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Tonight in the All Level Technique & Jam class at the Unified Training Center, we’ll be going over horizontal figure 8s (with turn!) and Egyptian (with 1/4 and 1/2 turns!). Since we’ve posted a handout to this before, here’s a quick link to make it easy to find.
For general class information, look no further than this page.
The following is a handout we provide to students with guidelines on costuming for performing with the class.
For more information about our belly dance classes, please check out the class info page.
Before we begin, I should note that we use the word traditional loosely. Tribal belly dance has not been around terribly long – when we say that something is part of traditional tribal costuming, we mean that it is part of the norms established for recently invented tribal belly dance. We do not mean that it is part of any particular culture’s traditional dance costuming. That said, some items do hail originally from other cultures (and some don’t), there is much to be learned about these traditions, and it’s definitely worth doing some research.
COSTUMING GUIDELINES
Guidelines for costuming for casual performances (such as Satchels) and full performances (such as art fairs or more public performances). See the ‘Costume Pieces Definitions / Explanations’ for further information on each costuming piece and further guidelines.
SATCHELS / CASUAL PERFORMANCE GUIDELINES:
- CHOLI OR HALF TOP – Either Choli / Half top or Halter / Dance Bra (or Both) Required
- HALTER OR DANCE BRA – Either Choli / Half top or Halter / Dance Bra (or Both) Required
- BELLY COVER – Optional
- HIP SCARVES – at least one Required
- TASSEL BELT – Preferred
- OTHER HIP DECORATION – Optional
- SKIRT(S) – Either Long Full Skirt or Full Pants (or Both) Required
- PANTS – Ether Long Full Skirt or Full Pants (or Both) Required
- SHOES – Optional, but a good idea due to the location
- JEWELRY – Required
- MAKEUP – Required
- HAIR DECORATION – Required
- COVERUP – Required
FULL PERFORMANCE GUIDELINES:
- CHOLI OR HALF TOP – Required
- HALTER OR DANCE BRA – Optional unless otherwise noted
- BELLY COVER – Optional unless otherwise noted
- HIP SCARVES – at least one Required
- TASSEL BELT – Required
- OTHER HIP DECORATION – Optional
- SKIRT(S) – Required
- PANTS – Required
- SHOES – Optional
- JEWELRY – Required
- MAKEUP – Required
- HAIR DECORATION – Required
- COVERUP – Required
COSTUME PIECES DEFINITIONS/EXPLANATIONS:
CHOLI OR HALF TOP – Shirt that cuts off around the ribcage area. Cholis are the traditional top for tribal bellydance. The hard line creates emphasizes upper body isolation and movement.
HALTER OR DANCE BRA – Decorative halter or bra style top (often w/ coins, shells, mirrors, beads, etc.) specifically made for dancing. These can (depending on cut and circumstance) be worn alone or over a choli or half top, though in tribal bellydance the more traditional way to wear them is over a choli.
BELLY COVER – form fitting shirt, leotard, or body stocking worn under the choli (optional in most circumstances). MUST be form fitting to allow for visibility of undulations, etc. This can be opaque, sheer, lace, net, etc. It should coordinate with the costume and be contrasting in color with the top and bottom (or scarves) so lines are still made for visibility of isolations.
HIP SCARVE(S) – at least one scarf – fringed, beaded, coined, or otherwise – in colors that stand out from your skirt (and belly cover if worn) – these create lines that allow your hipwork to be more visible and can be tied to create more bulk at the hips which create shape and also make hipwork more visible.
TASSEL BELT – Belt or scarf with (usually yarn) tassels. Traditional tribal bellydance attire. Tassels swing, bounce, and otherwise emphasize hip movement.
OTHER HIP DECORATION – coin belts, chain belts, etc. – Add movement, sound, and adornment.
SKIRT(S) – In most cases full, long skirts – broomstick skirts, circle skirts, 10 yard skirts, 25 yard skirts can all work. 10 and 25 yard skirts are the traditional choices. Panel skirts and shorter skirts can be layered over other skirts and very full pantaloons – especially with a lot of scarves and hip adornment, but by themselves they do not create a full enough (or covered enough) look. Skirts should in most cases be worn with pants. The exceptions would be in extremely hot and/or casual performances. In these circumstances especially, the skirt should be full and long and you should still be wearing at least hotpants underneath. Skirts (worn over pants) can be tucked up in various ways to create different looks and shapes (frequently done in traditional tribal bellydance).
PANTS – Pants should with very few exceptions be VERY full. Pantaloons (full pantaloons), flare pants, and palazzo pants are the primary acceptable choices. Pantaloons are the only pants worn in traditional tribal bellydance. The only time smaller pants are acceptable is under a skirt worn down. In that case, less full pantaloons, jazz pants, etc are acceptable.
SHOES – Shoes (usually optional) should be flexible enough for your feet to move well. The soles should allow you to turn. Shoes made specifically for dance are usually the best choices: ballet shoes, jazz shoes, Hermes sandals, lyrical shoes, etc. No matter what shoes you choose – make sure that you have practiced in the shoes and are comfortable dancing in them.
JEWELRY – At least some jewelry should be worn at ALL performances. A good guideline would be at least a necklace, a bracelet on each arm, and a ring on each hand. This is a MINIMUM. The tribal look is not understated.
MAKEUP – Makeup should be worn at ALL performances. This should be performance makeup, which is much more than you would wear for a night out. A face without makeup or minimal makeup will be washed out on stage and in pictures and its facial expression will disappear. We do not require any specific makeup palate or decorations at this time. You may use decorative markings if you so choose. If you do choose to use any decorative markings, it is a good idea to research and be sure you know if they are purely decorative or if they have meaning in certain cultures and decide if you want to portray those meanings.
HAIR DECORATION – At least some hair decoration should be worn. This can be as small as a decorative hair clip and as extensive as a headdress full of flowers and hairfalls and whatever else you can imagine. Traditional tribal headdress is a turban. We have never done turbans in our tribe.
COVERUP – Outer garment worn whenever not actually on stage — should at least cover belly (even if you are wearing a belly cover with your costume). In more formal situations, the more of the costume that can be covered up, the better (at least upper and particularly decorated portions of the costume – bra should be as covered as possible if you are wearing a costume bra). Options can include scarves tied around over the shoulder (especially for more casual performances or performances in very hot weather), veils, caps, coats, caftans, etc. The coverup should be attractive and present a nice overall appearance with your costume, as this is what the public will see any time you are not on stage. The more formal the performance, the more your cover up should cover (full caftans are popular for this type of event).
CIRCLE PIVOT WALK:
Basic Cue:
- Body twists slightly towards stage right (Left side towards audience – head still facing over left shoulder), right leg bends up on toe, right hand pulls up as if pulling leg by a string, left hand down behind left hip similar to hipwork position. Move begins on next downbeat going to the right.
Variations:
- Turn:
- Cue – when move completes a cycle and prepares to go right again (positioned in basic cue position again) turn head over right shoulder instead of left shoulder.
- 1/4 turns – move completes full cycle to right and left facing all 4 sides.
- Lead passes around formation for timing and body angles.
CHOO CHOO ARC TURN:
(see Maya / Choo Choo Handout for Basic Cue and other Variations for Choo Choo)
Cue:
- Left arm (originally in 5th position) comes down to meet right arm and both hands gesture out towards audience.
Specifics:
- From here, both hands come to right hip and stay there as you do a gradual turn around to the left – lead passing around the formation for timing and body angles.
- As you return to the original position the arms arc around making a full circle through the left, overhead and back into original choo choo position (left arm stops in 5th, right arm continues down into second).
- Follow original lead for timing – this should begin once the original lead can be seen again.
Variations:
- The move can end after the arc turn, but commonly is followed by one or two regular choo choo turns to the right.
- These are not assumed and must be cued as usual with a head turn each time.
- The arc turn can be followed by another arc turn, any number of turns to the right, turns to the left or no turns at all.
The circle is a really fun formation! It’s a great way to change things up a bit, taking a break from the standard chorus and center stage group formations. Circles are the only time that *everyone* gets to be dancing the same moves together at once. The visual impact of having everyone out there is nice, and there are some neat moves that really seem to look nicest in the circle.
There are some special things to keep in mind about circles though, because it’s not possible for everyone to see the leader at once, or even to easily tell who the leader is. To account for this, there are some special cues and procedures for circles so that you can keep them looking crisp, and maintaining variation and interest.
So, without further ado, here are some guidelines to know for circling, so that you’ll be able to figure out what is going on if you’re following, and so that you’ll know how to take the lead when you’re ready!
Cues:
- The “follow me” cue is a quick, tight 3-step turn (to the left) on releve.
- From Chorus to Circle – “follow me” cue in front of chorus line with long yip or zaghareet, then proceed to lead group into circle.
- From Circle to Chorus – “follow me” cue with long yip or zaghareet and break off to lead the line from the circle into the chorus.
- To take over lead in Circle – “follow me” cue with short yip and move into the next move you want to cue.
- The person behind the new leader will mimic the “follow me” cue and proceed into the move the new leader cued.
- Each succeeding person in line will do the same, such that the new move cascades around the circle, like dominoes.
- A dancer will never spin and start the new move until after they see the person in front of them do it.
- The person that cued that move will know it has made it all the way around when they see the person in front of them begin the new move.
- From Formation to Circle – leader of formation begins whatever move they wish to start the circle in, and then does a quick, uncued half turn to the right to face the rest of the formation. Everyone makes eye contact, backs up slightly and prepares, and begins moving in a circle on the next downbeat (with the move they were doing before the leader turned).
- From Circle to Formation (4 people or less) – new formation leader yips as they approach the front left corner of the performance area and turns away from the circle to face the audience. Everyone else falls into standard formation (they should already be very close to one of the ‘spots’ in the formation as the circle naturally passes over them).
Moves:
- Arabic Hip Twist
- When this move is done in the circle pairs can cross the circle using Arabic.
- When a pair is crossing, the circle stops moving and holds their places until they fully rejoin the circle and start it moving again.
- Walking/Marching movements
- Examples: Twist March, 3/4 Shimmy, Traveling Single & Double Hip Bumps, Maya, Taxim, etc.
- When these moves are done in the circle, short solos (and duets if there is room) can be done in the center of the circle.
- Egyptian
- When this move is done in the circle, it cues that the circle will be doing stationary moves.
- The move can start out stationary, from someone taking over the lead in the circle and then going into the stationary Egyptian facing the center.
- The move can be started traveling, and then someone can choose to make it stationary (indicating their intent to go into stationary moves).
- When doing stationary moves in the circle, everyone must keep track of who the leader is, until the next cue for a change of leaders. (In all other cases in the circle, taking of the lead is done in order to cue a move change, and there is no ‘set’ leader – one must always claim the lead to change the move.)
- When doing stationary moves in the circle, verbal cues are necessary for turns, since a portion of the circle cannot see the leader.