in-house dance embodiment, is changed by the external influences – which essentially reflect Western and Middle Eastern entertainment industry fuelled cultural appropriation. </span><span style="color: #444444; font-weight: normal;">We see this phenomenon occurring in the Middle East, particularly where traditional and indigenous dance forms are represented on stage. </span><span style="color: #444444; font-weight: normal;">In representational folkloric styles, t</span><span style="color: #444444; font-weight: normal;">he stage is usually a different platform and environment for true folk arts, with a new set of dynamics and inter-relationship – or division - between performer and audience. </span></span></div>
<div style="font-family: helveticaneue;">
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="font-family: "arial"; font-size: xx-small; font-weight: normal;"><span style="color: #444444; font-weight: normal;"><br /></span></span><span style="font-family: "arial";"><span style="color: #444444;">In many Middle Eastern cultural traditions, the line between performer and audience is often blurred, as the social dance becomes an activity where one can be both participant and spectator. </span><span style="color: #444444; font-weight: normal;">Most national 'ethnic' dance troupes advanced their own creativity and forged new directions through assimilating old (traditional) and new performance styles, with various degrees of cultural appropriation. The merging of cultural elements and new adaptations, usually arise from a blend of progressive in-house cultural growth, or incorporate Western stagecraft or theatre prerequisites. Often, the adjustment of local movement qualities is required to be appropriate for stage dynamics. Most national troupes (eg: In Egypt – the Reda, Khomeyya and Ismalia troupes) aim to retain the intrinsic qualities and integrity of the cultural styles they represent to the public, usually in a theatrical stage setting or within a cinema production, with modifications to complement the new visual environment. Their goal is to engage the public with elements they can relate to culturally – albeit through the lens of theatre – through appropriate cultural nuance and receptivity to the audience feedback cycle.</span></span></span></span></div>
<div>
<span style="font-family: "arial"; font-size: xx-small; font-weight: normal;"><span style="color: #444444; font-weight: normal;"><br /></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444;">How can dancers in the Western world, enamoured and inspired by the arts of the East, maintain a clear and fair sense of cultural ethics, applicable to their own artistic development?<span style="font-weight: normal;"> </span></span><span style="color: #444444; font-weight: normal;">The boundaries should be simple enough; time-honoured traditional arts should be preserved to reflect their most original state and cultural integrity, through direct communication with the cultural groups from which the artistic modalities originated. These discussions are essential to the development of representational cultural works, and ethically, before the project is entered into, there must be discussion that fosters a deeper sense of awareness. From an ethical point of view, a strategy that is mutually agreed on, should be formed at the onset. If a representative of that culture is not available, as is often the case in vanishing traditions, it is necessary to follow through with anyone who holds a legacy and has researched the art and culture.</span></span></div>
<div style="font-family: helveticaneue;">
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="color: #444444; font-family: "arial"; font-weight: 400;"><span style="font-size: xx-small;"><br /></span></span><span style="color: #444444; font-family: "arial";">When fusing various external cultural elements - it is essentially respectful and shows artistic principle to research, name and be discerning with how these cultural elements are integrated into new works.<span style="font-weight: normal;"> </span></span><span style="color: #444444; font-family: "arial"; font-weight: normal;">It is fundamentally an ethical issue as to whether dance exponents decide to educate themselves, communicating openly with those from whom they wish to 'borrow' cultural elements. If you endeavour to proceed with integrity, this is a conscious crossroad that will most likely be encountered at some stage in the Middle Eastern dancer or Bellydancer’s professional development. This approach entails an honest, upfront approach. It also means being prepared to be told 'no', or be given cultural guidelines by the originator, and respecting their decision. Farida Fahmy, for example is very firm with the way she believes the Milaya ‘Laff should be handled and represented on stage, as an accoutrement that represents a respectable urban Egyptian ‘baladi’ woman of a certain generation. Quite frankly, she is frustrated with its connection to the flirtatious sexualization of the fictional, street-savvy 'Banat Bahri'. To her, this is a form of cultural appropriation that has affected an integral part of not only an Egyptian theatrical artistic expression, but also Egyptian women's cultural identity. Farida writes about this in "Dancing with the Milayah Laff", and has written many articles which are freely available online for the dance community.</span></span></span></div>
<div style="font-family: helveticaneue;">
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="color: #444444; font-family: "arial"; font-size: xx-small; font-weight: normal;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-family: "arial";">Where does one start with the decision making process about how cultural integration may apply to their own artistry, and gain clarity to avoid issues arising from negative cultural appropriation?<span style="font-weight: normal;"> </span></span><span style="color: #444444; font-weight: normal;"><span style="font-family: "arial";">Clarity and communication are essential for ethical integration and cross-cultural or culturally based project development. Sometimes, a written analysis will support the creative development of a dance project’s direction, or at least provide the impetus for a more thorough understanding of the cultural collaborative effort, to give it more meaning in an artistic and/or anthropological sense. Mahmoud Reda’s field research was the foundational backbone of the contemporary Reda choreographies and costume styles he, his brother, Ali Reda and sister-in-law Farida Fahmy developed from the late 50’s in Egypt. In his communications and visits with provincial artists and local performers, he clearly explained that he wished to view and participate in local traditional dances, to inspire contemporary choreographies that maintained an integral link to Egyptian culture and artistic values. He then adapted the dance moves for stage, with Western elements, and created a legacy that, to this day represents the national arts of Egypt, and is respected, and emulated within his country and abroad.</span></span></span></span></span></div>
<div style="font-family: helveticaneue;">
<span style="font-family: "arial";"><span style="font-family: "arial";"><span style="color: #444444; font-weight: 400;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><br /></span></span><span style="color: #444444; font-family: "arial";">If anyone has not yet purchased Farida Fahmy's UCLA Thesis - the 'Creative Development of Mahmoud Reda', it would be worth reading, to clarify this process.</span><span style="color: #444444; font-family: "arial";"> </span><span style="color: #444444; font-family: "arial"; font-weight: normal;">This document will deconstruct the process of cultural appropriation in an elegant, real-life cultural model of ethics and clarity of intention, when creating a new art-form, inspired by traditional cultural arts. Farida illustrates how the Reda Troupe maintained clear, respectful boundaries within the creative developmental process, and how they managed to integrate the intrinsic qualities of indigenous, social and area-specific artistic expressions, and present them in a fresh new way, in theatrical format.</span></span></span></div>
<div style="font-family: helveticaneue;">
<span style="font-family: "arial";"><span style="color: #444444; font-weight: normal;"><br /></span><span style="color: #444444;">Cultural appropriation does not only exist in the realm outside the culture in question, but also within it. </span><span style="color: #444444; font-weight: normal;">This phenomenon often occurs in house, within traditional niches as well. Within the cultural niche model, ecological enculturation creates cultural patterns, which are amplified to create the formation of new pattern networks - a form of cultural pattern appropriation. Outside of the culture, when people uptake a cultural pattern that is not of their native culture, and tinker with the inclusion of personal pattern, it becomes known as ‘chance amplification’. In the positive, this process involves a feedback circuit with the original culture. In the negative, the cultural impetus is disregarded or ignored – almost like using a photo or text without getting permission from, or giving credit to the photographer or author. Therefore, the transfer of cultural elements retains its integrity when there is communication between the originators of the specific cultural art, and the artist adapting elements for their own use – whether a direct representation, creative adaptation or fusion work that includes elements of cultural nuance, that requires a knowledge of historical or anthropological heritage. </span></span></div>
</h4>
<h4 style="caret-color: rgb(0, 0, 0); font-family: Geneva; text-size-adjust: auto;">
<div>
</div>
<div>
</div>
<div>
<span style="font-family: "arial"; font-size: x-small;"><span style="color: #444444; font-family: "arial"; font-weight: normal;"><br /></span></span></div>
<div>
<span style="font-family: "arial";"><span style="color: #444444; font-family: "arial";">Inquiry into cultural aesthetics and their perceived value can guide dancers in the decision making process of cultural representation.</span><span style="color: #444444; font-family: "arial"; font-weight: normal;"> For example, are you portraying colloquial gesture, representing traditional artforms, or integrating 'sacred' or ceremonial elements? </span><span style="color: #444444; font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;">In Australian Aboriginal culture, an Aboriginal woman elder must grant an artist the permission to portray elements of their cultural dance and movement patterns. This is because these sacred dance and movement arts are known as ‘woman’s business’ and embody Aboriginal spirituality. In other cultures such as the newer Indian Bollywood style, creativity is key – yet a dialogue or direct learning from a true source emanating from the culture, would be a respectful way to learn more about the art and gain familiarity with nuances. However, Bollywood dancing may become confused with sacred Classical Indian temple arts, for those who are simply amalgamating 'movements' for the sake of a fusion dance.</span></span></span></div>
<div>
<span style="font-family: "arial";"><span style="color: #444444; font-family: "arial"; font-size: xx-small; font-weight: 400;"><br /></span><span style="color: #444444; font-family: "arial";">Gesture and cultural aesthetic is also something to be mindful of, as these may be subtle to the untrained eye, or unless being viewed within its own cultural setting.</span><span style="color: #444444; font-family: "arial";"> </span></span><span style="caret-color: rgb(0, 0, 0); font-family: Arial; font-weight: normal;">Stories of Egyptian teachers showing vulgar colloquial gesture as part of ‘shaabi’ street-style choreographies have been told, years after these very gestures have emulated by hundreds. If these gestures were used in performances for Egyptian audiences in the East or West--and many certainly were--often in front of more traditionally-minded or elderly people, the unknowing dance performer would have ruined an otherwise ‘likeable’ performance with an unsavoury aesthetic. Unbeknown to the dancer, those few gestures would have painted them as a vulgar, street-wise performer. When European ballet appeared on Egyptian theatre stages in the 60’s, the male dancer lifting the female by holding the crotch area shocked Egyptian audiences, because it was counter-intuitive to their cultural sense of aesthetic and beauty. It was seen as vulgar, transgressing the moral standards of the Egyptian, and consequently censored.</span><br />
<span style="font-family: "arial";"><span style="color: #444444; font-family: "arial"; font-weight: normal;"><span style="font-size: xx-small;"><br /></span></span></span></div>
<div>
<span style="font-family: "arial";">In conclusion, there are many nuances and complexities involved in integrating cultural influences into the Middle Eastern inspired dance arts, particularly the newer, creative and progressive streams such as fusion and contemporary stage-work.</span></div>
<div>
<span style="font-family: "arial";"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small; font-weight: normal;"><br /></span><span style="color: #444444;"><span style="font-family: "arial";">As artists, we would be wise to follow simple ethical guiding principles. <span style="font-weight: normal;">Seek direct dialogue with the people representing their cultural traditions (online or in real life) or at least take time to follow through the heritage, history and aim to understand the enculturation of the cultural patterns you will be incorporating before integrating into new work. Not only is it ethically respectful of artistic traditions developed over time, enriched by the spirit and artistry of people of the culture, but you may learn that the deeper you go, the more awareness you gain, and this process will in turn, give your art more meaning and cultural richness.</span></span></span></span></div>
<div>
<span style="font-family: "arial";"><span style="font-weight: normal;"><span style="color: #444444;"><br /></span><span style="color: #444444;">Keti Sharif</span></span></span><br />
<span style="font-family: "arial";"><span style="font-weight: normal;"><span style="color: #444444;"><br /></span><span style="color: #444444;">* For further reading of Farida Fahmy's Articles, visit www.faridafahmy.com</span></span></span></div>
</h4>
Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com7tag:blogger.com,1999:blog-1799266520529908800.post-43686888685953049722017-09-18T00:35:00.001-07:002019-01-26T12:37:40.791-08:00Are You at The Crossroads of Change?<div style="background-color: white; color: #666666; font-family: "helvetica neue", helvetica, arial, sans-serif; line-height: 16.08px; margin-bottom: 1em; margin-top: 1em;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6XBx68CxcOLRKpkwXFF5JDfmoJrPqNAQrh-Eoib130hTi3ujGfwmqWIVzPsehgXZ_8jZ3rDgVDiwqv1VEm0Nu3UBdNmYsaQmjWBRwPmQrXbDpfrfnX-Q60fqKlkkMEnECqhgG6lcv-h8/s1600/workshopsepia.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6XBx68CxcOLRKpkwXFF5JDfmoJrPqNAQrh-Eoib130hTi3ujGfwmqWIVzPsehgXZ_8jZ3rDgVDiwqv1VEm0Nu3UBdNmYsaQmjWBRwPmQrXbDpfrfnX-Q60fqKlkkMEnECqhgG6lcv-h8/s640/workshopsepia.jpg" width="640" /></a></div>
<div class="text_exposed_show" style="background-color: white; color: #666666; display: inline; font-family: "helvetica neue", helvetica, arial, sans-serif; line-height: 16.08px;">
<div style="font-family: inherit; margin-bottom: 1em; margin-top: 1em;">
<div style="color: black; font-family: arial;">
<div style="font-family: arial;">
<div style="caret-color: rgb(0, 0, 0); font-family: Arial; text-size-adjust: auto;">
<div style="caret-color: rgb(0, 0, 0); text-size-adjust: auto;">
<h2>
<div>
<div style="caret-color: rgb(0, 0, 0); font-family: Geneva; text-size-adjust: auto;">
<div style="font-size: 14px; text-size-adjust: auto;">
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><span style="color: black;">I've been chatting with many dance friends lately, particularly teachers, </span><span style="color: black;">who feel like they've lost their "bellydance mojo". They feel that the initial spark, their drive or the energy has fizzled around bellydance somehow. Some are saying it feels like burnout... others are saying they yearn for a fresh direction, but are unsure of the path their dance-life should take. Often, the urge is to find something new, hoping it will ignite or renew passion, or shift the focus... and since there are so many possibilities, even that decision seems overwhelming.</span></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="margin: 0px;">
<span style="font-family: "arial";">Are you at the crossroads of change?</span></div>
</div>
<div style="font-size: 14px; font-weight: normal;">
<div style="margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="margin: 0px;">
<span style="font-family: "arial";"><span style="line-height: 16.08px;">Who are you now, as a more mature being - </span><span style="line-height: 16.08px;">mentally, emotionally, physically and spiritually</span><span style="line-height: 16.08px;">?</span></span></div>
</div>
<div style="font-size: 14px; text-size-adjust: auto;">
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";">How does each area affect your dance and what needs to change to synchronise with your most recent level of maturity and self?</span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><span style="line-height: 16.08px;">As you've matured, your dance needs will have probably changed. If you're feeling the shift, listen. </span>This is an ideal time to return to your 'self', in a gentle and inquisitive way. Our artistic and soul-enhancing needs change as we mature, so we need to process our new sense of maturity, and through honouring it, we can only understand ourselves better.</span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";">Your perspectives have probably changed in recent years. <span style="line-height: 16.08px;">Before making any life-changing decisions, engage in some self discovery to find out where you're at right now, to learn more about yourself and what your changing needs are. Resist the urge to take on anything "NEW", fresh or shiny to fill a void or find a new passion.</span></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";">PAUSE.</span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";">Allow yourself to pause, reflect, and release expectations.</span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><span style="line-height: 16.08px;">Before any meaningful change can be facilitated, i</span>ts essential to return to what is most authentic and important for you. Its a lovely time to find "who you are now" and "the person you have matured into" in both a personal and dance sense.</span><br />
<span style="font-family: "arial";"><br /></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";">Some call it a reality check, or de-cluttering, and others see it as 'clearing the slate'. Basically, you are clearing away the superfluous and laying a fresh foundation for the future. It takes time... and requires a "letting go" process. Sometimes it can be done over a weekend away, perhaps somewhere alone. Or you can carve space from your busy life to contemplate where you're at - allowing weeks or months for the filtering process to distill into knowing what really matters.</span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";">There are four main areas where change happens: <span style="line-height: 16.08px;">Head, Heart, Body, Spirit</span></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="margin: 0px;">
<span style="font-family: "arial";">Questions to ask yourself:</span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="margin: 0px;">
<span style="font-family: "arial";">1. What energizes you?</span></div>
<div style="margin: 0px;">
<span style="font-family: "arial";">2. What drains you?</span></div>
<div style="margin: 0px;">
<span style="font-family: "arial";">3. What makes you feel uplifted and alive?</span></div>
<div style="margin: 0px;">
<span style="font-family: "arial";">4. What needs to be released?</span></div>
<div style="margin: 0px;">
<span style="font-family: "arial";">5. Which path is calling?</span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";">This process takes time, and everyone processes at a different rate. The most important thing is to allocate time for this sacred work, and for a guided approach, you can either work with your own method or be supported with an established step by step process.</span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";">Shemiran Ibrahim and I spent two years Crafting and creating the Balanced Bellydance program specifically to help dancers navigate these crossroads, and take dancers on a journey into their own "dance rooms", or spaces within your dance-life where powerful change occurs, to clarify your Head, Heart, Body, Spirit room needs. The website is <a href="http://www.balancedbellydance.com/">www.balancedbellydance.com</a></span></div>
<div style="font-weight: normal; margin: 0px;">
<span style="font-family: "arial";"><br /></span></div>
</div>
<div style="font-size: 14px; font-weight: normal;">
<span style="font-family: "arial";">If you have embarked on this journey - feel free to comment and share how you experienced the changes or renewal in your dance-life, that paralleled your maturing sense of self. How was it for you and how did you navigate the crossroads of change?</span></div>
</div>
</div>
</h2>
</div>
</div>
</div>
</div>
</div>
</div>
Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com2tag:blogger.com,1999:blog-1799266520529908800.post-77019701028634357152017-08-13T04:40:00.001-07:002019-01-26T12:38:48.746-08:00Clarity Around Events: Is it a Collaboration, Cross-Promotion or Sponsorship? <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBfmBKbMApWQWieozpzDxoZdqB-mp-LzIAwT-_XXMML19nJalvrLkaRZYRap5F_K-qm3XN86UO45HiyXoeCMRwNpkI-K6lqhX2WlTjsHRrH7xHvGwXZKybsi2jvNo9K0JLX0My8JUqj0g/s1600/People.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1600" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBfmBKbMApWQWieozpzDxoZdqB-mp-LzIAwT-_XXMML19nJalvrLkaRZYRap5F_K-qm3XN86UO45HiyXoeCMRwNpkI-K6lqhX2WlTjsHRrH7xHvGwXZKybsi2jvNo9K0JLX0My8JUqj0g/s640/People.jpg" width="640" /></a></div>
<div class="MsoNormal">
<span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /><br /><i><span style="font-family: "arial" , "helvetica" , sans-serif;">Hi dancers! </span></i></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: #1d2129; line-height: 19.32px;"><i>I've started a blog... the aim is to share insights into areas that are not often discussed, where we make decisions that affect our artistic directions. I'll post a new article each month.</i></span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /><br />Events and connections make our local and international dance world go round, right? Bellydance sub-culture has grown phenomenally in the recent decade, with more inter-relationships, live and online, than ever before. But how do we discern which associations are the right ones for us and our fellow artists? Collaboration, cross-promotion
and sponsorship are three very different relationships that exist in the co-operative
dance world. They can be beneficial and uplifting for everyone involved, including
the wider community, or conversely, they can become energetically draining and create
disharmony. Artistic relationships need to be initiated with clarity
and approached with integrity for ideas to flourish within successful associations;
either as a short-term projects or long standing future endeavours. These
primary connections between established or emerging artists and ideas require
clear conversations. What type of artistic connection is being created, how
does it develop, and where is its place in the dance world? </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br />
Most dancers who’ve invested their energy in teaching, or have supported students, worked with other teachers, and built a substantial community over the
years, will at some point, have others approach them for some form of artistic
exchange or merging of ideas. I believe that it is necessary to understand,
from the initial conversation, what type of connection this will establish - is
it <b>collaboration</b>, <b>cross-promotion</b> or <b>sponsorship</b> that is being discussed? It's
a good skill to be able to recognise the difference between those seeking
collaboration and those who are actually seeking a sponsor or someone to promote
their work or own artistic vision, because your role is very different in each situation.<br /><br />
Firstly, it is essential to get clear on the nature of the connection:<br /><br /><b>1. Collaboration<br />2. Cross-promotion<br />3. Sponsorship</b> <br /><br />Most people will open the
discussion by asking to 'collaborate' with you, when they really may be asking
for sponsorship, promotion or cross-promotion. Asking directly for
sponsorship can be confronting, and many artists feel uncomfortable saying “Hey, I have
a great idea, and could do with some promotion to widen my scope…can you help
me?” There is nothing wrong with this, in fact if it is an upfront request for sponsorship,
rather than collaboration, the
true nature of the artistic connection can be presented clearly.<br /><br />
A <b>collaboration</b> generates a new idea. If a fellow artist initiates a
discussion, expressing a desire to team up with you, and believes that both of your
strengths can combine to create something new and exciting for you and your respective
communities, you are speaking about collaboration. This normally produces new
ideas or merges your interests into a mutually supportive direction. It takes
both artistic visions into account and often generates what’s known as a
‘creative third solution’ or an idea that was born from the merging of two visions,
rather than one. Those who arrive with questions and interest in their fellow artist, are ready and willing to
collaborate; this includes a chat about what they’re doing, where they’re at
and what their vision is – plus they ask the very same questions and listen to
your answers. This shows the level of receptivity needed for real collaboration, because they are interested to see if your combined visions
align. They want to know if it's a good match before investing energy, and
because they honour their own vision, they will only team up with someone who’s
vision resonates with their own. When this initial conversation opens a collaborative merger, there is potential for a true, solid collaboration with
longevity and creative bonds. <br /><br /><b>
Collaborators listen</b>, pay attention, give and receive feedback and ask questions, to see
where cross-pollination of ideas can exist. If you are speaking with a
collaborator, reciprocal discussion is evident from the very beginning. They
listen as well as ask questions, and creative new solutions present themselves.
Collaborations often have lasting value, even when undergoing transformational
change over the years. Both parties value the importance of listening,
communicating, feedback and teamwork - the core qualities of true collaboration
that manifest from shared vision. Ultimately, this is true collaborative energy.<br /><br />
If someone is seeking a <b>sponsor</b>, or <b>promotional relationship</b>, they will
approach you and ask you to invest time into creating an environment that
supports and promotes their ideas and projects. Their aim is to expand their
vision or project into new territory, in exchange for remuneration and building a professional
relationship. They are prepared to give the best of their work to the community
you are promoting them to, as satisfied participants boost their sponsor’s
reputation. I have seen this be very a successful liaison, yet at other times it
has created drama, disappointment and disparity for those involved. I believe a
lack of clarity is the underlying issue. In sponsorship agreements, everything
relating to the association needs to be laid on the table and discussed as
early as possible. It saves unnecessary difficulty down the line.<br /><br /><b>
Collaboration, sponsorship or cross-promotion? </b>It sounds simple enough, yet many
people approaching an artistic relationship may have not clarified what type of
association they are requesting, before partaking in an initial discussion. I
have observed how this lack of clarity–-usually not intended–-has created a
lack of coherence in collaborative efforts, with sponsors (or occasionally, the
sponsored guest), investing much more than they were comfortable with, as
projects developed and unforeseen events unfolded. Because of the energetic
investment any project requires, it is important to process things clearly,
right from the beginning, before making a final decision.<br style="mso-special-character: line-break;" /><br /><b>
Understanding exactly where you feature</b> in this connected artistic equation is
necessary for clarity. If you have taken the role of being a sponsor initiating
a discussion, asking a guest to work with you is usually quite straight
forward, and almost always elicits an enthusiastic reaction… although this association also
needs a good deal of clarity before proceeding.<span style="mso-spacerun: yes;"> </span>If someone approaches you as their potential sponsor, or an
artist seeks out your skills to promote their work or project, ideally they
would clearly communicate exactly what it is they need, and include how you
would benefit as a sponsor. These requests are essential early in the
conversation. <br /><br /><b>Tell-Tale Clues - Is it Collaboration or Something Else?:</b><br /><br /><b>1. Artist is Seeking Sponsorship</b><br />Usually, when a conversation is more or less </span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">one-sided</span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">, and the
initiating artist is talking primarily about their vision without engaging with yours, it reveals that they are looking for sponsors or promoters, rather than
collaboration. </span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">If someone approaches you with ideas for ‘collaboration’, with a lengthy spiel about what they’re doing, where they’re at and what their vision is… without addressing your work, they are actually requesting a promotional artistic relationship or sponsorship.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>2.</b> </span><b style="color: #444444;">Artist is Seeking C</b><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>ross-Promotion (or Partnership)</b></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">If they reference both your vision and theirs in conversation, and support your ideas without
expressing the need to create a new merged concept, they are probably looking at some kind of cross-promotion. </span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cross-promotion often gets confused for collaboration, when it is really about two artists promoting each others work without changing either project. </span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Perhaps the most important factor here is that each artist respects and is familiar with the other’s work – not superficially, but understands the artist they are promoting. If cross-promoting, it is equally important to make sure your vision is understood. This can also become a working collective, such as a studio, where dancers promote each other's classes, whist maintaining artistic independence.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>3.</b> </span><b style="color: #444444;">Artist is Seeking Collaboration </b><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">For discussions that are focused on collaboration both parties
look at how they can create together, with an equal investment of time, energy, resources and
ideas. The discussion centres on co-creative ideas that expand on both artist's talents and visions, with the emergence of a new idea.</span></span><br />
<span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif;"><br /><b>What is Your Best Response?</b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Over many years of community and collaborative endeavours, I've learnt that the initial discussion usually reveals your fellow artist’s intention, even if it is not spoken or delivered with absolute clarity. Actually, we are trained to 'create convincing conversation' so mis-communication can inadvertently give the wrong message. </span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Your best response is your authentic one. Once you've understood the situation, you can respond clearly. If you need more information, ask questions, or ask for more time to avoid a reactive response, e.g.: being </span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">over zealous or dismissive</span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">. It could be wise to hesitate forming an alliance with someone who tries to convince you that
they are interested in collaboration, when you know that they are actually
seeking a sponsor. But if you are asked and are willing to be a sponsor, give the discussion all the clarity it needs before proceeding. Listen, evaluate and </span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">discern </span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">from the initial conversation. Be wary of replying too quickly with an answer such as ‘Sure, lets give it a go', and then invest energy into
promoting an endeavour that is neither reciprocal nor aligned with your own
vision. If you have to say "no", a response that is swift and polite is best for everyone, an example could be, “Thanks for telling me about yourself
and your work, I appreciate that you’ve taken the time to chat, however it
seems a sponsor might be a better fit for you at this stage, so I don't feel a
collaboration is right for us. Good luck with finding the right person”. </span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">You can still encourage them to follow
their vision, and perhaps even introduce them to a potential sponsor.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
</span><br />
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Artistic relationships are necessary, however they need to be right for you.</b><b> </b>When you understand the
nature and requirements of the artistic relationship being proposed, your decisions will be clear. This clarity
gives your own projects healthy boundaries, maintains the integrity of your
artistic vision and supports your personal time investment. </span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In all our
artistic relationships, we owe it to both ourselves and to others, to proceed
with clarity and dignity, and articulate our intention. When we listen
carefully, with awareness, we can evaluate what the heart of the request is really about.
Truth, clarity and real discussion are the best entry point--or exit point--for future endeavours, and provide an opportunity to honour your own artistic
integrity, as well as that of the other artist. Sometimes the answer presents itself
as and intuitive sense of ‘knowing’, yet it will almost always also reveal itself
clearly in the initial discussion, when we listen.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /><b>As usual, listening is the key.</b></span><span style="color: #444444; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /><br /><br />***</span></span></div>
Keti Sharifhttp://www.blogger.com/profile/09976802572226101526noreply@blogger.com0