Here We Are Again…An Update.

So.  Almost 3 months after I last posted.  Things have changed – some good and some not so good.  The not so good aside, I’m happy to report I’m back in the dance community here in Richmond, VA. My Tuesday night class is working on a Drum Solo for our June recital and Wednesday we’re also working on a Drum Solo for August…it’s the year of the Drum Solos.

And the best news of all is that I’m more officially official as a dancer that I was at last check in – which hopefully will allow me more opportunities to use this blog to promote Middle Eastern Dance.  In December I was asked to audition for a respected local troupe The Women of Selket. I auditioned in January and earned a spot!  The troupe has been around for about 30 years so imagine my surprise when they called on me to join with only 6 years of training. The experience so far has been a joyful one.  (The past 20 months have been some of the best and worst times in my life.  Coming out the other end of some emotionally trying events I’ve found that as long as I can dance, create and bond with my fellow dancers I can heal. Physically, emotionally and mentally.) With this troupe I’ve already learned some great history of the dance and have the opportunity to not only perform more than before but to meet and train with some talented nationally known dancers. I hope to post here at least once a week – either with some history I learn or about events going on locally.  We’ll see how that works.

 

 

 

 

 

 

On Improvisation

I’ve been taking a class on improving to drum solos.  I feel (as many dancers do) that improv is just about the scariest thing a dancer can do.  The potential for complete disaster is obvious…until you really think about what improv is and that there are rules even for this.  I’d like to share what I’ve been learning.  Improv is so scary for most of us that it is becoming a dying art.  I hope this helps – It has certainly helped me.

Some dancers think that improv is creating something from nothing.  With no set choreography how will you know what to do next?  How will you know what to expect especially with a live drummer?

Hint #1 – The Holding Pattern: Every dancer has a favorite “go to” move.  It’s a move you can execute well and feel comfortable with.  Mine is a maya.  I like this one because it’s very versatile.  It can be big, small, fast, slow, stationary or traveling, smooth or percussive.  And it fits with any 4 or 8 count beat.  Any move works as long as its one you know well.  A traveling move can be a holding pattern too.  I like a step/hip lift – the move itself is simple and you can vary the arm position, add a cross step and vary the tempo and direction easily.  So think about what moves you like best and create a Holding Pattern.  If all else fails use those moves.   It’s ok not to accent every single dum or tek and throw your Holding Pattern in until you think of something else.  The audience won’t mind as sometimes less is really more.

Hint #2 – The Rule of Four: If you’re dancing with a live drummer who is experienced working with Middle Eastern style drumming they will know The Rule of Four.  A good drummer will repeat whatever is happening 4 times.  The first time you’ll just hear it and notice it’s something different that the last thing played.  The second time you’ll try to match your moves it.  The third time you’ll hit it and the fourth you’ll nail it!  Then you know something different is coming so you can go to your Holding Pattern and wait to hear what it’ll be and by the second time it’s played you’ll match your moves to it and so on.  If you’ve practiced beforehand with your drummer The Rule of Four can be broken.  If you know after 4 sets of Maqsum the next thing is a slow Ciftitelli it is easier to think fast.  Which leads me to the next hint…

Hint #3 – Know Your Basic Middle Eastern Rhythms: As a dancer it’s important to know some basics about Middle Eastern rhythms.  If possible find someone who has some knowledge and study with them.  There’s usually a few good drummers in every belly dance community and most often than not they’d be happy to teach you some basics.  Or at least recommend a good CD to get so your ears can become at least familiar with the feel and sound of rhythms like Maqsum, Saidi and Beledi.  Jas’s Middle Eastern Rhythms FAQ is a good place to start on your own.  There are audio examples of each rhythm along with some history and interesting facts.

Hint #4 – The Relationship Between Drummer and Dancer – Have you ever been to a hafla and seen a live drummer and a dancer perform and think to yourself “They make a cute couple!”  That’s because the drummer and dancer have to communicate in order to make even an improv drum solo look great.  The dancer has a responsibility to follow the drummer in the hopes the drummer knows The Rule of Four and the drummer also has the responsibility to follow the dancer..ahha!!  Let’s say the drummer is drumming along and does something the dancer really likes.  The drummer notices this and may keep going with the finger rolls if they see the dancer totally into their shimmy.  Or if the drummer notices the dancer tiring they may slow down to a nice Cifti to give the dancer a break.  On the other hand the dancer can hint to the drummer what they want.  Sometimes a look or a nod can mean slow down or speed up or what the ? are you doing?  It’s a relationship for those few minutes that has the potential to be magic.  It’s a give and take.  If the dancer is dancing with a drummer they’ve never met – even if it’s in a different country – some basic knowledge of the rhythms will go a long way to create that relationship.

Hint #5 – You Don’t Have to Hit Every. Single. Beat.: A drum solo is more than dums and teks.  A good drummer will use fill (additions to the basic rhythm pattern) and technicals (those are the fancy “guitar solos”) to make the solo more interesting.  A drummer sitting there playing Dum-Tek-Tek-Dum-Tek for 4 minutes without fill or technicals makes for a boring 4 minutes for the dancer, audience and for the drummer.  As a dancer you have the choice to follow the basic rhythm, the fill or jump in on the technicals.  If you’re lucky you’ll be able to work with 2 or 3 drummers at once where one is playing the basic rhythm and the others are adding the fills and technicals.  The same way a dancer chooses to work with the melody or rhythm of a song a dancer can make choices with a drum solo.  If all else fails you can always go back to Hint #1.

I hope this makes improv less scary.  I’m still not great with it but with these few hints and practice I hope to become more comfortable.  I’d like to thank 2 great teachers – Shari & Geoff Bennett Speer – for sharing their knowledge and joy with me and the entire Richmond, VA dance community.  If you’re local take a class or go see them perform!