Resources

This resource page is dedicated to that hard fought insight I have gained over the past fourteen years.

'Resources' means to me sharing experiences as well as sharing the subtleties and aesthetic information of music & costuming.

Bellydancing holds many exciting possibilities for each of us.

Some engage this dance as a pleasant pastime, or a unique way to exercise. For me, it is my passion.

Because I went into bellydance with such passion, and very little personal support and direction, I'm always reminded of saying "The Top Five Things I Wish My First Bellydance Teacher Would Have Shared With Me".

When I first started bellydance, internet resources for dancers was in it's nebula stage. Acquiring legitimate resources took a great deal of time, research and networking. Library research is still the best research tool available to dancers.

As professional dance teacher and academic, I value highly the importance of understanding the socio-cultural influences and perceptions of what constitutes bellydance. I look beyond. I dig deeper and very critically assess what the internet "says" or other dancers perceive and promote what bellydance is, or isn't.

The internet is rife with mis-information about bellydance. There are plenty of sites/resources on the internet that contain accurate information, plenty which are subjective and lack academic rigor. When searching for information about bellydance, always question the source of your information. Seek out first objective and credible resources of information about bellydance: from the people of the country it originates in. In the zeal of creativity and artistic license, the historical and cultural origins of bellydance are wrongly being perpetuated in the public arena. It has been my experience that people think Tribal Bellydance is authentic to Egypt and the Middle East. Dancers need to acknowledge that there are vastly difference perceptions, beliefs and practices that cross-pollinate between North American and Middle Eastern dancers about what constitutes the origins and/or styles of "bellydance". Please speak up and educate others regarding any mis-information and/or inaccurate information.

Choreography Vs Improvising?

Choreography is a good and necessary tool for learning and indeed, performances. I have found that improvisation my dancing as a soloist is a much more challenging concept. I only improvise my performances. Improvising allows me the grace to project my mood and feelings, in which I find a sense of freedom, is an essential core aspect of artistic expression. If you can freely show your feeling and moods, rather than look like a beautifully formed flower that has no scent or soulful substance, you are a strong dancer. I have never choreographed my performances for the past 11 years, and I feel it has made me a much stronger and technically capable dancer for it. If you are bound by choreography, please try to take improvising into your daily practice routines. You'll find how much more exciting and stronger your dance skills will become and you'll never get bored.

Please be aware that you could possibly be limiting your performance opportunities at large events/groups if you solely improvise. It has been my experience that some groups will only permit dancers with a solid choreography to audition for a chance to perform in shows. Understandably, the show organizers do not want surprises in their show, so an audition process is a very good tool determine what will be presented beforehand and lay out guidelines what the dancer can/can't do during his/her performance. It would be clear during an audition process that despite the fact the dancer is improvising: the dancer either does, or does not, posses fundamental dance skills sufficient enough to be in a show. An objective and unbiased adjudicator would see the strengths and point out areas of improvement during that process, rather than deny cart blanche on the basis of improvisation skills are seen to be 'unskilled/unrefined'

Pearls of Wisdom

There is one genuine resource that cannot be found on the internet. It is the insights and wisdom of a teacher. The 'resources' that I have appreciated the most are from colleagues who have shared their experiences with me. I am grateful to you all. Since there are no accreditation standards of teaching within bellydance; anyone can call themselves a teacher. There are 'teachers' who only have one year, or sometimes less, of dance training or experience. If you are searching for a teacher, ask him or her plenty of questions. An experienced teacher will not be threatened by questions, rather will encourage your questions. This is the sign of a teacher who you would want to learn from.

Because of this lack of standardized accreditation, I have embraced the attitude that it is the wise teacher who strives to be a positive role model and resource to their students.

As a teacher and mentor to my students, it is my hope when they become teachers and performers themselves someday; they will continue to set a positive example to their students as they were shown by me as their teacher.In my fourteen years of dancing, since 1993, bellydance has brought me much joy and happiness. Many times I have experienced moments of frustration, self-doubt, and an subjected to non-constructive criticism and transparent attempts by others to limit or sabotage my potential or opportunities as a professional teacher and dancer. I have taken some real hard knocks in this dance.

Out of my passion and love for the dance and personal determination; I took those knocks on the chin, got back up and put my zills back on. I decided I would not be dictated to by others, rather I will dictate to myself how I will dance. I took this as This determination is due in part to one lovely outstanding dancer and friend from Silver Spring, Maryland named Elizabeth Artemis Mourat.

Artemis graciously has given me permission (thank-you my dahhling..) to repost her article: "Critism the Cloaked Compliment" (click on this link to read it)

Any resource I could possibly share with my students: this article has to be the 'it'. If you value the words of Elizabeth Artemis Mourat, give her proper intellectual credit should you provide it to others as a resource

Passionately Live and Dance by these Life Lessons!

Copyright: Yasmin, Serpentine Communications

1. Life shouldn't and won't be choreographed.

2. Hitting every beat is not necessary, or advisable.

3. Pauses help create dramatic build.

4. Life experience brings richer emotional content to creative expression.

5. Projecting emotion is more important than executing flawless technique.

6. Understanding culture and language are essential.(You should never lip synch to a song when you don't know what the words mean.)

7. Love thy fat and let it jiggle.(Amen Sister!)

In Egypt experienced (read older) dancers are valued. They are certainly much more fun to watch