I was reading through older posts on my other blog and came across this.  It kinda is a prequel to my improv post here.  Since it’s dance related I’ve copied it below…

 

I am a belly dancer.  I have been dancing for 5 years.  I perform both solo and in group numbers at recitals, restaurants and workshops.  I can create choreography in a number of different styles including Raqs Sharqi, Raqs Al Assaya and have dabbled in some fusion styling and can also incorporate props such as a veil and/or zils (finger cymbals) into the mix.  I can also learn someone else’s choreography quickly and accurately – I sometimes enjoy this more than creating my own.  It’s a good feeling bringing someone’s vision alive.  I make a lot of my own costumes and can alter store-bought bedlahs (bra/belt sets) to fit.  I have mastered the application of false eyelashes and glitter.  I can teach you to belly dance and have been an assistant in local classes.  There is one thing…that ONE thing that I am still struggling with after 5 years.  Improvisation.  Ugh.

I know some dancers who can show up at a venue not planning on dancing.  Maybe another dancer didn’t show or is stuck in traffic and the hostess of the Hafla needs someone to fill in…as in right now.   They will step up and say no problem!  Somebody grab me a costume out of their car and put any CD in that stereo and let’s go!!  I see those dancers and am amazed.  How do they do that?  They just…dance.  Am I that much of a control freak that I can’t just…dance?

I am 2 weeks into a class to hopefully get me outta my head and just dance.  It’s a class taught jointly by a local dancer and her drummer husband.  The class is focused on Drum Solos for Dancers.  In theory a dancer can dance to any drummer as long as they both know a few basics including rhythms and The Rule of Four (the drummer repeats any pattern at least 4 times and in sets divisible by four; the dancer hears it once to get familiar with it, twice to try out moves to it and third and fourth times to nail it).   The rhythms can be played stripped down without any fill or can be loaded with technicals (for more on different rhythms go here…or better yet go find some drummers in your area).  Most rhythms are 4, 8 or 16 count.  An exception is one of my favorites the  Turkish 9/8 (Karsilama, Havasi or Roman- I have heard it called all three).  I like the feel of it and enjoy the style of dance that goes with it.  I’m also a sucker for a Ciftetelli, or Tsifteteli in Greece which is a 2/4 slower rhythm and good for snakier moves.  Then I sure do like a Beledi…which I just found out is more common in Western Cabaret style than Middle Eastern where it means simply “country”.   “Wow belly dancer lady, it sure sounds like you know your stuff here…Tell us again why you can’t seem to just dance?”

I wish I knew.  I can picture myself doing it and before class every week I have a conversation with myself that this’ll be the week I’m going to jump in the middle of the circle and dance.  And every week I leave class wondering why I didn’t.  I hear it takes practice but how to practice without doing?  Dancing in my head isn’t enough and neither is a few moves in front of my mirror before bed.  I have been asked to be that dancer who just dances at an Art Walk last winter.  I knew the band and was familiar with the music.  I was recovering from surgery so I had to say no (whew!) but I know me and I would’ve said no anyway only to whine and complain later about how I should have just done it.  I see other dancers do it all the time and think to myself I can do that too…

I have a class recital coming up and have decided to venture into the unknown.  I have always loved that Beledi (baladi, balady) style and have my heart set on performing one.  Typically a Beledi piece is an improv within a loose framework.   The best of both worlds perhaps?  I hope to report in the future that yes it certainly is.

Check out Shira.net on the Blogroll for more information on what’s written here.  It’s one of the best sites for belly dance info around.

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!