Articles - Guide to Teaching Bellydance

Your Guide to Teaching Bellydance


	Your exciting role as a bellydance teacher Teaching bellydance is rewarding and fun. Its a great way to supplement your favourite hobby and learn how to explain the dance in its broader spectrum as well as being able to deliver it in bite-sized pieces. Your involvement will assist the artistic development of others. Ultimately, you will be helping women learn a new, creative form of expression. You will be teaching them many new movements and techniques and you'll deliver information on Middle Eastern music, culture and stylisations. You will be responsible to pass down knowledge of traditional dance styles- often from cultures that are not your own, yet you will also have the freedom to create your own characteristic bellydance style. With education however, you will be able to create 'fusion' styles with greater awareness and insight. The technical aspect of teaching bellydance must be balanced with the emotional quality of this age old art. Celebration, gatherings, laughter... the playful spirit of the dance! As a teacher, you can enjoy the honoured role of mentor and guide as you support women on a journey of joy, confidence and femininity.

Important basic knowledge for teaching bellydance As a teacher you know must your basic bellydance history. Whether students ask during class or you are referencing a certain move - its good to be able to draw on a historical or cultural reference. Students appreciate a well researched topic delivered to them with interesting facts. Check your sources to make sure what you teach is correct. Continuous study and refresher courses wil help you with your teaching and make you a better teacher as the years go by. Teaching is more than just being able to do the moves well. It is a skill that can be improved with education and effort. There are many courses around that can help you. Not only bellydance workshops and tuition to advance your technical skills, but also fitness courses, lifestyle courses, goal setting and teacher training. Any training you do will be reflected in your classes. The safety of your students is paramount. Learn about correct posture and safe dance warm ups - there are many fitness courses around that will help you with this. Pay particular attention to your student's backs, knees and joints - areas that are prone to injury unless you understand correct, safe execution of movements. As a teacher you should also know basic first aid and personal and public liabilty insurance is highly reccommended. Learn about safe stretches and warm up techniques you can incorporate into your class. Large, relaxed movements that locomote the body should become part of the warm-up activities. Co-ordinative moves like a continuous step/point on the spot or around the room - with arms lifting and stretching are excellent for boosting circulation to areas which will be working the most - the legs, hips, arms, etc. Muscles must be stretched gently, without bouncing, only when the body is warmed up, and not before.

	The value of networks and learning opportunities As a teacher you must continue your training for as long as you teach. It will keep you inspired and keep you in touch with what is going on in the local and international community. Attend workshops and master classes when possible and even swap classes with fellow teachers. Teaming up with other bellydance schools is a good idea. Generous teachers encourage their students to explore other classes and schools outside their own. Building up networks within your local Middle Eastern communities will be a bonus if you teach and perform. Locals from Middle Eastern backgrounds may be helpful with music, latest videos and its worth seeing how the women dance at home! Travel will expand your horizons - especially to festivals and special workshop events. Keep a file for your notes and also re-type notes for classes in a way you know your students will understand. The internet, public libraries and your dance mentors can inspire you when you need 'refreshing'. Get to know dancers who have 'fields of speciality' such as in depth knowlege about a certain cultural style, vast experience in certain performance genres or someone who's techniques you admire - they may be masters of dancing to the tabla solo, Egyptian baladi, veilwork, taqsim, ethnic fusion, etc.

Teaching styles that facilitate maximum learning You will have many different participants in your classes - some will be natural or experienced dancers, others will be total novices. It is important to be personable, relaxed and to be able to teach with clarity and confidence. When demonstrating movements, begin by facing your students and identify muscle groups and safe techniques. Emotive, round and taqsim moves are best taught in a circle. Co-ordinative techniques, steps and turns should be linear, with you at the front, showing the move from both the front and back. Some students are visual learners so explain the movement carefully, step-by-step adding visual reference. For example, describe the shape you are drawing with your hips Others learn quickest through kinesthetics - which is a hands on approach. It is best to ask if the student would like you to guide the hips, ribs or arms with your own hand. Always approach from the side, not the front (can be imposing) or back (may be surprising). The oral learners need sound cues, so identify and play rhythms, don't be afraid to 'sing' the rhythms aloud - many participants respond well to a teacher who vocalises the music and accompanying moves. Be clear and articulate*. Repeat as often as is necessary. Look carefully at the students movements to see whether they are achieving the move and executing it safely and properly. Encourage feedback from participants. Ask how the move feels, if they would like some help in the form of further explanation, accomanying music or hands on guidance. Some students with an advanced spacial awareness can mirror you well, that is when they are facing you, they can do what you do symmetrically. Others need to really see right and left to copy and follow, so you must stand in front of them, with your back to them so they can step exactly as you do. It is best to only use mirrors sometimes - the real 'feeling' of the movement is often distracted by the reflected image in the mirror. Try turning your class to face different directions, and rotate the group so the people at the back get a chance to come forward. Partnering, mirror image, linear group dances, circular group dances and interactive choreography are great ways for your students to mingle and have fun as a group. It also paves the way for some exciting troup choreography.

	Structuring the class and sessions Participants often like to get together and chat during class time. Allow a little time for this, but be firm when it comes to 'class time' - when the tuition begins and ends. Begin by welcoming all participants, with a clear verbal introduction of the class and some gentle warm ups to slow relaxing music. Circular formation is best - it creates a nice friendly environment. Add steps and co-ordinative techniques as you bring some rhythm into the warm up. Linear formations work best for step sequences. Describe techniques and make sure they are being understood by everyone. Remember visual, kinesthetic and oral descriptions and training techniques. Help those that need it, but don't spend too much time on one move. Integrate the moves into a routine with transitions or choreography, and then during dancing give historical, cultural and musical reference. Introduce props such as veil, stick, zills or other props that will be used in the dance style they are learning. Do demonstrations, interactive dance, practice choreography of allow time for free dance. Improvisation is a valuable skill, so its a good idea to leave some time near the end of the class for this. Sometimes ladies enjoy dancing for one another, other times the group will not be as forthcoming. Avoid making anyone dance on demand or selecting 'volunteers' at random. People will let you know if they are ready to dance infront of the group. Finish with cool downs to relaxing music, stretches and inform the participants about the next class and any upcoming events. Deliver notes and any back up information, such as name of music cd, where its available, etc. Allow a feedback time afterwards - students usually enjoy a coffee or a chat after class. A selection of bellydance cds, books, photos, costumes and fabrics in a basket is interesting for students. Encourage dressing up, colour and sparkle for the fun of it!

Courses, payment and overall structure Casual classes are good for some students who can't be tied to a timetable, for example shift workers or mums with small children. Ongoing casual classes sometimes work wonderfully, with good participation year round. However, for both students and teachers there are several main benefits of structured week by week courses. Courses give participants the opportunity to learn a dance and cultural style in a logical, step-by-step series of classes that graduate from basic concept to full artistic form. This type of class is often more specific to certain levels or learning range. Students usually prefer to pay up front if a course is offered at a multi-session discount. This is good for the teacher too - as it ensures the numbers are there every week. People are more likely to turn up if they have paid upfront. Structure your 4, 6, or 8 week course (or any other length of time) into a series of classes. Introduce this concept at the beginning of the course and provide notes for your students. It is a good idea to begin with a dance demonstration, video, cultural overview or supply reading material/photos of style and costumes to introduce the cultural or choreographic principle. Allow students to listen carefully to the rhythms and music. Explain appropriate techniques. In multilevel classes always begin with the grounded version of the move, that is the feet, hips and basic posture for the movement. As students advance add co-ordinative techniques, arms, expression, etc. Live percussion, finger cymbals or props make the class more interesting. Any extra skill that can be learnt will help with the student's broader understanding of the culture, music or style. When techniques are perfected, show how moves can be linked through choreography or improvisation techniques. Towards the end of the course highlight the most important moves and philosophies behind the dance style. Arrange a fun student night or 'hafla' where everyone can bring food, dress up and dance to exotic music!

	The enjoyment factor Bellydancing classes are best when they are fun, friendly and informative. Participants enjoy learning new skills that can be mastered and developed. A sence of accomplishment is achieved by setting personal and class goals, such as learning a group dance or arranging a personal choreography as a project. The teacher should liase with her students about both their personal dance goals and how they would like to benefit from the group. Its worth spending 20 minutes of one-on-one time with each student if you can during the first few months of their training. Perhaps you can create a scheduled roster for one-on-ones after class every second or third week to have a friendly chat with individuals. Some kind of recognition of study is also appreciated - getting a certificate of attendance and achievement at the end of a course is something you can organise as a teacher.

Self care and a final note about quality Your teaching will be its best when you look after yourself physically, spiritually and emotionally. Keep your lines of communication clear and open. Encourage all your students, show warmth and never let competition, politics or judgement cloud your vision. Have clear boundaries where your time and energy are concerned - analyse if there are draining factors and either resolve them with truth and clarity or step back. You can balance the cycle of giving and receiving with honest insight as to how YOU are handling things. No one is responsible for creating that fine balance in the teacher/mentor role except you. A wonderful quote from the great book 'The Four Agreements' by Don Miguel sums up the great teacher well: 1. Be immaculate with your word - speak only well of others and yourself 2. Don't take anything personally, practice comapssion over ego 3. Always do your best, and know your best fluctuates from day to day 4. Clear your mind regularly and focus on the present moment Keti Sharif 2004

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