Pixie Princess
Bellydancing
I got my first taste of bellydancing while I was pregnant and have been fascinated ever since. I took a beginner class at the YWCA during my third trimester to strengthen and tone my abdominal muscles. I am by no means an expert but I love the art.
REMINDER: ALWAYS spend at least 10 minutes warming-up before you start your dance. This not only protects your muscles but will ensure that your body is fluid and graceful when you START to dance, and not just when you have been dancing for a while.
Warming-up may seem unnecessary when you are all hyped-up and 'hot-to-trot', in fact it can even seem a tiresome waste of time, but it is VERY important - if you want to dance to the best of your ability.
Basic Stance: Knees slightly bent; pelvis tilted to tuck the buttocks under.
Egyptian Walk: This is an advanced variation of the Upward Vertical Figure 8. When your foot takes the weight you drop your hip DOWN. Knee bent, hip down; hip out to side; other foot and hip lifts. Repeat opposite side. Smooth this out into a very fast, very small move, using tiny steps to move around. Take care not to become pigeon-toed. A forward hip swerve may be added as you gain confidence.
Camel: This step needs considerable flexibility in the spine. From the Basic Stance take a small step forward, pushing with the other foot so that the torso juts forward and upward. As the feet come together, ripple the torso backwards and down. Imagine you have a loose hinge at the waist-line and you are pivoting your hips and chest backwards and forwards on this hinge, until you get an undulation; taking a small step forward with each repetition. This step will also travel sideways/ diagonally.
Hagalla: Upper body is calm; all the movement is in the lower section. Very small steps, not more than the length of your foot. From the Basic Stance, R knee is straight, L knee bent (45o). Weight on the R foot. Shift weight to L foot, knee straight and bend R knee, lifting foot and lifting R hip. Imagine you are a puppet and somebody is pulling your R hip upwards with a thread. Step onto R foot, knee bent, shift weight onto R foot and straighten knee. Bend L knee, lifting foot and L hip. So that as you step onto a foot the hip jerks up and down with a large downward movement. A variation, is to slide your hips to the right or the left. Summary: Bend the straight leg and lift it quickly from the hip before stepping onto the foot and bending the knee. Immediately do the same with the other leg. This is a very quick movement and causes your hips to move up, down, backwards and forwards, creating a great deal of movement with your coin belt.
Suraah: Very small, VERTICAL rib cage circles, bend the spine only a little bit inward (so your upper body profile looks almost like a C), try to make small vertical rib cage circles again. Straighten the spine and ‘slide’ the rib cage to the right and do vertical circles, then slide to the left and repeat the small circles. A variation is to slide the rib cage to the right, 2 small vertical circles, a horizontal half circle across your front, then 2 small vertical circles on the left, then a horizontal half circle across your back.
Zaïda’s SHIMMY: Start your shimmy at the hips, let it imperceptibly move up to the chest, then as imperceptibly to the head, then back down again. As the shimmy leaves the hips, the hips become stationary and the movement is all in the chest, then the chest becomes stationary and only the head moves. This will take a bit of practice to get the isolations and to get the flow of the movement so that is becomes almost an undulation. Very effective and always produces a gasp from the audience.
BELLY RIPPLE: Relax your body. Feet parallel and knees slightly bent, stomach muscles pushed out slightly. Start tilting the pelvis upward, whilst pulling in the stomach muscles. The arch in your back should be nearly straight. Make a 'wave' backward, then forward with your pelvis. Slowly relax your abdominal muscles and bend slightly forward at the waist, creating a 'rippling' movement of back and hips.
PEACOCK WALK
Basic stance... leading with the hip, slowly drag one foot around to the front....dragging the top of the toes on the floor. Tentatively tap the ground lightly with the tip of your big toe (as if you were a peacock, disturbing insects in the ground). Place that foot down and repeat move with other foot.
Very small, delicate steps in a straight line as if walking a tightrope... slide, tap, step - slide, tap, step.
Add snake arms, holding a veil. Pause after a few steps, bend the front knee and lock the back knee across the calf of the front leg, flutter the snake arms with veil. Rise and repeat sequence.
PEEK-A-BOO
Left foot remains in one spot and just pivots as the body turns.
Right foot lunges forward then backward past the left foot as though you have taken a big step forward or a big step back.
Two lunges forward and back then turn to the left... repeat west south east, till you are facing forward again.
Arms.... left hand just cups your hair on the left side of your head... not touching hair right arm stretches forward and points as the right foot lunges forward left arm stretches forward and points as the right foot lunges backward and the right hand comes under the LEFT cheek, back of hand touching the cheek.
Head turns to right and tilts so that you give a cheeky look over your shoulder out of the corner of your eye.
HEAD SLIDES
This isolation moves the head on the neck…. sideways. Left to right. The body and shoulders remain still and the head…. slides. Be sure to keep the head absolutely upright and not tilt the chin to the side.
To get the feel, place your little fingers on your collar bones on either side of your neck, the thumbs are held upright and almost touching your cheeks. Move your head so that your right cheek touches your right thumb, then the other side… to the left. Make sure you do not tilt your chin to make your cheek touch your thumb. As your neck muscles gain flexibility, you will be able to move the thumbs further and further apart until you do not need this prop and can do head slides, ‘look Mum, no hands!’.
Once you have gained sufficient neck movement, hold your hands close to your chest in the ‘prayer’ position. This creates a centre marker point to emphasise the head movement. You can hold one hand at your chest and one hand above your head, but still in the ‘prayer’ position even though they are separated by your head and thus form a frame.
You can hold both hands above your head in the ‘prayer’ position, thus framing your head with your elbows. The ideas are limitless.
An alternative to the head slide is to keep the head immobile and to slide the body.
Keep your head still and slide the entire body to left or right. Make sure you do not counterbalance your hips by leaning your chest the other way. The whole body must remain upright and as a single shape, maintaining perfect alignment. Totally upright.
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