Intermediate Level Student Manual - Belly Dance Topeka · Intermediate Level Student Manual 2 ......

Intermediate Level

Student Manual

© 2011 Nicole Jarboe-Paxson Belly Dance Topeka with Huraiva Alimah www.bellydancetopeka.com

2 Intermediate Level Student Manual

Table of Contents

About Belly Dance Topeka and Hathor’s Hips 3

What to do if you need to miss class 3

Class Format 3

Class Etiquette 4

Ethics of Belly Dance 4

Why Attend Workshops 5

Workshop Etiquette 6

Time Signatures and Middle Eastern Rhythms 7

Middle Eastern Instruments 8

Drills to Build Skills 11

Intermediate – Recommended Supplies 12

About Veils 12

How to Make a Half Circular Veil 14

Turkish Rom Information 15

Intermediate Level Moves 15

History of Finger Cymbals 25

Zils Worksheet 26

Choreographies Aahat 28

Hoplanda 29 Saidi 30

Zeina 31

Checklist to Start Advanced 32

What to Expect in Advanced 39

Additional Resources 40



About Belly Dance Topeka and Hathor’s Hips

Belly Dance Topeka was founded in May of 2008 when the belly dance school I had been teaching for decided to concentrate its efforts on the Kansas City market. I took that opportunity to develop my own curriculum and expand the amount of information presented in each level. The curriculum I now use incorporates vintage oriental and group improvisational styles. I have also added information on Middle Eastern Rhythms, additional props to the Intermediate level classes and additional emphasis on playing finger cymbals. Hathor’s Hips is my student troupe comprised of students in my Advanced Level class. The troupe is by invitation only. In order to be invited into the troupe you must have already taken at least one session of Advanced Belly Dance. Once in the troupe, there are continuing education and attendance requirements which must be maintained in order to be a member in good standing. Additionally there are costuming and props required to perform with the troupe. I provide prospective troupe members with a list of costume pieces and props and approximate costs to assist in the decision about joining the troupe. Troupe members are provided with additional training outside of regular class time at no additional charge and performance opportunities in addition to those available to my classes.

What to do if You Need to Miss Class

As you move into intermediate, the classes are typically smaller than what you experience in beginner. For this reason it is extremely important that I know if you are planning on missing class. If you need to miss class for any reason, please let me know ahead of time by calling or texting me at 640-1292 or emailing me at [email protected]. If you are going to email, please do so before 4pm on class day as I do not typically have time to check email after that point. You can usually find out what was covered while you were gone by checking my blog at huraivaalimah.blogspot.com.

Class Format

Intermediate Belly Dance is divided into five sections; the sections may be taken in any order. Each section includes moves unique to the section and more difficult moves that are covered in more than one section. In order to have completed all the material in Intermediate Belly Dance, you should take all five sections at least once (students often take them twice) before moving up to Advanced. If you take five consecutive sessions you will have taken all five sections. If you need to skip one or more session and then resume class, please keep track of what material you have covered so you know if you have completed the four different sections. The sections are defined by the rhythm and prop covered, three of the sessions also covered different types of figure 8s: kashlima and 25 yard skirt; chiftitelli, sagital figure 8s (undulations) and half circular veil; malfuf and group improvisiation with an emphasis on zil technique; beledi, vertical figure 8s (Mayas) and rectangular veil; saidi, horizontal figure 8s and cane.

mailto:[email protected]



Each class will include strengthening exercises, a warm up using beginner level moves and finger cymbals, finger cymbal patterns, technique drills covering new and previously covered material. We will also work on moves specific to the prop being covered and the rhythm for the session. We will usually cover intermediate level group improvisation moves as well. Take water breaks as you need them! Please come early to sign in and change if needed. If we finish with the planned curriculum early, we will do a cool down, if time does not allow for a class cool down, please take the time to properly cool down before you leave the Community Center.

Class Etiquette

Please arrive on time! If you must be late, please enter quietly and do a 5 minute personal warm up

before joining class.

If class is canceled for inclement weather, the community center or I will contact you as soon as possible. Please make sure we have a phone number and/or email address that you will check before class. Make-up classes will be schedule for canceled classes if at all possible.

Please do not bring friends to observe the class, if they are curious about belly dance, Crestview allows students to pay a drop in fee and attend only one class.

Please turn all cell phones off during class

Respect the needs of others. Remember that everyone learns at a different rate and every body has it’s own unique gifts, challenges and limitations.

Please inform me before class of any physical limitations you may have and always listen to your body. If you need to sit out a portion of the class, please sit quietly and take notes.

Please remember I am the instructor. If someone is having difficulty with a move, please allow me to be the one to assist them.

Please keep chitchat to a minimum. The time to discuss things that are off the topic of belly dance is before or after class.

Please ask questions! I am always happy to respond to questions and if you have a question chances are someone else has one too!

If you need to miss a class for any reason, please send me an e-mail and I will let you know what information was covered.

Belly Dance Ethics Belly dance ethics can be divided into four main categories which I discuss in Intermediate Belly Dance. The first is supporting the belly dance community. This topic has three parts to it; the first is supporting the community by attending events. This can be going to shows to watch others dance or attending workshops put on by other instructors in the area. The second and third parts of supporting the community you are less likely to run into at this point in your dance career, they are rates and scheduling. Supporting the community through rates means if you decide to offer your services in an area as a performer or instructor, you should find out what the other dancers in the area are charging and charge a similar amount. Supporting the community through scheduling means if you are planning to schedule an event you should check ahead of time to see if anyone else in the area has events scheduled for the same time before finalizing your event. Two events on the same day halve the potential draw of either event.



The second topic under belly dance ethics is respecting others. This is done through punctuality and not gossiping. If you say you will be someplace at a specific time, you should be there at that time or let the people you are meeting know that you will be late. Also, as I’m sure you are aware, the belly dance community is predominantly populated by women. Unfortunately, as women, we all like to talk about each other and it seems that the worse things we can say the better. As a community we need to work on not perpetuating gossip. The best way to do this is, as an individual, commit to not engaging in the behavior. The third topic under belly dance ethics is treating the dance as a valid art from. As is discussed in beginner, there are a lot of misconceptions associated with belly dance including the fact that many people associate it with stripping. While it is true that burlesque is belly dance’s little step sister and burlesque evolved into modern stripping, belly dance did not originate as an erotic dance. For this reason, when you run into those who think of belly dance as stripping, you should educate them that it is not and that it originated as a dance performed by women for women. Also, you should never perform at a bachelor party or other all male event as a belly dancers, this only encourages the misconceptions that abound about this dance form. The last topic under belly dance ethics is respecting copyright. The music we use, the videos we practice to and the choreographies we perform are all copyrighted materials. This means you should purchase legal copies of music and videos whether through hard copies (CDs and DVDs) or through legal downloads (Amazon, iTunes, etc). If we don’t respect the copyright on music and videos, there may come a time when the artists who produce them can no longer afford to do so and we would no longer have them available to us. Just like music and video, choreographies have a copyright on them. The choreographies I teach in class all include permission to perform them as long as the creator is credited, but that is not always the case. When you learn a new choreography at a workshop or other event, you should always check about the performing rights before you use it.

Why Attend Workshops If you are attending class, regardless of the level, you will often receive handouts on the many workshops in the area. I don’t guarantee you will receive handouts on all area workshops, for one thing I don’t always know they are going on, but if I know of a workshop, and it is level appropriate, you will most likely get a flyer about it. If you find out about a workshop that I haven’t mentioned, by all means let me know, though I try to keep up, there are so many workshop opportunities out there I’m always missing some. So why should you attend any of these workshops I’m telling you about? Well there are many reasons and my decisions on which workshops to attend are usually based on more than one of them. First, workshops are often taught on topics that are not covered in my regular belly dance curriculum. Makeup and hair for performances, costume and prop construction, use of specialized props and unusual technique are all topics that come up in workshops but may not be included in regular dance classes. So in order to get the specialized training or instruction,



attending a workshop is your best bet. I’ve taken workshops on Greek style belly dancing, kathak and bollywood, all topics not covered in local classes. Second, workshops often bring well known belly dancers to the area. Dancers you have watched in performance DVDs or maybe own instructional DVDs taught by them. A workshop is your opportunity to meet these well known dancers and get some time learning what they have to offer (as a bonus, workshops often include the opportunity for private lessons with these “big name stars”). Usually you will also get an opportunity to see these dancers in the show associated with the workshop (most but not all workshops include a performance). By attending workshops, I have learned from Princess Farhana, Amaya, Ariellah, Asharah, Amy Sigel of Unamata, Kami Liddle, Eva Cernik and many other well known dancers. Third, workshops give you the opportunity to learn from someone other than your regular instructor. You may love your current instructor, but taking the opportunity to learn from someone else is a good choice. Most instructors have been teaching the same material in the same way for years. I may mix up my curriculum periodically, adding and subtracting or moving when a move is taught, but the way in which I teach a specific move has changed very little since I started teaching. By learning from somebody else, they may have a different way to explain a familiar technique that has been giving you trouble that clicks for you. (By the way, when this happens, tell your regular instructor. What worked for you may work for someone else and she can add it to her bag of tricks.) I finally conquered the ¾ shimmy on the down because of a workshop I attended. Fourth, workshops are often a great opportunity to shop! Most of the workshops I have attended have included vendors selling belly dance related items. Jewelry, veils, hip scarves, swords, fans, hair accessories and more, you can find it at the vendor tables and most workshops. Finally, workshops give you an opportunity to socialize with other belly dancers in the area. Those dancers may have tips for where to purchase items, how to make things or even just a great CD to dance to. I often decide to attend a workshop because I know someone else is attending, it gives me a chance to visit with them.

Workshop Etiquette

Always arrive early for workshops, there may be shopping and there is usually some kind of

registration. If you have any personal warm up that you need to complete, you should also do so in the time that you arrive before the workshop starts (for instance I warm up my ankles before workshops as not all workshop instructors include ankle warm up).

Please turn all cell phones off during the workshop.

Respect the needs of others. Remember that everyone learns at a different rate and every body has it’s own unique gifts, challenges and limitations.

Please inform the workshop instructor of any physical limitations you may have and always listen to your body.

If you need to sit out a portion of the workshop, please sit quietly and take notes, it is disrespectful to the instructor and the other students to talk.



Please remember who the instructor is and direct your questions to them. If someone is having difficulty with a move, please allow the instructor to be the one to assist them.

Please keep chitchat to a minimum. The time to catchup with the people you meet at workshops is before or after the class.

Please don’t wear noisy hip scarves, jewelry or other items as it may interfere with the other students ability to hear the instructor.

If you catch on quickly try to find a place at the front, if you have difficulty with new moves, stand towards the back. Students in the back often have to rely on the students in front of them to see what is being done.

Ask questions! If you are unsure of a move, ask for clarification.

Take 5-10 minutes at the end of the workshop to write down the things you learned, if you don’t take the time then, you may not remember when you try to do it a week (or month) later.

Time Signatures and Middle Eastern Rhythms Time signatures have to do with how many beats are in a measure of the rhythm and how fast those beats are. The top number of a time signature is how many beats and the bottom number is speed. The larger the bottom number, the faster the beats. Common time signatures are 2/4, 4/4 and 8/4. In intermediate we also discuss an unusual 9/8 rhythm, kashlima. Middle Eastern rhythms are comprised of dums, teks and kas. Dums are represented by a large D when a rhythm is written out and means the deep sound made when hitting the center of the drum with the right hand. Teks are represented by either a capital or lower case T (depending on how prominent the sound is) and mean the higher pitched sound made by hitting the rim of the drum with the right hand. Kas are represented by a lower case K and are the high pitched sound made by the left hand hitting the rim of the drum. Middle Eastern rhythms can usually be recognized by the number and position of the dums. Fallahi (aka Fallahan) 2/4 – This rhythm has two beats per measure and each beat is a quarter note long.

Dk-kD-k-Dk-kD-k-Dk-kD-k-Dk-kD-k- e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a

Maqsoum 4/4 – This rhythm has four beats per measure and each beat is a quarter note long.

D-T---T-D---T---D-T---T-D---T---

D-T-tkT-D-tkT-tkD-T-tkT-D-tkT-tk e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a

Masmoudi 8/4 – This rhythm has eight beats per measure and each beat is a quarter note long.

D---D---____T---D---____T---T---

D---D---tktkT-tkD-tktkt-TktkT-tk

D---D---D---T---D---____T---T---

e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a



Malfuf 2/4 – this rhythm has two beats per measure and each beat is a quarter note long.

D-kT-kT-D-kT-kT-D-kT-kT-D-kT-kT- e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a Beledi 4/4 – This rhythm has four beats per measure and each beat is a quarter note long.

D-D-tkT-D-tkT-tkD-D-tkT-D-tkT-tk e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a

Saidi 4/4– This rhythm has four beats per measure and each beat is a quarter note long.

D-T-tkD-D-tkT-tkD-T-tkD-D-tkT-tk e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a Chiftitelli 8/4– This rhythm has eight beats per measure and each beat is a quarter note long.

D-----T-----T---D---D---T-------

D-tkt-T-tkD-T-tkD---D---Tktkt---


Kashlima 9/8 - – This rhythm has nine beats per measure and each beat is an eighth note long.

D-------T-------D-------T---T---t-

D---k-k-T---k-k-D---k-k-T---T---t-

D---t-k-T---t-k-D---t-k-T-k-T---t-

D-------T-------D-------t---T---k-

e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a9e&a

Middle Eastern Instruments

The traditional ensemble or Takht, literally translated “platform” in Arabic consists of 4 main melodic instruments. They are the oud, nay, qanun (or kanun) and violin. They are divided into two families called the Sahb, (pulling or stretching) instruments and the Naqr (plucking or hammering). The violin and nay are examples of Sahb and the oud and qanun are Naqr. These two families are meant to complement each other. The most common combination is the oud and violin or the qanun with the nay. The taxseem is the portion of the song in which one of the non-percussion instruments is featured. The solo is often played improvisationally. During the taxseem, the dancer should not be attempting to draw attention away from the musician who is playing but should be dancing in a manner to compliment the instrument that is playing. Each instrument tends to sound like a



particular body part. The ney, oud, qanun, violin and according are the most common instruments to play a taxseem. Occasionally the taxseem will be played over a slow rhythm in its basic form (no fill).

Wind

Ney – the Arabic flute. In a taxseem, I always think arms with a few slow

rounded body isolations.

Mizmar – this is a whiny instrument often found in saidi music – I think

it sounds a bit like bagpips – it looks similar to a clarinet but sounds

very different. Not usually found in a taxseem.

String

Oud – the forerunner of the lute and guitar, this is a rounded body

stringed instrument played by plucking. In a taxseem I usually think of

lower body isolation with the occasion shimmy (or tummy flutter).

Qanun – similar to a zither, danced for a taxseem, I usually think of

isolations and undulations with an occasional small shimmy.

Violin – same instrument you grew up listening to. I usually think of

upper body isolations and arm movements, the occasional small

shimmy.

http://upload.wikimedia.org/wikipedia/commons/c/c5/Batchelder_violin.jpg



Percussion

Tabla – goblet shaped drum aka doumbek

Riq – middle eastern tambourine

Bendir – large frame drum – has a deep resonating sound. May have

snares across the underside as shown in the photo or they may be absent

– the snares give the sound a vibrating quality.

http://en.wikipedia.org/wiki/File:Goblet_drum_01.jpg

http://upload.wikimedia.org/wikipedia/commons/2/23/Riqq.jpg

http://en.wikipedia.org/wiki/File:Bendir.jpg



Drills to Build Skills Hip Circle Drill 2 clockwise hip circles 2 clockwise omis 2 sagital hip circles (down-to-up undulation version) 2 counter clockwise hip circles 2 counter clockwise omis 2 sagital hip circles (up-to-down undulation version) Ribcage Circle Drill 2 clockwise horizontal rib cage circles 2 clockwise vertical rib cage circles 2 sagital rib cage circles (up-to-down undulation version) 2 counter clockwise horizontal rib cage circles 2 counter clockwise vertical rib cage circles 2 sagital rib cage circles (down-to-up undulation version) Lower Body Accent Drill 4 unweighted hip lifts R 4 unweighted hip drops 2 drop-kicks 4 weighted hip drops 4 weighted hip lifts 4 hip bumps 4 weighted twists forward 4 weighted twists backward 4 unweighted twists forward 4 unweighted twists backward Rpt. on L Upper Body Accent Drill 4 shoulder thrusts forward R 4 shoulder thrusts backward R 4 shoulder lifts R 4 shoulder drops R Rpt. L 4 rib lifts 4 rib drops Rib lift, rib drop, pelvic tuck, pelvic drop 4 pelvic tucks 4 pelvic drops Pelvic tuck, pelvic drop, rib lift, rib drop



Intermediate – Recommended Supplies

Intermediate belly dance focuses on a different prop each session. I will usually start letting everyone know what prop they will need for the coming session a few weeks before the new session starts. Regardless of what session is starting everyone will need finger cymbals by the first week of class. I recommend getting Saroyan finger cymbals. They can be ordered from saroyanmastercrafts.com and usually run about $20 for a set of student size zils. I also recommend everyone bring a yoga mat to class for intermediate. We do some stretches that are more comfortable if you have a mat to use, but it is not required. The props covered in intermediate belly dance are: Dance cane – I usually have some for sale for $6, and if not we will place a group order so everyone can get the best price possible. If you order just one, you will usually end up spending more on the shipping than on the cane itself. Half circular veil – I recommend making one out of liquid lame. You can purchase liquid lame at Hobby Lobby, watch for it to be on sale or use one of their coupons on it. You will need 2 ½ yards of fabric. The instructions for making the half circular veil can be found on page 12 of this manual. Rectangular veil – You will need a 3 yard by 42-45” veil. I recommend silk or chiffon. You can purchase fabric and make one or purchase one readymade. 25 yard skirt – This is the one prop you do not have to purchase, you can use a rectangular veil tucked in at your hips as a substitute, but students who have done so and then later purchased a skirt generally report they wish they had simply purchased the skirt at the start of the session. The skirts generally run $60 and up. Moondancebellydance.com usually has them in both plain and tie dye colors. Magicalfashions.com usually has them as well. Finally, the ebay seller Alter Egos usually has a few, but they tend to be more expensive than either Moondance or Magical Fashions, though they also tend to have colors the other two do not. The skirt should be full length (ankle or floor), 25 yards at the hem and made from light weight cotton. Usually you can search for 25 yard gypsy skirt. If you think you will eventually want to join the troupe, please check with me about the color before placing your order as we only allow one troupe member with each skirt color.

About Veils This is information on veils from my own experience and advice I have gleaned from the internet; there are great resources on the internet if you wish to do your own additional research. Here are the answers to some of the questions I receive from my students.

What materiel should you use for your veil? Well it really depends on what you want to do with it and your level of skill. Any lightweight floaty fabric will work in theory; however, ultra light fabrics are more difficult to work with, while heavier fabrics take more strength. Common fabrics used include silk, chiffon, organza, liquid lame and I’ve even heard of



velvet for outside use. I have a pair of half circle veils (see below for instructions on how to make one) that I made out of lining weight satin that work well.

What weight of silk should you get? Silk is measured in momme (mm) with the smaller the number the lighter the silk. I would not recommend anything heavier than 8mm unless you are planning on doing outside veil work, even then I wouldn’t go over 10mm. 5 or 6mm is much lighter in weight, almost sheer, and good for slow floating veil work. It does not work well for uses where you want to be able to whip it around. Also, the lighter silk weights have more of a tendency to have static problems than the heavier weights.

How do you get rid of static? First, don’t store your veil in a plastic bag, it will make the static worse and the silk needs to breathe. Second, don’t use a dryer sheet or static guard on silk as it can cause stains and the chemicals break down the silk fibers. Hanging your veil in the bathroom while you shower or near a home humidifier should help with static. Also, using your veil helps as your skins oils are released to the veil it helps decrease the static. Or you can try running your veil over a metal hanger. Finally, you can try a new trick I’ve heard of but not tried, using one of the new ionized hair dryers that are supposed to help with static in hair, on the veil.

What size veil should you get? Generally, you hear 3 yards by 45 inches for a rectangular veil. However, if you are making one yourself you can make it to your own height and arm width. You want the veil to be just above ankle length when you hold it in front of you and to extend 12-18 past each hand when your arms are outstretched. Other standard veil sizes I have seen are 36x90, 45x90, 45x144, 54x108 and 54x144. The larger veils sizes allow for some interesting tricks, but should really be only used in very light material and even then left to advanced veil users. A true semi-circular veil (also called a half circular) is either 45x90 or 54x108 both work equally well for double veil, the smaller size is easier for shorter dancers to use, while the larger size gives you some extra length for things like trying to recapture the end after you have let it go in either one handed moves or double veil.

What shape veil should you get? There are four different shapes of veil I have heard of, the most common is rectangular. You can do almost everything with a rectangular veil, though there are double veil and one handed moves which really only work well with semi-circular veils. If you are getting your very first veil, start with a rectangle in either chiffon or 8mm silk. Rectangular with rounded corners is what you get if you have a quasi-semi-circular veil which is not twice as long as it is wide. I do not recommend the rounded rectangles. Semi-circular veils are true half circles, twice as long as they are wide. If you are purchasing half circular veil ALWAYS check the measurements as the quasi-semi-circulars are sometimes billed as half circles. This is the shape that works best for one handed non-twisted veil work and for double veil. The fourth shape I have heard of but never seen – it is 2/3 circular – my understanding is it is like a circle skirt that is missing the last of its three panels. I have never tried using it and I am not certain exactly what kind of veil work it would work best for.

Should you get a veil with trim? Trim adds weight to the edge of the veil and changes how it flows through the air. It is useful for semi-circular veils since so much is done one handed and it allows you to know which edge you are grabbing without looking. One thing about trim is if it is something hard, you want to be very careful you don’t accidentally hit yourself or someone else with the veil as it may hurt.



Choosing the right veil for you is a personal choice. I own rectangular veils in organza, chiffon, 5mm silk and 8mm silk, I also own semi-circular veils in satin and silk and in two different sizes. They are all good for something and often the veil I choose is dictated by the moves I want to use and the type of music I will be dancing to. I personally don’t think you can have too many veils! History of veils

The veil is not used in Egyptian style belly dance

Egyptian dancers will occasionally enter with an elaborately decorated “veil” but it is discarded within a few seconds of entering the stage.

The veil first made its appearance in American Cabaret dance in the late 1800s or early 1900s as a way for poorly trained American belly dancers to fill the full time period required of them.

The original veils were rectangular in shape.

The half circle veil came into use in the 1960s in California.

The common American practice of entering wrapped in a veil and then removing it during a number should not be performed for an Arab audience as the removal of the veil is seen as stripping.

In the 1990s and early 2000s other veil-like props have come into being including fanveils and voi or veil-poi (also referred to as fireless spinning).

How to make a half circular veil

Though you can purchase silk half circle veils, they tend to be either too light weight or too large for learning half circle veil technique. When you first start out with a half circle veil, I recommend using one which is 2.5 yards by 45 inches. The easiest way to make one is out of liquid lame, though you can, and I have, make them out of satin. You will need:

2 ½ yards of fabric (liquid lame or satin)

Fabric marking pencil

A piece of string 45+ inches long

One or more pins

Scissors

Thread that matches your fabric if you went with satin (you don’t need this if you use liquid lame)

Take your fabric and fold it in half so that you have a 45 inch square. If you are using liquid lame fold it so the shinny side is inside. Tie your piece of string around your fabric marking pencil then pin it to one of the folded corners such that the pencil is even with the cut edges. Keeping the string taught (but not pulling the fabric up) swing it around in an arc to draw a quarter circle on your folded square. Remove the pin and cut along the line you drew going through both layers of fabric. If you used liquid lame, you are done. If you used satin, you will need to create a rolled hem along the cut edge of your veil. Once you have made one, you can use it as a pattern anytime you want to make another one and skip the string.



Turkish Rom Information

Gypsy comes from Egyptian – when they first started showing up in Europe, the Europeans thought they came from Egypt and called them Egyptian, got shortened to Gypsy

Gypsy is the root for the saying “you gypped me” meaning you stole from me, and is seen as a derogative term (particularly in Europe), generally they prefer Rom, Roma or Romani (sometimes spelled with Rr).

The Rom originated in India and migrated to the Middle East where they split and took two routes, the northern route went into Turkey and Eastern Europe, the southern route went across northern Africa and into the South of Spain.

Turkish Rom Fusion is usually done to the 9/8 rhythm Kashlima

Strong dance style, very proud

Contains a lot of motions that mimic everyday life, stirring a pot, washing your skirt, etc.

Rom dancing usually includes motions manipulating the very full skirts worn for this style of dance, either using the feet to kick the skirt or manipulating it with the hands similar to a veil.

Intermediate Level Moves Cabaret Technique

Accented belly pops

Arm figure 8s

Arm ripples

Barrel turn

Belly rolls

Camel walk

Candle Arms

Diagonal Rib backward

Diagonal Rib drops

Diagonal Rib forward

Diagonal Rib lifts

Double hip drops “M”



Double hip lifts “W”

Down to up undulation

Down to up undulation stepping foot to foot

Drop Kick

Drop kick pivot turn

Egyptian hip circle

Folkloric walk/run

Gush/Arabian Horse

Hip drop pivot turn

Hip sway

Hip sway w/kick

Hip twist pivot turn

Horizontal hip 8 back to front (no ice cream)

Horizontal hip 8 front to back (ice cream)

Horizontal rib cage 8 back to front

Horizontal rib cage 8 front to back

Horsie step 1

Horsie step 2

Jewel

Man’s step

Maya’s w/level change

Queen of Sheba walk (figure 8 walk)

Reverse grapevine



Saidi Hop

Saidi jump back

Side hip figure 8s

Side undulations

Traveling hip roll down to up

Traveling hip roll up to down

Twisted hip slides

Twisted rib slides

Undulation pivot turn

Undulation traveling – flat ball, ball, ball

Up to down undulation

Up to down undulation stepping foot to foot

Upward 8s w/level change

U-turn undulation

Vertical hip 8 down to up (Upwards 8s)

Vertical hip 8 up to down (Mayas)

Vertical rib cage 8 up to down

Vertical rib cage 8 down to up

Shimmy Technique

¾ on the down

¾ shoulder shimmy

¾ twist

Bouncing shimmy



Clamp shimmy

Egyptian Shimmy

Egyptian shimmy on one leg

Folkloric Shoulder shimmy

Heel drop

Hip bounces

Hip lift shimmy on one leg

Hip lift shimmy layers

o hip slides

o rib slides

o hip circles

o rib circles

o hip twists

o hip bumps

o Mayas

o vertical 8s

o horizontal 8s

Hip twist shimmy layers

o hip slides

o hip circles

o tummy pushes

o walking

o 4 corners



o snake arms

Other Shimmy Layers

o Scooching w/camels

o Marching w/hip circles

o Cairo Shimmy

Pelvic

Rotational

Shoulder shimmy layers

o Diagonal arms

o Arm Swells

o Snake Arms

o Rib lifts

o Rib slides

o Rib circles

o Undulation

o rib cage 8s

Traveling hip shimmy layers

o Hip lift w/grapevine

o Hip lift w/rocking step

o Hip lifts w/basics

o Hip lifts w/point cross

Tummy flutters

Vibration



Group Improv Technique

¾ 8

Ababda Devika

Arabic

Arabic Twist

Basic E hip twists

Basic E full turn

ChooChoo foot change

ChooChoo Turn

Choo Choo Arc turn

Cliques

Fu Man ChooChoo

Gawazee Double hip bump

Ghawazee Jill

Groovy Christina

Happy Birthday Grapevine

Pod and Chorus

Reverse Arabic

Reverse Gawazee

Sandlewood

Traveling Circle

Turkish 4pt turn

Turkish foot change



Turkish Swivel turn

Turning Basic E

Up up down down

Up up down down 2pt turn

Vertical Rib 8

Vertical hip 8 & Maya

Traveling Circle

Gypsy Technique

Intro to 9/8 rhythm

o Count 123456789

o Count 1 3 5 789

o Count 1 2 3 4and

o clap, snap, foot stomp 1 3 5 7 and 1 3 5 789

Arabesque walk

Bounces on hip circles

Double pelvic tuck or drop walk

Fall step

Hand Jive

o Arm Slices

o Belly Slices

o Fist beats

o Hip Beats

o Hip circle with drops – add fist hits to hips



o Indian Snake

o Shoulder beats

Heel drops on hip circles

Hip downs

Kashlimar walk

Rocking step w/hop

Skirt Work:

o Catch-me

o Catch me skirt while turning, 3pt, paddle

o Figure 8s

o Flamenco Wrap

o Grapevine with skirt

o Hold skirt while turning,

o Kash walk with swishy skirt

o Positions – 2nd, on the hips, on the sacrum

o Rocking step w/ hop – skirt one side figure 8, or both sides

Turkish cross

Turkish skip

Half Circle Veil

How to hold the veil

Two handed moves

o Cone

o Figure 8



o Loop-d-loop

o Matador

o Whirlpool (aka half matador)

One handed veil moves

o Horizontal fig 8

o One handed matador

o One handed matador to catch

o Swirl and grab

o Spin and drop one side, one arm figure 8 to change directions

o Switching hands

o Vertical Circles

o Vertical fig 8

Rectangular Veil Technique

Angel Wings (Butterfly wings)

o Full angel

o Half Angel

o Hummingbird

o scoop and pivot in angel wings

o spin in angel wings

o Swoop hands front and back while twisting in full angel

o Switch back and forth between which is hooked and unhooked

Around neck and tuck edges at waist

Basic double wrap



Basic Wrap

Bib wrap

Cape wrap

Figure 8

Harem wrap

Matador

Loop –d-loop

Sharita

Scoop and Pivot (aka Caravan)

o Shezerahade

Toga wrap

Turkish drape

Tucked at hips behind

Turkish turtle neck

Turning w/veil in half matador, transition to other side

Whirlpool (aka half matador)

Cane Technique

2, 1 twirling pattern backward, dominant hand

2, 1 twirling pattern backward, non-dominant hand

2, 1 twirling pattern forward, dominant hand

2, 1 twirling pattern forward, non-dominant hand

Backward swing dominant hand

Backward swing non-dominant hand



Forward swing dominant hand

Forward swing non-dominant hand

How to hold the cane

Twirling cane figure 8 dominant hand

Twirling cane figure 8 non-dominant hand

Twirling cane over head dominant hand

Twirling cane overhead non-dominant hand

Finger Cymbal Technique

Ring or Open

Tek or Click

Clack or closed

History of Finger Cymbals

The advent of brass around 3,000 BC produced the first metals capable of being used for musical instruments

The earliest cymbals were large metal disks held one per hand used in the worship of the goddess Cybele in Mesopotamia

Next came the sistrum which was used in worship ceremonies in Egypt (particularly the goddesses Hathor and Isis) it was a U shape on a handle with cymbals strung between the uprights and shaken.

Eventually cymbals were made small to be worn on the fingers.

Castanets are related to finger cymbals but are made from wood or shells

Turkish for finger cymbals is “Zils”

In Egypt finger cymbals are called “Sagat”

Modern zils typically have two slits and the metal is relatively thin

Sagat have one round hole, are attached with round elastic (or cord) and are made of heavier (thicker) metal.

The methods for playing zils and sagat are different.

In the 1950-70 you could not get a job dancing in a night club in the United States if you didn’t play finger cymbals.

Dancers in the golden age of belly dance (50s-70s) in the nightclubs of the United States were expected to sit on the stage and play cymbals as part of the band when they were not dancing (they played to the melody – see below)



There is a misconception that professional Egyptian belly dancers did not play finger cymbals, there are two reasons for this

o In Egyptian film, dancers never played cymbals because the sound was recorded separately and could not be added back in accurately to match the finger movements in one or two takes.

o When Egyptian belly dancers started hiring larger and larger orchestras (it was a competition the one with the biggest orchestra was the best) they started hiring two or more cymbalists and not playing themselves.

Zils Worksheet

Singles (1s)


doubles


rolls (aka fast singles)


3s (aka triples)


3-1

e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a 5s


7s


337




335

e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a Malfuf

D-kT-kT-D-kT-kT-D-kT-kT-D-kT-kT- e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a Beledi 4/4

D-D-tkT-D-tkT-tkD-D-tkT-D-tkT-tk e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a

Saidi 4/4

D-T-tkD-D-tkT-tkD-T-tkD-D-tkT-tk e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a Chiftitelli 8/4

D-----T-----T---D---D---T-------

D-tkt-T-tkD-T-tkD---D---Tktkt---

e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a Kashlima 9/8

D-------T-------D-------T---T---t-

D---k-k-T---k-k-D---k-k-T---T---t-

D---t-k-T---t-k-D---t-k-T-k-T---t-

D-------T-------D-------t---T---k-

e&a1e&a2e&a3e&a4e&a5e&a6e&a7e&a8e&a9e&a

1

2

3

4

5

6



Choreographies

Aahat by Wael Kfouri From Bellydance SuperStars Vol II Intermediate Rectangular Veil Choreography

Created By Huraiva Alimah © 2010 Permission to perform this choreography is granted, if Huraiva Alimah is credited as the creator.

You may not teach this choreography to any other group or individual.

0:00 Start facing back veils down, veils slowly rise to temple w/snake arms, right foot crosses

behind left in preparation for turn 0:19 half tornado to face front and veil opens to second, walk forward 7 cts with veil billowing

behind, slow ¾ shimmy, flip veil over head and walk back 8 counts with veil billowing in front

0:29 Full ccw matador into sharita 0:34 3 pt turn L w/ lift to open , half matador 0:39 Full cw matador into sharita 0:43 3 pt turn R w/ lift to open half matador 0:48 Bring veil to front, as frame for hips, 3 Maya w/small level change down, 3 upward 8s

coming back up 1:02 4 CW matadors ending in back 1:12 4 Swoop and pivot starting to the right, ending w/burrito 1:22 cw rib cage circles 1:25 turn out of burrito, ending facing the back and walk towards the back forming one line, R

arm high, L arm low Turn so L arm is towards audience, do fig 8s w/L arm until your turn, first person walks straight forward then back along the line to the end then loops around to form circle, each successive person follows. Arms go to second, pulse veil

1:42 Face into the circle, hands in low 2nd, 1:46 Upward 8s w/snake arms to bring arms to 5th

1:56 cw hip circle turn to face out, 2 omis 2:05 Return to original place bringing veil into second 2:10 Full ccw matador into sharita; 3 pt turn L w/ lift to open , half matador 2:19 Full cw matador into sharita; 3 pt turn R w/ lift to open, half matador 2:29 4 high half matadors 2:38 enter half angel with veil over R arm, switch back and forth 7x ending in full angel 2:47 Bring arms to temple w/veil in full angel



Hoplanda From Ozel Turkbas: How to Make Your Husband a Sultan

Intermediate Gypsy Skirt Choreography

Created by Huraiva Alimah © 2009 Permission to perform this choreography is granted, if Huraiva Alimah is credited as the creator.

You may not teach this choreography to any other group or individual.

0:00 Start with R hip to audience, skirt in hands at hip, stomp R foot 8 times

0:04 Turkish Skip L, Turkish Skip R, hands out to side

0:07 3 pt turn to L w/catch-me skirt, 3 pt turn to R w/catch-me skirt, full hip circle with heel drops, skirt

out to side

0:15 3 pt turn to R w/catch-me skirt, 3 pt turn to L w/catch-me skirt, full hip circle with heel drops, skirt

out to side

0:22 stir the pot skirt w/R, L hand on hip, hip circles traveling R, rib cage slides R,L

:30 stir the pot skirt w/L, R hand on hip, hip circles traveling L, 2.5 rib cage circles ctr clkws

:37 Kash walk forward, kash walk backward 2 2pt turns

:45 kash walk backward, Kash walk forward 2 2pt turns

:52 grapevine L w/catch-me skirt, L hip lift, drop

1:00 grapevine R w/catch-me skirt, R hip 2.5 bicycle hip

1:07 R Foot n mud cha cha cha; L foot n mud cha cha cha, ccw paddle turn w/catch-me skirt

1:15 R Foot n mud cha cha cha; L foot n mud cha cha cha, ccw paddle turn drop skirt

1:21 4 heel drops

Hand jive section

One potato

Hips R/L

Shoulders

Arm slices

Stomach Slices

Hips w/circle

Indian Snake

2:17 3 pt turn to L w/catch-me skirt, 3 pt turn to R w/catch-me skirt, full hip circle with heel drops, skirt

out to side

2:25 3 pt turn to R w/catch-me skirt, 3 pt turn to L w/catch-me skirt, full hip circle with heel drops, skirt

out to side

2:32 stir the pot skirt w/R, L hand on hip, hip circles traveling R, rib cage slides R,L

2:40 stir the pot skirt w/L, R hand on hip, hip circles traveling L, 2.5 rib cage circles ctr clkws

2:47 2 fall steps R, paddle turn, 2 fall steps R paddle turn and pose



Saidi by Diler Ebeperi From “The Best of Special Arabic Dance”

Intermediate Cane Choreography Created by Huraiva Alimah © 2009

Permission to perform this choreography is granted, if Huraiva Alimah is credited as the creator. You may not teach this choreography to any other group or individual.

Enter with 16 cts folkloric run – cane horizontal across hips (0:10) 3 Men’s step, left hand on hip, right hand forward (vertical cane) one clkwise paddle turn (0:18) 3 Saidi hops (RLRLRL) (vertical cane) one clkwise paddle turn (0:28) 4 horsie step 2 cane down to floor (0:32) Circle and a half to rt w/L hip drop, repeat LRL cane twirls above head in R hand – left hand to side (0:41) present R hip, w/hip drops, twirl cane forward, hit ground, twirl back to shoulder, forward to ground back to shoulder (0:50) Shoulder thrusts 2 R, 1 L, pelvic tuck/drop, horizontal hip fig 8 (front to back) cane horizontal across waist (0:55) 8 saidi jump backs – cane across waist (1:04) present R hip, w/hip drops, twirl cane forward, hit ground, twirl back to shoulder, forward to ground back to shoulder (1:13) Shoulder thrusts 2 R, 1 L, pelvic tuck/drop, horizontal hip fig 8 (front to back) cane horizontal across waist (1:17) cane figure 8, RLRR, repeat (1:26) Turning basic E traveling forward (1:35) 4 horizontal hip fig 8s (back to front - cane horizontal in front of waist) (1:44) Sheba walk backwards (cane horizontal in front of waist) (1:53) Exit with folkloric run, cane across hips



Zeina by Mohamed Abdel Wahab from the Belly Dance Superstars CD

Half circle veil choreography Created by Huraiva Alimah © 2008

Permission to perform this choreography is granted, if Huraiva Alimah is credited as the creator. You may not teach this choreography to any other group or individual.

0:00 Start facing audience, veil behind back with hands by hips, slowly raise veil up behind head, ending with hands in temple arms with veil draped behind

0:05 Clkws rib cage circle 0:07 Rt hip lift, lft hip lift, double camel walk with rt foot, lft hip lift, rt hip lift double camel walk with

left foot - 2xs, lower hands to bd 2nd for second time 0:18 ctrclkws matador and a half with head toss accent to left, clkws matador and a half with head toss

accent to right 0:28 lft arm still at rt shoulder, rt arm above the head, undulate 4x in a clockwise circle to face the left 0:33 Loop-d-loop forward, back, forward, back 0:43 let go with left hand as you bring the veil forward as though for another loop-d-loop and go into

four barrel turns, one handed, other hand behind the head 0:48 stop turning and do vertical one handed figure 8s with lunges (2 full) one handed matador 0:54 3pt turn to left, left side of vertical fig 8 with veil, 3pt turn to right, right side of vertical fig 8 with

veil, 3 pt turn to left, full vertical fig 8 with veil into one handed matador to catch veil with left hand 1:04 hands above head in temple, 4 undulations while turning in a complete ctrclkws circle, on releve to

the front and back and knees bent (low) to the sides 1:09 4 - 3 pt turns with half matador going left first 1:19 2 full matadors, ending with veil in back 1:24 8 veil toss ups (RLRLRLRL) 1:30 Veil behind back, arms in second, present rt hip, drop, drop kick, drop, drop kick, drop, drop kick,

hip lift shimmy, present left hip, drop, drop kick, drop, drop kick, drop, drop kick, sharp hip lifts, rt, lft, rt

1:37 2 slow 2pt turns with matador ctrclkwise, pause face front, 2 slow 2pt turns with matador clockwise, pause face front

1:53 Drop veil from left hand, three point turn left w/one handed figure 8, 3 pt turn right w/one handed fig 8, 3 pt turn left, one handed fig 8, 2 full clockwise turns,

2:01 3 pt turn right, one handed fig 8, 3 pt turn left, one handed fig 8, 3 pt turn right, one handed fig 8, 2 full ctr clockwise turns

2:09 3 one handed matadors, change hands w/fig 8, 3 one handed matadors change hands w/fig 8 2:25 vertical circles on rt w/lunge, vert circles on left w/ lunge, vert circles rt w/lunge, matador 2:33 Vertical circles on lft w/lunge, vert circles on rt w/lunge, vert circles on lft w/lunge matador to

catch veil, pause behind 2:41 ctrclkws matador and a half, clkws matador and a half 2:51 lft arm still at rt shoulder, rt arm above the head, undulate 4x in a clockwise circle to face the left 2:56 Loop-d-loop forward, back, forward, back 3:06 let go with left hand as you bring the veil forward as though for another loop-d-loop and go into

barrel turns, one handed, other hand behind the head 3:11 stop turning and do vertical one handed figure 8s with lunges (2 full) one handed matador to catch

veil 3:18 Pose – veil behind, arms in temple, rt foot on toe next to left, knee in



Am I ready for Advanced?

Self Evaluation Form

Below is a list of the moves covered in all seven sessions of beginner and intermediate classes. In order to

move up to Advanced, the student should be able to place a check mark under the “I have it mastered”

heading for all moves in normal font and under “I can sort of do it” or “I have it mastered” for all moves in

italics. After you fill this out, if you meet the qualifications to move up and plan to do so in the next session,

please give a copy of the form to Huraiva for lesson planning purposes.

For group improvisation moves “I have it mastered” means you could cue it and lead it and “I can sort of do

it” means you recognize the cue and can perform the combo. “I can’t do it” means you don’t know the cue

when you see it and/or don’t have the combo memorized.

For shimmies and shimmy layers “I have it mastered” means you can maintain the shimmy for more than 30

seconds and “I can sort of do it” means you can get the shimmy or shimmy layer started but it peters out

before you hit the 30 second mark.

For zil patterns “I have it mastered” means you can match the zil pattern up to the music and play it at the

correct speed to various songs. “I can sort of do it” means you can play it if you have someone else to get

you matched up to the music or maintain the tempo.

For all other moves “I can sort of do it” means you understand the movement involved, can sometimes do it

correctly, but can’t consistently perform the movement. “I have it mastered” means you can consistently

perform the move correctly.

Name of move I don’t

know it

I can’t do it but I

know what it is

I can sort

of do it

I have it mastered

Hands and Arms

Pretty hands

Belly dancer 2nd

Low second

Tribal Torture Arms

T-Rex arms

5th Position

Temple Arms

L arms

Arabesque

S arms

Low Pharonic Arms

Mid Pharonic Arms

High Paronic Arms

Low V or hip frame

Aladdin Arms

Egyptian headache

Genie Arms

Side sweep

Snake arms

Medusa Arms

Fish Tail



Low Snake Arms

Persian Arms

Swells

Tribal Snake Arms

Inward Arm circle – one arm

Inward Arm circle – both arms together

Inward Arm Circle – both arms alternating

Outward Arm Circle – one arm

Outward Arm Circle – both arms together

Outward Arm Circle – both arms alternating

Shoulder thrust

Wrist rotation

Floreo

Index leading finger ripple

Pinkie leading finger ripple

Belly dancer hand ripple

Hula hand ripple

Incense rising

Suhaila Arms

Delilah’s Cobra arms

Arm ripples

Candle arms

Hand jive – shoulder beats

Hand Jive – Arm Slices

Hand Jive – fist beats

Hand jive – belly slices

Hand jive – hip beats

Hand jive – beats on hip circle

Hand Jive – Indian snake

Hand jive – leg slices

Arm figure 8s

Head

Head slide

Head horizontal circle

Head 8 (happy captive)

Hair tossing – ½ circle

Hair tossing – circle and ½

Hips and Pelvis

Hip Slide

Hip Twit

Hip lift – weighted alternating

Hip lift – weighted, single hip

Hip lift – weighted and accented

Horizontal hip circle (both directions)

Hip crescent

Unweighted hip twist

Unweighted hip lift

Unweighted hip drop

Weighted hip twist

Weighted hip drop

Fully weighted hip lift



Fully weighted hip twist

Fully weighted hip drop

Hip Bump

Pelvic tuck

Accented Pelvic tuck

Pelvic drop

Accented pelvic drop

Omi (both directions)

Vertical hip pyramid

Horizontal hip pyramid

Pelvic wheel (both directions)

Unweighted bicycle hip circles

Weighted bicycle hip circles

Typewriter drops (2, 3 & 4)

Twisted hip slides

Horizontal hip figure 8 (both directions)

Vertical hip figure 8 and Maya

One hip horizontal figure 8

Hip sway

Hip sway w/kick

Egyptian hip circle

Jewel

Heel drops on hip circle

Bounces on hip circle

Drop kick

Hip downs

Side hip figure 8 (both directions)

Double hip drops “M”

Double hip lifts “W”

Maya/Upward 8 w/ level change

Ribcage and Shoulders

Ribcage slides

Ribcage arch/contract

Horizontal ribcage circle

Ribcage lift/drop

Vertical rib cage circle

Accented ribcage lift

Accented ribcage drop

Shoulder/chest pyramid

Rib cage wheel (both directions)

Diagonal ribcage push forward

Diagonal ribcage push back

Twisted ribcage slide

Horizontal ribcage figure 8 (both directions)

Diagonal ribcage lifts

Diagonal rib cage drops

Vertical rib cage figure 8 (both directions)

Traveling and full body moves

Single hip lift walk

Single hip down walk

Basic Egyptian



Traveling hip bumps

Stepping w/ hip circles

Stepping to the side w/crescent & circle & ½

Hip circle pivot turn

Slow double hip lift walk

Chassez/step ball change/123 step

Cross step

Rocking step

Rocking step cha cha

grapevine

½ grapevine

Point cross

Box step/four corners

Double Basic Egyptian

Tush push

Walking w/bicycle hips

Gush/Arabian Horse

Folkloric walk/run

Saidi Hop

Siadi pivot hop

Figure 8 (queen of Sheba) walk

Man’s Step

Arabesque walk

Kashlimar walk

Fall step

Turkish skip

Turkish cross

Double pelvic tuck/drop walk

Stepping up to down undulations

Stepping down to up undulations

Camel walk

Up to down undulation traveling

Traveling hip roll up to down

Traveling hip roll down to up

Reverse “funky” grapevine

2 point turn

Pivot turn

Step turn

Paddle turn

3 point turn

4 point turn

Tornado turn - crossing front

Tornado turn – crossing back

Basic Egyptian 2 point turn

Hip drop pivot turn

Drop kick pivot turn

Hip lift pivot turn

Hip twist pivot turn

Undulation pivot turn

Barrel turn

Accented belly pops



Belly pushes

Belly rolls

Horsie step 1

Horsie step 2

Up to down undulation

Down to up undulation

U-turn undulation

Side undulation

Shimmies and Shimmy Layers

Hip lift shimmy

Hip twist shimmy

Shoulder shimmy

Heel drop shimmy

Marching shimmy

Schooching shimmy

Vibration

¾ on the up shimmy

¾ on the down shimmy

¾ twist shimmy

¾ shoulder shimmy

Tummy flutter

Egyptian shimmy

Hip bounce shimmy

Clamp shimmy

Folkloric shoulder shimmy

Pelvic shimmy

Rotational shimmy

Hip lift shimmy w/ hip slides

Hip lift shimmy w/ribcage slides

Hip lift shimmy w/hip circles

Hip lift shimmy w/ribcage circles

Hip lift shimmy w/ hip twists

Hip lift shimmy w/hip bumps

Hip lift shimmy w/Maya

Hip lift shimmy w/vertical 8s

Hip lift shimmy w/horizontal figure 8s

Hip lift shimmy w/undulations

Hip lift shimmy w/walk

Hip lift shimmy, weight on one leg

Hip lift w/grapevine

Hip lift w/rocking step

Hip lifts w/basic Egyptians

Hip lifts w/point cross

Egyptian shimmy, weight on one leg

Hip twist shimmy w/snake arms

Hip twist shimmy w/hip slides

Hip twist shimmy w/hip circles

Hip twist shimmy w/tummy pushes

Hip twist shimmy w/walk

Hip twist shimmy w/4 corners

Shoulder shimmy w/diagonal arms



Shoulder shimmy w/snake arms

Shoulder shimmy w/ribcage lifts

Shoulder shimmy w/ribcage slides

Shoulder shimmy w/horiz. rib cage circles

Shoulder shimmy w/vert ribcage figure 8

Shoulder shimmy w/sagital rib cage circles

Shoulder shimmy w/undulation

Scooching shimmy w/camel

Marching shimmy w/hip circle

Cairo shimmy

Cane

Cane Forward swing dominant hand

Cane Backward swing dominant hand

Cane Forward swing non-dominant hand

Cane Backward swing non-dominant hand

Twirling cane over head dominant hand

Twirling cane overhead non-dominant hand

Twirling cane figure 8 dominant hand

Twirling cane figure 8 non-dominant hand

Cane 2, 1, 1twirling pattern, dominant hand

Cane 2, 1, 1 twirling pattern, non-dominant

hand

2 pt turn w/cane

Hip circle pivot turn w/cane

Turning basic Egyptian w/cane

Skirt

Skirt in 2nd

position

Skirt on hips

Skirt on Sacrum

Flamenco wrap w/skirt

Skirt figure 8

Catch-me skirt

Skirt in 2nd

w/3 pt turn

Skirt in 2nd

w/paddle turn

Catch-me skirt w/ 3 pt turn

Catch-me skirt w/paddle turn

Grapevine w/skirt

Rocking step w/skirt

Swishy skirt

Kash walk w/skirt

Veil

Matador

Whirlpool or half matador

Veil figure 8

Loop-d-loop

Cone w/half circle

Figure 8

Half matador w/turn

Sharita

Scoop and Pivot aka Caravan

Shezerahade

Angel/butterfly wings



Full angel vs half angel

Hummingbird

Juggle the veil

Harem wrap

Turkish drape

Cape

Tucked at hips and back

Around neck and tuck edges at waist

Basic wrap

Basic double wrap

Toga wrap

Turkish turtle neck

Bib wrap

One handed figure 8

Spin w/veil in one hand w/direction change

Switching veil between hands

Vertical circles

One handed matador

One handed matador and catch

Swirl and grab

Group Improvisation Variations and Combinations

Turkish

Turkish foot change

Turkish 2 point turn

Turkish 4 point turn

Turkish crazy turn

Ababda Devika

Ghawazee

Ghawazee personal circle

Ghawazee traveling

John Wayne

Stationary Omi

Reverse ghawazee

U turn shimmies

Ghawazee double hip bumps

Ghawazee Jill

Groovy Christina

Sandalwood

Happy Birthday Grapevine

Basic Egyptian

Basic Egyptian traveling

Basic Egyptian personal circle

Basic Egyptian half turn

Descent

Basic Egyptian full turn

Basic Egyptian hip twists

Basic Egyptian swivel turn

Funky Egyptian

Turning Basic Egyptian

ChooChoo

Choochoo traveling



Choochoo personal circle

Chooochoo foot change

Choochoo 4 point turn

Fu Man Choochoo

Vertical 8s/Mayas

Ribcage vertical 8s

¾ 8

Up up down down

Up up down down 2pt turn

Drop Kick

Arabic

Arabic w/a twist

Reverse Arabic

Arabic personal circle

Arabic 4 pt turn

Arabic traveling

Zil patterns

3s

5s

7s

3-1

Military (3, 3, 5 or 3, 3, 7)

Singles

Malfuf

Chiftitelli

Beledi

Saidi

Kashlima

Other technique and skills

Warm up w/zils (3s)

Accent drill w/zils (3s)

Use pod and chorus formation

Use traveling circle formation

Use Cliques

What to Expect in Advanced

As you consider whether or not to move up to advanced here are a few things to keep in mind. The advanced topics are constantly changing. What we cover next is dictated by three things, what I want to teach, what the students have requested to learn and what events we have coming up that might require specialized technique. Because of the constantly changing topics, many different props may be required. We have covered in the past double veil (2 large silk half circles), feather fans, fan veils, sword and tambourines. While tambourines are cheap some of the other props are quite a bit more expensive. I usually announce the upcoming topics well in advance so that everyone can budget for any props they need to purchase. There are also sessions where the topic does not require any prop at all, or is simply additional advanced techniques for a prop covered in intermediate.



In advanced class we always warm up with zils, but the pattern we use changes each week. It can be 3s, 5s, 7s, singles, malfuf, beledi, saidi, chiftitelli, kashlima or some other pattern such as 3,3,5 or 1,3,5,7. Because of this it is essential that you be able to do the warm up moves while playing your finger cymbals. The Advanced Belly Dance class is challenging but it is also lots of fun. If you use the above checklist and make sure you are proficient in the required moves, you shouldn’t have any trouble moving up. If you have any questions, please feel free to ask me.

Additional Resources There are a lot of additional places you can find information. I recommend taking workshops when they are offered in the area and will usually announce in class when I know of workshops that are coming up soon and are level appropriate. On my website there are music and video recommendations. I do not list them here as it would more than double the size of this manual. If you do not have internet access and would like the list, let me know and I can print either of them for you. You will also find articles on belly dance related topics and links to other websites that contain belly dance related articles on my webpage. I encourage you to explore and find as much information as you from other sources. I will always be happy to discuss anything you find online and have questions about. Shira.net is an amazing source of information and signing up for the daily belly dance quickies at shes-got-hips.com/quickies.html will get you a little bit of belly dance delivered to your inbox every day.

Instructors for Other Styles

American Tribal Style (ATS)– Cyreigna (http://www.cyreignasirietribal.com/index.html)

or Zina (http://zinadance.com/) both of Topeka

Tribal Fusion – Marie de Mars (http://www.mariedemars.com/dance.html) or Amy Jo (http://www.troupeduende.com/classes/) both of Kansas City

Hula/Polynesian Dance - http://www.amiradanceproductions.com/Home_Page_1KOF.html of Wichita

Bollywood – Zoria (http://www.troupeduende.com/classes/) of Kansas City sometimes offers classes

http://www.cyreignasirietribal.com/index.html

http://zinadance.com/

http://www.mariedemars.com/dance.html

http://www.troupeduende.com/classes/

http://www.amiradanceproductions.com/Home_Page_1KOF.html

http://www.troupeduende.com/classes/

Intermediate Level Student Manual - Belly Dance Topeka · Intermediate Level Student Manual 2 ......

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