FAQ Spotlight - taking "lower level" classes

When I was a new student, I was absolutely rabid for any new information on bellydance. I was always digging around for new details about the styles I was studying, the classes I was taking, and the teachers I was studying with (or hoped to one day study with). I know a lot of you reading this blog are the same way--you just love reading about the dance, and learning all you can in your time both in and outside of class!

It was in this spirit that I started my FAQ section on my website. I knew other dancers are just like me, and are eager to read up on various topics having to do with the dance. There is a lot to cover, but I tried to focus my questions and answers on the same questions I had when I was first learning. It makes for a long FAQ, though, and it can be hard to find time to dig through it all. So I am going to occasionally post a blog entry featuring one of the FAQ topics I think you may enjoy reading. I welcome any thoughts or feedback on these topics--I am still that same eager student who loves to study and discuss all the angles of this incredible dance form!

Our first featured topic is:

Once I have progressed to the next level in class, why would I want to continue taking the previous level class?

You can read the full FAQ response by clicking the link (the question) above. Sandi of FCBD put it in excellent perspective:

"For me, its kind of like going to yoga classes for a long time. You do the same poses and hear the same words, but you're always able to get better at the poses each time through that verbal guidance. That's what happens with constant practice too. I find that I'm not always successful doing yoga at home on my own because I don't have the guidance and the energy of the other students around me to push me to do it correctly or motivate me to keep the pose for longer.

With ATS, I would always go into a class to not only understand what the teacher is saying, but to get into my body more and try to work on my problem areas."

Right on, Sandi! Have a gander at the FAQ, and please feel free to share any further thoughts you may have!

Q&A: Intellectual Property and Students Teaching

Q. "I was hoping for input from someone who's developed their own [tribal improv] method and the "proprietary" nature of the material.

I have students with their own performing group here in town, but up to now, the group improv format we do in class is off limits unless you're performing with [us], so they don't use it or teach it in their group.

They do, however like to use my choreographies & adapt my choreographies for their performances, & that's OK -

But I know that when we release the [troupe] format on DVD they'll be all over it. I know they'll ask me about using it when it comes out. I'm too close to tell how I feel about it. I don't want to make any blanket statements on it one way or the other (Yes, use it; No, don't use it) based on *nothing*.

Q&A: Workshops don't "do it" for me.

"I have tried some workshops. They don't really work for me. Reason being there is too much being thrown at me in a short space of time. Now, I am not young, not old, but this older brain needs to have the lessons pounded over and over."


You are not by any stretch meant to absorb everything in a workshop, and what you do absorb, you should not expect to get into your muscle memory or master at any level.

It is like a big delicious buffet. You are overwhelmed with choices, and will taste a lot of things you maybe never tried before. You will like some things, and not others, and you never walk away with a recipe list of the things you like. Just a rough idea of what foods, ingredients, and spices you enjoyed most. Then you can take that information home and apply it to your overall diet in some other way, by experimenting with the bits and pieces of culinary details you gathered from your experience.

If you go in hoping to walk out with a complete set of ideas and concepts, wholly in your body and ready to go, you will be disappointed every time. But employing patience with yourself, looking out for what really resonates with you, taking some decent notes, and being willing to let go of what isn't really turning your crank, you can come away with some really valuable new information and a gateway to new skills and ideas that will generate within you as a result of attending.

And remember that workshop teachers vary widely, and their topics do as well. Some workshops are about cramming as much data into one two hour time-slot as possible. Others are about more subtle techniques that you will get to drill with over and over in different ways to explore possibilities. You end up kissing frogs in the process, but even the ones you don't appreciate fully give you some scope to your preferences, and helps guide your personal style.

So even if a workshop seems like it will be a difficult stretch, try it!  See a workshop with a great teacher but with basic techniques you think you have already "mastered"? Take it--it will invariably give you new insights and considerations to help you grow.  See a workshop in a style you're not sure you want to do? Try it anyway. Even if you don't make a shift to that school of movement, details of the work might inform your style in a new way you never expected.  Workshops are a smorgasbord of possibilities. So FEAST and fill that creative tummy with new fabulous inspirations!

The timing of critique.

Recently on an instructor discussion group, a fellow teacher asked a question about giving feedback to a student after a show

---

Question:
"I was recently at a student show put on by another instructor where one of my students performed in a group choreography. At the break she asked me what I thought. I told her that she was doing well with the choreography, obviously knew it, but she needed to get her eyes off the floor and look at the audience some.

She then told two of my other students that were there as spectators (when they all went out for a smoke) that I was criticizing her. Seriously, I didn't think I said anything that would be taken wrong but obviously I did.

I repeatedly tell my students when we start learning about performing in front of an audience not to stare at the ceiling for divine guidance or constantly look at the floor, so this is something that she has heard before, over and over and over.......

What should I have said or not said? If I wasn't asked I would have kept my mouth shut."

"Shay says:
I want to start by saying that I felt your feedback was perfectly appropriate and not at all overly critical. But I think the timing of it was what caused the issue.

iPod Touch worth it?

Today a student of mine asked about iPod Touch on her FB, and it got me thinking about my Touch I got for Christmas and how it has been working out for me in the intervening months. I wrote her a lengthy reply, and thought I would share it here. I know a lot of my fellow dancers and teachers use iPods extensively, and might benefit from hearing my experience.

Q. My ancient iPod classic is on its last legs. Anybody have an ipod touch? Thoughts? Why would I get one of those v. another classic?

A. I have owned three iPods--a Classic 20 Gig, Nano 2nd Gen 4 Gig, and Nano 4th Gen 8 Gig. I hardly ever used my (old, heavy, clunky) Classic 20 Gig to its fullest capacity because it was so hard to scroll through so much music. The click-wheel is truly an incredible innovation, but it has its limits. 20 Gigs was TOO MUCH music, and the interface being limited on purpose for simplicity made it cumbersome to use at that size. Then my 4 and 8 gigs weren't enough. The 4 because it was way too small to keep all my class and troupe music on and still have anything left over for my own listening pleasure, and the 8 because that now had a color screen and was also storing album art, the occasional movie, etc. But even at 8, despite some innovations in the interface software, I was starting to get that old familiar irritation of having a limited interface for a lot of data.

Enter the iTouch.

I got the largest version, because I wanted to be able to use all its features without having to choose what can and can't fit--I wanted all my dance music, plus some music for myself, and some videos. So far I have barely scratched the surface of its capacity, and though I am glad I made the choice to get a large capacity one, most people can probably get away with the mid-range for uses like mine.

As for the interface, it is just as intuitive as the other iPods, but with even more robust navigation options for accessing and working with your data. Though I have more music on it than my other iPods, I can get to it all faster. I can edit on the go playlists without having to start from scratch. When browsing lists, I can skip to a letter of the alphabet without scrolling interminably to get there. I can switch from Album to Artist without going back-back-forward, I just click on an icon at the bottom of the screen. Things just move a little faster, smoother, easier. Also a lot easier to read and see the body of information displayed thanks to a nice big screen.

Plus I have a calendar that interfaces with my Google Calendar, and updates whenever I am near an open WiFi connection (which I am a lot). I have a weight/calorie tracker to help with my diet efforts. Last night pulled up my Last.fm program, plugged it into our stereo, and played a Sneakerpimps-inspired playlist for a party. I ripped a copy of my favorite bellydance video to have on hand for reference of basic movement verbiage used in teaching. I can take a quick note for later reference--the virtual keyboard on these are shockingly easy to use. I have a few games to pass the time when waiting for appointments, or to pass to a friend's child to amuse them while we chat over tea (yes, I have some toddler-specific games for just that purpose ;). The list goes on.

I wish I could have an iPhone, but I won't switch to AT&T (too many friends who have been unhappy). I would love to be able to use 4G and not have to be near WiFi anytime I want to access the net (though I have a G1 phone for that), and I would love a camera in it. But those are my only complaints. I think the iTouch is really handy for my uses. Food for thought.

What do you want to be known for...?

What Do You Want to Be Known For?, a post by Jonathan Fields over on his blog "Awake @ the Wheel".

"It’s a question most of never really think about…

Or, if we do, we think about it fleetingly, then tuck it away for some time down the road…when we’ll be able to finally do something about it.

Then, we go about the business of more or less responding to life, just doing what’s in front of us every day. Soon enough, a few minutes turn into a few hours. Then, hours turn into days, days turn into weeks…and, out of nowhere, we find ourselves years down the road, but still no closer to doing what we really want to be doing.

Still, no closer to being known for what we want to be known for…"

Nervousness when leading improv? Glam it up!

Here is a question from a student regarding how to feel more confident in the lead. Letty always asks really great questions, and she agreed to let me share this one, and my answer, with you all!

I find myself getting rather nervous/anxious at the prospect of leading. Often, this translates into me forgetting moves other than the ones I really know well (like basic Egyptian, hip bump, and Arabic) when I get into a lead position. Sometimes, I even forget the move we've been focusing on just a few minutes before! Do you have any suggestions or advice for dealing with the anxiety that comes with leading?
-Letty


Hey Letty,

Right off the bat, let's get one thing clear: EVERYBODY gets nervous and anxious at one time or another! So you're not alone at all. :) The good news is, in class is the time to make mistakes and feel stuck, and is also the time to work through those moments and be supported by your fellow dancers who know exactly what you are going through! So give yourself permission to be forgetful, feel stuck, and struggle whenever and however as a student. That is what class is about, that is what learning is about. Enjoy the process!