The Full Routine Playbook

TABLE OF CONTENTS ...... 2 ABOUT NADIRA ...... 3 ABOUT THE GUIDE ...... 4 ABOUT THE FULL ROUTINE ...... 8 THE INTRODUCTION ...... 9 THE VEIL SECTION ...... 13 THE MIDDLE SECTION ...... 18 THE CHIFTETELLI ...... 23 THE DRUM SOLO ...... 27 THE FINALE ...... 31 SO WHAT NOW? ...... 36 DON’T BE A STRANGER! ...... 38 About Nadira

Hi, I'm Nadira Jamal!

I'm a belly dance performer and teacher based in Boston, Massachusetts. I'm the hostess of Taktaba, the video podcast on dance composition for belly dancers, and the creator of the Improvisation Toolkit DVD series. I'm also the brains behind Be Amazing in the Moment, my 90-day improvisation mentoring program.

More importantly, I'm a huge geek. I like nothing better than analyzing complicated systems (like dance), figuring out how they work, and using that information to help you be amazing.

I'm also known for telling corny jokes, and for my gratuitous use of parentheses.

(I'm hoping to limit it to one set per page.)

(Shoot, I blew it already!)

About the Playbook

This playbook started out as a lesson plan. It's based on a curriculum that I taught in my Level 2 class over the course of a 15-week semester.

I've been including improvisation drills in class for a while, but always in the context of a single song. Performing a full routine is very different. In a full-length show, there are all kinds of other considerations, like pacing, variety, and audience expectations.

So my goal for the semester was to bridge the gap.

I wanted my students to:

1. Know how to structure a routine 2. Understand the traditional aesthetics of each section 3. Have at least two improvisation strategies for each section

With that knowledge, they would be able to improvise each section appropriately, and without getting stuck.

Or at least, that was my hunch. So I put it to the test.

And in the final class, they improvised to a 16-minute routine. Not flawlessly, and maybe not fearlessly (yet!). But they showed me that they understood each section of the routine, and that they had the tools to be resourceful and creative in the moment.

(Can you tell I'm really proud of them?)

When my students asked for some notes to help them study, I wrote this guide.

And I decided it was too good not to share.

So I hope you enjoy it, and that you use what you learn to create some amazing, happy dancing.

What's inside Like a football playbook, this guide is a set of strategies that you can draw on in the moment. But instead of sharing football plays, I'm giving you tools for improvising to each section of a 6-part Vintage Orientale (aka American Cabaret) Routine.

We'll start with an overview of the 6-part routine. You'll learn how a traditional routine is organized, and the psychology behind this structure.

Then we'll take a closer look at each section, including: • Its purpose in the routine • Traditional aesthetics • Strategies for improvising to that section • Common mistakes and "gotchas" • Must-know songs

So by the end of this guide, you should understand how a routine is put together, what the audience is expecting in each section, and how to approach it when you improvise.

Sound good?

What's not inside This is a strategy guide, not a comprehensive textbook. There's a lot you need to know that I'm not covering here.

Material If you'd like to start performing full routines, you'll also need a strong background in:

• Technique • Zils • Veil work • Stagecraft and composition • Stage presence • Costuming and makeup

If you're missing any of these skills, ask your teacher, work with a video, or get some one-on-one coaching.

Style These guidelines apply only to the Vintage Orientale routine.

Actually, that's not quite true. This routine structure can also be used for Turkish Oryantal too, with some tweaks in music selection. But we'll be focusing on the Vintage Orientale styling.

Adapting For Arabic style Many of the same concepts can be applied to an Arabic show, but the structure of the routine and audience's expectations will be different. But don't let that stop you! Play with these ideas, and see how you can adapt them to fit that aesthetic.

For more information on Arabic routine structures, I recommend the CD "Dancing with Genies". It includes an excellent Egyptian-style routine, and the accompanying booklet goes into quite a bit of detail.

Adapting For Tribal I don't have enough expertise in ATS and Tribal Fusion to make any specific recommendations for those styles. But all the Tribal dancers I know are inventive and resourceful, so you shouldn't have any trouble adapting my advice to suit yourself.

Just think of the playbook as a menu: take what works for you, run with it, and leave the rest!

How to use the Playbook Everyone learns differently, so there's no right or wrong way to use this guide.

That said, there's a lot of material here. It took my students an entire semester to go through it. So don't expect to blow through it all in one day.

I recommend tackling it one section at a time.

(Get it? Tackling? Because it's like a football playbook!)

(I warned you my jokes were corny…)

For each part of the routine, here's what I recommend:

Learn about that section of the show Read about that section in the guide. Make sure that you understand its aesthetics and its purpose within the routine. If anything is unclear, ask your teacher, or drop me a line.

Listen to the recommended songs The better you know the music, the easier it is to improvise. So I recommend becoming familiar with all the must-know songs for each section. Better yet, seek out several different recordings of each song.

Brainstorm movements that feel like a good fit There's no such thing as "correct" or "incorrect" movements for any section of the routine. As long as you can adapt it to fit the music, you can use any movement you want.

(Except folkloric moves, like the Saidi "horsey kick" - those just look weird when you use them out of context.)

That said, the feeling and tempo of each section is different, so you'll find that some moves fit more easily than others. I will recommend movement families to get you started, but don't let that limit you - experiment and decide which moves you like.

Practice each improvisation strategy Each of the improvisation strategies is a separate skill. And mastering more than one skill at a time is really frustrating. So I recommend practicing each strategy separately, until you can use it without thinking too hard.

Practice the strategies together Once you can use each strategy in isolation, practice using all of the strategies within a single song.

That does not mean that you should use all the strategies at the same time. (That is a recipe for scribbling.)

Use one strategy for a while, and then switch to another when you run out of ideas or get bored.

Practice it in the context of a routine Once you're comfortable using that section's improv strategies in a single song, try practicing them in the context of a full routine. (Or as much of the routine as you know.)

I recommend starting from the end and working backwards. (This is how I taught this material in my live classes.) That way, you're always more confident about what's coming next, instead of getting progressively less confident.

Under this scenario, you learn about finales and practice them. Then you learn about drum solos, and practice drum solo + finale. Then you learn about the chiftetelli, and practice chiftetelli + drum solo + finale. And so on, until you can do a full routine.

Got it? Then let's get started. The Full Routine

An emotional roller coaster As a performer, your job is to manipulate the audience.

Yes, really.

Don't let that make you uncomfortable - we're manipulating them for their own enjoyment. Just like a roller coaster ride, our show takes the audience's emotions from excited highs to intense lows. If we didn't, our show would feel pretty bland.

So as you learn about the structure of a routine, remember the roller coaster:

All you have to do is alternate ups and downs.

Routine structure So let's take a closer look at those ups and downs. The traditional 6-part routine includes six sections (duh):

Introduction A high-energy, splashy entrance piece.

Veil A slow, lyrical song, danced with a veil.

Middle section A medium-to-medium-fast piece, often with a folkloric feeling.

Chiftetelli A slow-to-very-slow song with a snaky feeling. This section may include prop balancing or floor work.

Drum solo A high-energy duet between the drummer and dancer.

Finale A medium-fast to fast section, with a triumphant feeling.

Note: in some communities and venues, there may be an additional section for audience participation or tipping, which would make this a 7-part routine. In my area, this is usually rolled into the finale, instead of having its own section.

Routine psychology So do you see the roller coaster pattern?

We go from fast to slow to medium to really slow to really fast, and then come to an end with medium-fast.

That keeps them on their toes.

By alternating different tempos (and different energy levels), we hold the audience's interest. Just when they start to get used to a high energy level, we slow it down. Just when they get comfortable with slow, we crank it back up.

But there's more to the routine than just tempo changes. Each part of the routine has its own special flavor.

So let's take a closer look at each section. The Introduction

Purpose: a warm-up for the audience The purpose of the introduction is to prepare the audience for the show.

Just like you need a warm-up before your body is ready to dance, the audience needs a warm-up before their minds are ready to appreciate your performance.

To make that happen, here's what you need to accomplish with your introduction:

Overcome sparkle shock We tend to forget that a belly dancer is a pretty amazing sight. When you first enter, the audience is dazzled by your sparkly costume, bright stage presence, and blazing zils.

(Not to mention the fact that there's a real live belly dancer in the room!)

So in the introduction, we need to give them some time to get over the sparkle shock, before the real dancing begins.

Surprisingly, this is even true for an audience of dancers. They won't be dazzled by another belly dancer, but they need a little time to admire your costume, identify the music, or take in other details before they're ready to start paying attention.

Greet the audience You also need to create a rapport with the audience. This makes them feel comfortable and welcome, and helps them relax and enjoy the show.

Claim your space In your introduction, you also want to claim the stage. This creates a container for the audience. It says: "this is my stage space, and I'm in charge of this show." That will help you command their attention.

Set the tone The introduction is also a time to set the tone for the show. You're letting the audience know that they're about to have some fun, and getting them into a party mood.

Aesthetics The traditional entrance for the 6-part routine is welcoming, high-energy, and splashy. The message you want to send to the audience is:

"Hi everybody! I'm so glad you're here! Let's get the party started!"

So traveling steps, spins, and other bold movements are a great choice for the introduction. Avoid tiny, precise moves. The audience isn't ready to for subtlety yet.

Alternatively, you can do a more theatrical, dramatic entrance. This is a less traditional approach, and more difficult to pull off. However, when done well, it can be very effective.

Improvisation strategies Sound like a tall order? It's actually pretty easy once you get the hang of it. Here are some strategies to help you accomplish all that in the heat of the moment:

1) "Pee all over the stage" I didn't make that one up, but I wish I had! That's a quote from Aziza of Montreal.

Now, don't literally pee on the stage. Just claim your space like a dog marking its territory.

As you enter the stage:

• Circle the space at least once. (Twice is better.) • Strut around like you own the place. (Travel, and use the entire stage.) • Make eye contact. (Establish yourself as the "pack leader".)

This tells the audience that you're in charge of the show, and that they're in good hands.

2) KISS Keep It Simple, But Sparkle.

(Yes, I know that should be KISBS, but that's a terrible acronym.)

Remember that the audience is suffering from sparkle shock. They can absorb impressions but not details. So don't waste your trickiest combinations here.

Focus on simple, splashy moves. Some good choices are: • Traveling steps • Turns • Simple hip work

And remember: to pull off simple, you need to sparkle! The audience will respond to your brilliant smile and strong posture. So don't forget your stage presence.

3) Visit Another great strategy is to visit with the audience. Remember our goal to make the audience feel welcome? This is how we accomplish that.

Visiting does not mean leaving your dance space and going out among the tables. (There's nothing wrong with that, but it's usually not effective in the introduction. Leaving your dance space this early undermines the "claiming your space" goal.)

But we can give the impression of visiting by advancing towards an audience member, and making friendly eye contact.

Here are some ways to do that:

• Circle the stage, making eye contact as you pass by • Circle the stage, pausing in different places, and making eye contact with whoever is there • Use the V traveling pattern (visit the left side of the audience, return to center, visit the right side, and return to center)

Gotchas There are a few common mistakes dancers make when improvising the introduction:

Don't enter too soon I know the butterflies in your stomach are screaming: "go go go!", but don't rush your entrance. You don't have to burst onto the stage with the first beat of the music.

Most introduction songs begin with a short drum riff, typically 16 beats long. That riff is there to set the tempo, so take advantage of it! Stay off stage while you get a feel for the beat, so you'll be ready to jump right in when the song itself begins.

Also, when you dance with live music, the band may play a taqsim before the introduction. Think of this as an overture, and wait off stage. It's not "wrong" to dance to the opening taqsim, but it's less traditional, and it's a lower-energy entrance, which makes it harder to do well.

Remember what's visible Most likely, you're going to enter the stage wrapped in your veil, and not remove it until the veil section. This means that your body will be partially obscured for the entire intro song.

So stick to movements that will be visible under your wrap. The audience doesn't need to see every detail of the move, but they should be able to see that something is happening.

Some wraps hide more than others, so be sure to practice in front of a mirror. And pay attention to how the veil itself moves - a "poof" of fabric at the hip can show off a movement even when the body is obscured.

Music for the introduction Most introduction songs are upbeat, happy, and medium-fast or fast in tempo. Almost any rhythm can be used in an introduction, but the most common are Malfouf, Ayyoub, and Maqsoum.

Three songs you should know:

• "Istemem Babacim" • "Azziza" • "Şişeler"

These are some of the most common songs for the introduction, but there are many more. So get nice and familiar with these three, but keep listening and exploring. The Veil Section

Purpose: slow it down In the introduction, we grabbed the audience's attention, and got them excited about the show.

In the veil section, we're going to expand their emotional experience by slowing down.

Aesthetics The veil section is soft, slow, and lyrical. As you gradually untuck your veil, you'll focus on soft isolations in the body, graceful arms, elegant traveling steps, and flowing veil movements.

In the veil piece, we explore tender emotions. If you read the lyrics for most veil songs, you'll find the three Ls: Love, Longing, and Loss:

• "Let me whisper a song to you softly, a song of love" (Erev Shel Shoshanim) • "Your sweet glance has lit a flame in my heart" (Misirlou) • "A bouquet of jasmine, the only memory of my love" (Bir Demet Yasemen)

A small nuance: Slow music can also evoke a smoky or snaky feeling. That isn't "wrong" for the veil section, but we're going to use those in the chiftetelli section. So if you focus on sweeter, tender feelings now, you'll get more contrast later.

Improvisation strategy Here are two strategies to help you improvise the veil section:

Unfolding Think of the veil piece as an unfolding. Just like a rose bud opening into a full blossom, every moment is beautiful. And the process is as lovely as the result.

So take your time, and enjoy each stage of the unwrapping process. The audience will enjoy it too.

In order to make that happen, you need to be aware of each step you need to take in order to untuck your veil wrap.

For example, to get out of my favorite wrap, I have to untuck the front hip, untuck the shoulder, bring the veil around behind me, bring it around to the front, and untuck the front hip. And, of course, I'm fully tucked at the beginning and fully untucked at the end.

That's seven distinct stages for me to play with. So if I'm dancing to a 5-minute veil song, I only need to come up with 42 seconds of material for each stage. That's a LOT less intimidating than trying to come up with 5 minutes of general veil dancing.

Note: Some dancers free the entire veil right away, instead of gradually unwrapping. This isn't "wrong", but it's harder to do well, since it rules out all the lovely things you can do (and all the time you can kill) at each stage.

Another note: If unwrapping the veil reminds you of stripping, think of it as revealing the veil, not revealing your body. You may also be more comfortable with a wrap that doesn't conceal much of your body, so there's nothing to reveal.

Use two modes per stage Another strategy is to break veil dancing down into different modes of dance.

I like to work with four modes: 1. Dancing with your arms (I include the head and shoulders) 2. Dancing with your body 3. Traveling and turning 4. Dancing with the veil

So how exactly does that help you improvise?

For one thing, it helps you keep your focus. Instead of throwing in everything you know, you can just focus on arms for a while. Then play with traveling for a bit. Then play with the veil. And so on.

We can also use this as a pacing tool. Try to use at least two modes in each stage of the unwrapping process. If you're not sure whether it's time to move on, ask yourself if you've used two modes yet.

Note: That doesn't mean that you can only dance to one mode at a time. You can certainly mix modes within a combo. But you should only focus on one mode at a time. You can decorate your traveling with arms, while still focusing on traveling.

Gotchas Here are a few common mistakes dancers make in the veil section:

Don't rush to your veil As soon as the slow music starts, your hand wants to go to the veil. It's like it has a mind of its own, and all it knows is "slow music = play with the veil".

But the audience is not ready for the veil yet.

Remember that you've just finished a high-energy intro. The audience needs some transition time to get used to this new slow song. If you introduce a new element (the veil) before they do, they won't be quite ready to appreciate it.

So I recommend the One-Verse Rule.

For the first verse of your song (30-60 seconds), don't use your veil. You can dance with your arms. You can dance with your body. You can travel. You can spin. Just don't touch the veil yet.

In addition to giving the audience some breathing room, this also forces you to slow down and connect with the music.

Have a plan for snafus Veils are pranksters. They may behave beautifully in practice, but they're just biding their time. All the while, they're plotting different ways to trip you up on stage.

So I recommend making a plan for when: • You drop one end of the veil • The veil gets twisted • You lose the edge of the veil • You grab the wrong end of your veil • The veil gets caught on your face • The veil gets caught on your costume bra • The veil gets caught on your costume belt • The veil gets caught on your earring • The veil gets twisted around your finger cymbals • Your bangle bracelets slide down your hand and string themselves onto your veil.

If any of those seem far-fetched, your veil may have tricked you into complacency. Every snafu on that list has happened to me in performance.

And I've heard even more horror stories from other dancers: • The veil gets caught on a ceiling fan • The veil gets caught on a disco ball • A breeze or draft makes the veil misbehave • You step on the veil and leave a visible footprint • The veil catches on something and tears • The veil gets singed by a candle.

Can you think of any other potential problems?

You can't prevent veil snafus. But you can prepare for them.

Music for the veil section The veil section uses soft, lyrical music. The tempo is typically slow to medium-slow. The Bolero and Rhumba rhythms are most common, although some veil songs use a slow Maqsoum.

Three songs you should know:

• "Bir Demet Yasemen" • "Erev Shel Shoshanim" (aka "Amen Aravod" or "Yarus") • "Misirlou"

There are many other songs for veil, so don't limit your collection to just these three!

The Middle Section

Purpose: "meat and potatoes" In the veil section, we explored tender emotions, and soft, lyrical moves.

In the middle section, the tempo picks up, and the veil no longer hides our bodies. So this is our first opportunity to use our "meat and potatoes" moves. (Or "chickpeas and lentils" moves, if you prefer.)

The middle section is all about "regular" dancing.

Aesthetics The introduction and the middle section both use upbeat music, but they have very different feelings. The introduction was exciting and splashy, while the middle section is earthier and more grounded.

Sharp, heavy hip work is the most obvious choice, but don't get stuck in a rut! Mix it up with some soft moves, ribcage isolations, belly work, arms, and traveling steps.

The middle section also tends to have a more folkloric feeling. Try channeling your inner "sweet and sassy village girl". That image makes me feel confident and earthy, but also feminine and sweet.

If the music is in the Saidi rhythm, this is a good time to dance with a cane.

Improvisation strategy Because the middle section uses just "regular dancing", many dancers find it harder to come up with ideas in this section. Your choices are far less limited, so it's hard to make a choice.

So I'm including several strategies for improvising to the middle section, rather than just two or three. (Don't let the number overwhelm you - just choose one at a time.)

Spatial contrast In the middle section, we can't rely on "flash" to keep the audience interested. The flashy spins of the introduction, and the cool veil tricks of the veil section just don't work here.

We're going to use contrast to keep the audience's interest.

Contrast is "the juxtaposition of dissimilar elements", i.e., playing with opposites. Contrast keeps the audience engaged, because it introduces change. And change is an attention-grabber.

We can create contrast with almost any quality in our dancing, but let's try doing it with space.

To create spatial contrast, you can mix and match: • Dancing in place • Turning • Traveling

So, how do you use that in the moment?

In short: pick one quality and play, then pick another and play:

If you've been doing hip drops in place, try turning with them. (A simple but elegant variation!) If you've been traveling for a while, do something in place for a bit.

This is a very effective way to keep things interesting, and it's easy.

All you have to do is ask yourself "how long have I been doing this?"

If the answer is "for a while", just pick one of the other options.

Compositional skeletons For the middle section, it's also helpful to have some go-to material that you can draw on in the moment.

We all have go-to combinations, but combinations aren't very versatile. You can only repeat them so many times before you get bored. And if they don't fit the music, you might not get to use them at all.

Instead, I suggest having go-to frameworks for building combinations on the fly. I call these compositional skeletons.

A compositional skeleton is a set of instructions without specific moves. As you plug in different movements, you can create many different combinations. And since it's more flexible than a set-in-stone combination, you can easily adapt it to the music.

Here are some of my favorite skeletons:

Go somewhere, do something, go somewhere else, do something. That's it.

Go to a particular spot on the stage, and do whatever appeals to you. Then go to another spot on the stage, and do whatever appeals to you.

How you get there and what you choose to do there is up to you.

For example, you could: • Travel downstage with step-hit, do some hip drops, travel back upstage with step-hit, and do some figure 8s. • Walk proudly in a big circle around the stage, stopping in front of various audience members and showing them your shimmy.

3-step turn, do something, 3-step turn, do something This is exactly what it sounds like: you do a three-step turn, do whatever you want, do another three-step turn in the other direction, and do whatever you want.

Simple. Easy to remember. Elegant.

You probably already know the three-step turn, but if you don't (or if you call it something else) you can find a cute tutorial at: http://www.youtube.com/watch?v=Iv6vWYx65qQ

You can use the same "something" both times, or change it.

AAAB This framework is what I call an "alternation pattern". This is a recipe for mixing and matching two movements to create a combination.

To use an alternation pattern, just choose two movements, and mix and match them according to the recipe. This particular recipe, AAAB, is commonly found in the music.

For example, if you choose hip drops with kicks (drop, drop-kick) for your "A" move and a body wave (upward undulation) for your "B" move, you'd get:

(Drop, drop-kick), (Drop, drop-kick), (Drop, drop-kick), (Body wave)

Regardless of what moves you plug in, you're creating a consistent pattern (AAAB) for the audience to follow. And that will help you keep their interest.

(Tip: you can also use AAAB to mix two mini-combos into a longer, more complex motif.)

Play your zils If you're a competent zil player, I highly recommend that you play during the middle section.

Finger cymbals add an extra layer of energy and interest to your dance. So basic dancing with zils can be as interesting as more complex dancing. (Sometimes more interesting.) Plus, the audience expects to see them.

If you're not ready to play and improvise at the same time, make that a goal for the future.

Gotchas Here are some common mistakes dancers make during the middle section:

Don't scribble My most important advice for the middle section is to avoid scribbling.

Some people call this "kitchen sink dancing" or "over-dancing". Whatever name you use, it's a Very Bad Thing.

Scribbling means that your dancing has too much material, and too little structure. This is a recipe for losing the audience's attention. As I said before, if the audience can't follow your train of thought, they are going to get overwhelmed, and stop paying attention.

This is a MUCH bigger topic than I can go into here. (I made a 2-hour DVD on creating structure, and still didn't get to include everything I wanted.) But I do have some tips to get you started.

Here are a few things to keep in mind: • Repetition is good! (You get bored just when the audience starts to get it.) • Revisiting old combos is good! (Like the chorus of a song, familiar is good.) • Use fewer moves, and play with them. • You don't have to hit every beat, every accent, or every note. • You don't have to dance to every instrument. (Especially not at once!) • Slow down sometimes. (Fast is exciting at first, but gets monotonous.) • The music tends to come in chunks of 8 beats. (Work them!) • BREATHE

(I go into a lot more detail on repetition and structure in Episode 2 of my free video podcast, Taktaba, and in Improvisation Toolkit Vol. 2. Check out the Resources section for links.)

Letting your creative well run dry Since the middle piece is all about "regular dancing", you have no crutches. You can't rely on dazzling them like in the intro, and you don't have a prop to distract them, like in the veil section. This means that there's more pressure to come up with new material on the spot.

This is much easier if you keep your creative well full.

So keep learning new combinations, especially versatile ones that work with many different types of music.

Learning full choreographies can also be a great source of material and inspiration. They can introduce you to new ideas and stylings that you would never think of on your own.

However, choreographies are usually composed for a specific song (and usually a specific recording of a specific song). So the material you learn may not come to you easily in the moment, since you're out of the context of the full choreography.

So when you find a combo or idea you like in a choreography, practice it on its own. Try it with different types of music, and figure out how to adapt it.

When you're comfortable adapting it to different contexts, it will be much more accessible to you in the moment.

Songs to know The middle section typically uses heavier, earthier music, often with a folkloric feeling. The tempo is usually moderate, although it can be medium-fast.

Middle sections can use almost any rhythm, if it's played at a moderate tempo, but the most common are Saidi, Maqsoum, and Masmoudi Saghir ("beledy").

Three songs you should know:

• "Al Ya Ein Moulayetein" (aka "Şașkin") • "Hebbina" • "Hizzy Ya Nawaem"

And keep exploring! You may also want to collect songs in the Saidi rhythm. The Chiftetelli

Purpose The chiftetelli section is the beginning of the second half of the show. So we're going to build some dramatic tension before the climax.

Have you ever been on a roller coaster? You know how they usually save the biggest hill for the end? And before you go down the hill, you inch your way up slowly, building up the anticipation before you go hurtling down?

That's what we're doing in the chiftetelli: building up the energy and anticipation, so we can release it with a bang.

Aesthetics The veil section and the chiftetelli are both slow, but they couldn't be more different. Where the veil section was light and lyrical, the chiftetelli section is snaky and slinky.

The most traditional movements for this section are smooth isolations like hip circles, figure 8s, and undulations. Sharp accents do have a place, but they are the sprinkles on the cake - use them sparingly.

Incorporating a "specialty" like prop balancing (sword, tray, etc.) or floor work is also appropriate. This is a very traditional option for Vintage Orientale.

The emotional content of the chiftetelli is often smoky or sensual, as you enjoy the delicious feeling of the snaky movements. Alternatively, it can be spiritual or introspective, inviting the audience in to your inner world.

Either way, we're drawing them into a hypnotic trance.

Improvisation strategy Here are some strategies for improvising the chiftetelli section:

The melody vs. the rhythm A great strategy is to alternate dancing to the melody and to the rhythm.

Dance to the melody for a while, then when you run out of ideas, switch to the rhythm. Then when you get bored, switch back to the melody. And so on.

Focusing on one aspect of the music at a time: • Makes you feel less frazzled • Helps you create more coherent dance ideas • Gives you an "out" when you run out of ideas - you can just switch

Simple moves with dimension In the chiftetelli section, what you do is a lot less important than how you do it. (This is true for all of the sections, but especially the chifti!)

Busy dancing is the fastest way to break the chiftetelli trance. So instead of throwing in lots of movements, choose just a couple, and use them in many different ways.

My teacher, Amira Jamal, calls this "dimension". Tiny variations can turn a one-dimensional move into nuanced, three-dimensional dancing. So explore as many different ways to vary it as you can imagine.

For example, with figure 8s, you could:

• Do them in different planes (horizontal, vertical, etc.) • Do them in different directions (front vs. back, up vs. down) • Do them with different body parts (two hips, one hip, ribs, wrists) • Do them at different speeds • Do them in different timing patterns (like quick-quick-slow) • Do them with different movement qualities (loose, gooey, etc.) • Decorate them with different arms • Decorate them with additional layers (shimmies, extra loops, etc.) • Travel with them • Turn with them • Interrupt the shape (ex, repeating one loop of the 8) • Mix and match them with other moves (but always coming back to the main idea)

Or anything else you can think of!

Dimension is one of my favorite strategies because it's an antidote to "kitchen sink" dancing. Instead of jumping from move to move, you work with just one idea at a time, but create many interesting variations. That's gorgeous, and much more enjoyable for the audience.

Imagery An excellent strategy for the chiftetelli is to focus on a specific image while you dance. For example, you could imagine:

• Falling leaves • Wafting incense smoke • Splashing water • Spinning spider webs I love this strategy because it gives your dancing intention. This helps you focus, organize your dance into complete "thoughts", and get out of your head. The audience probably won't recognize a specific image in your dancing, but they'll see a difference.

(Tip: don't try to mime your image; instead, try to evoke it with belly dance moves. For example, descending wrist circles are very evocative of falling leaves. But if you need to warm up to the process, you can start with miming, and gradually move into dancing.)

Gotchas Here are some common mistakes dancers make during the chiftetelli:

Sultry face Sensuality is an important part of the dance. (That's an awareness of your senses, which is a different thing from sexuality.)

But if you try too hard to communicate sensuality, you may find yourself making the infamous "sultry face". This looks silly, and gives people the wrong impression.

Your sensuality will communicate itself. Just relax, and focus on experiencing your senses. Your body will do the rest.

Using specialties as a crutch If you choose to incorporate a specialty in your chiftetelli, don't forget to actually dance!

When used well, balancing and floor work are fabulous additions to your show. But they can be a crutch to hide bad dancing.

A good rule of thumb is: if you removed the prop, would you still be interesting? If not, it's a distraction, not an asset.

Music for the chiftetelli The chiftetelli rhythm is used in many different kinds of music, and at every tempo from very slow to very fast.

However, in the chiftetelli section of the routine, we dance to a very specific type of music: instrumental solos played over a slow chiftetelli rhythm. The tempo can range from very slow to medium-slow.

These solos are improvised creations, instead of composed songs, and so each one is different.

Here are some chiftetellis I recommend for training your ear:

• "Phaedra's Veil" from Mystical Veil by Mal Barsamian • Chiftetelli section of "The Seven Veils Routine" from Sirocco by John Bilezikjian • "Chiftetelli" from Live From Detroit by Ara Topouzian*

* This 10-minute song is great for practice, but far too long for performance. Which is a shame, because it's exquisite.

There are many wonderful chiftetellis to explore. Many are named just "chiftetelli", while others have names like "Phaedra's Veil". So you may need to listen to clips in order to know what you're getting.

The Drum Solo

Purpose: the climax The drum solo is the climax of the routine.

Throughout the routine, we have been building up to this point. Of all the ups and downs of the emotional rollercoaster, this is the highest peak.

After the slow drama of the chiftetelli, the drum solo picks up the pace, and builds to a dramatic crescendo.

Aesthetics The drum solo is all about building drama.

It starts out contained and controlled, and gradually builds up the excitement, until it is released in an explosion of energy.

This means that much of the drum solo is done in place, using shimmies and precise isolations. Traveling is typically used sparingly, and usually comes later in the piece, as the excitement is coming to a head.

That does not mean that you should avoid traveling in a drum solo. Traveling is an excellent choice when it fits with what you hear in the music. But in general, the drum solo uses less traveling than other sections of the routine.

The drum solo is also about interaction.

We call it a drum "solo", but it's actually a duet between the drummer and dancer. The drummer is the leader, but the dancer is a partner, not a puppet.

That interplay is part of the appeal of the drum solo.

So you choose how to respond to what the drummer is giving you. You might: • Mimic the rhythm • Respond to the accents • Mark out the underlying beat

If you're dancing with a good live drummer, he'll often respond to what you're doing as well.

Improvisation strategy Here are some strategies to help you improvise your drum solo:

Groupings of 4 The drum solo is an improvised piece, but it isn't random. Even though it is being created in the moment, it's organized according to certain guidelines and rules.

The most common pattern in the drum solo is 4 groupings of 8 beats.

This could be: • Four very similar repetitions with small variations (A1-A2-A3-A4) • Three identical repetitions, then a big change in the fourth (AAAB) • Alternating variations (ABAB) • Two identical repetitions, then two more of a variation (AABB)

But all four repetitions will be closely related to each other, so the group of four makes one larger statement. (Just like several related sentences make a paragraph.)

You can follow this pattern in your dance.

There are many ways to work with groups of four. One of my favorites is to build complexity.

Here's how that works:

On the 1st repetition: Get familiar with the phrase. While you listen, use simple dancing, like shimmies or marking out the beat. If you happen to catch the accents (or other features of the phrase), great! If not, don't worry about it.

(If you're familiar with the rhythm or pattern it's based on, you might be able to catch some of the major features.)

On the 2nd repetition: Refine your understanding of the phrase. This time around, try to predict the accents (or features). Notice where you guessed right, and where you were off. You can use simple dancing, or try for a little more complexity.

On the 3rd repetition: Do something cool with the phrase. Now that you know where the accents/features are, you can try something more complicated. That may involve adding more "stuff" (ex: different accent moves), or refining what's already there (ex: prettier arm frames).

On the 4th repetition: Do something different. Now that you've got the phrase down, it's time to introduce something unexpected.

You can: • Change the way it ends • Add a special flourish (a turn, a bolder accent, etc.) • Swap in different moves • Change your arm frame • Do something entirely different

Remember that the drummer may play the 4th repetition differently (AAAB). That's a great cue to add something unexpected at the end.

This strategy is especially effective because you start simple, and gradually get more complex. This gives the audience the time they need to keep up with you.

Shimmies/accents/filler This strategy is a way to organize your drum solo options.

Instead of having to sort through everything you have ever learned, you only have to choose between: • Shimmies • Accents • Fillers

Shimmies are any movements that vibrate: hip shimmies, twisting shimmies, shoulder shimmies, belly flutters, you name it.

Accents are sharp movements: hip drops, hip snaps, chest drops, belly pops, etc.

Fillers are anything else: traveling steps, smooth movements, etc.

To use this strategy in the moment, just pick one.

Decide whether you're going to work with shimmies, accents, or fillers. Then just play with that category for a while. You can do whatever you'd like within that category.

For example, if you chose shimmies, you could: • Mix and match different shimmies • Vary just one shimmy (timing, layering, orientation) • Decorate them (arms, accents, poses) • All of the above

Once you've had enough, switch to a different category.

Why does this work? Shimmy/accent/filler limits your choices, so it's easier to make a decision. You only have to compare a few options, so you can choose one quickly in the moment.

And once that choice is made, your brain switches from "choosing" mode, to "creating" mode. And that's where you'll do your best work.

Troubleshooting Here are a few common mistakes dancers make during the drum solo:

Panicking Because the tempo is fast, and there's a lot going on in the music, it's easy to get lost and panic. But when you panic, you stop listening. So keep your cool: breathe deeply, listen as best you can, and stick to simple dancing until you find your bearings.

Busy dancing Because the music is so exciting and complex, it's tempting to try to reflect all of it at once. This makes your dancing busy, and hard to understand. And when the audience can't understand what you're doing, they lose interest.

You don't have to respond to everything you hear in the music. Choose just one idea to focus on at a time.

(Okay, sometimes it's nice to respond to two things at once. But not too often.)

Songs to know Like the chiftetelli, drum solos are traditionally improvised, and so each one is different. However, they often draw on the same patterns and riffs. So the more drum solos you listen to, the more comfortable you will be with unfamiliar ones.

Here are some drum solos I recommend for training your ear:

• "Ya Alea" from Shake 'Em Up Drum Solos by Carmine Guida* • Drum solo section of "Mid-East Routine" from Mystical Veil by Mal Barsamian • "Ten to Twelve" from Lavender by the Middle Earth Ensemble.

* Note: This is an unusual drum solo: the sequence is consistent and very traditional, but each section is repeated twice as long as in a normal drum solo. That makes it excellent for learning and practicing, but too repetitive for performance.

The Finale

Purpose: resolution The purpose of the finale is to resolve the show.

A movie never ends immediately after the most exciting part - there's always a final resolution scene that wraps up any loose ends, and lets you know that everything is going to be okay. Without that scene, all that pent-up emotion leaves the audience unsatisfied.

So in the finale, we need to: • Resolve the dramatic tension you built up in the drum solo • Say goodbye to the audience • Create a final impression.

Aesthetics Like the introduction, the finale is usually big and splashy. The finale also has a triumphant quality - you just gave a great show, and you should be proud!

It's your last chance to make an impression on the audience, and you want that impression to be "wow, that was fantastic!"

So this is a good time to revisit the simple-but-splashy moves, traveling steps, and spins you used in the introduction. But since you're no longer wrapped in the veil, you now have many more choices.

Improvisation strategy Here are some strategies to help you improvise the finale:

Circle & boom In this technique, you just circle the stage (the circle), and then do something dramatic at center stage (the boom).

Let's take a closer look at that:

The Circle

The purpose of the circle is to signal to the audience that the end is coming soon. You're gathering up all the energy you gave off during the routine.

You can circle the stage with a traveling step, or just walk proudly around the stage. (Walking with great posture and stage presence is triumphant enough - it's like a victory lap.)

Depending on the music, you may want to make two circles before you do the "boom". That's very effective, especially when you do it in the opposite direction.

The Boom The purpose of the "boom" is to create a memorable, dramatic moment.

Depending on the cues in the music, some good choices would be to: • Spin • Shimmy • Use accent moves

Sometimes you can even do something simple but bold (like hip drops), as long as you maintain the triumphant feeling with your posture and expression. Just explore your options, and see what says "boom" to you.

Timing How you time the circle & boom depends on what the music is giving you. What you hear in the music is a matter of personal style, so there's no right or wrong way to time it.

But a good place to start is to listen for the "8s". Most music is organized in groups of 8 or 16 counts (2 groups of 8). We can use that fact to help guide our timing.

Some common timings for circle & boom are: • 12 counts of circle, 4 counts of boom • 8 counts of circle, 8 counts of boom • 8 counts of circle in one direction, 8 counts of circle in the other direction, then some boom

Frequency Try to do the circle & boom at least twice during your finale: once at the very beginning of the finale (your victory lap), and once at the end (landing in your final pose).

If it's a very short song, you could actually do the entire finale using only circle & boom. Just plug in different traveling steps for the circling, and different options for the "boom".

Make a final visit Say goodbye to the audience by making a final visit to each section.

Some good ways to do this are:

• Travel forward and back ("It's been great seeing you! But I'm leaving!") • Travel in a V pattern (visit the left side, return to center, visit the right side and return to center) • Travel side to side (i.e., visiting each side of the audience) • Travel in a circle, stopping to visit at several points

End with a bang Don't just slink offstage when your show ends. Plan a dramatic final pose, a lovely bow, and a graceful exit.

Poses There are many possible poses, so explore and find one you like. For inspiration, look at CD covers, or watch YouTube videos of dancers you admire, and look at their final poses. Try to land in that pose at the end of your final "boom".

Bow The audience wants to applaud for you, so don't deny them the opportunity! Include a graceful, unhurried bow at the end of your show.

If you don't already have a bow, start with a simple courtesy: cross one leg behind the other, and gently dip your knees. Better yet, do it twice - one on each side.

You can decorate it by: • Doing a "giving" gesture with the arms • Adding wrist circles • Placing one or both hands over the heart • Blowing a kiss • Adding a small turn between the two courtesies

If you need some ideas, watch some YouTube clips of dancers you admire, and see what they do.

(Tip: if you're dancing with live music, always bow to the band as well.)

Your exit Your show doesn't end with your bow. Until you're out of sight of the audience, you're still "on". So practice leaving the stage in performance mode.

Gather up your veil and any other props you left on stage. (Do it gracefully - bend at the knees, not the waist!)

Then exit the stage with style. You can dance your way off-stage with simple traveling steps, but you don't have to. You can just walk proudly off-stage, waving to the audience as you go.

(Tip: if your hands aren't full, play yourself off with your zils.)

Gotchas Here are some common mistakes dancers make during the finale:

Visible relief After your drum solo, you may be pretty tired. So by the time the finale comes, you may be thrilled that it's almost over.

But don't let that relief show on your face or in your posture. You set the tone for the audience. You want them to be sorry that the show is over, not relieved!

Sparkle lapse When you're tired, it's also easy to let your posture slip. That ruins the triumphant feeling of the finale.

So hold a little energy in reserve, and do whatever it takes to keep your chest lifted, arms strong, and face open and expressive.

Rushing Don't rush through your exit. It gives the impression that you're running away from the audience.

You can move quickly - just don't hurry. That says: "I'm sorry I have to go! But it has been a blast! "

Songs to know Finale music is usually upbeat and happy, and often has a triumphant feeling. The tempo is usually medium-fast to fast.

Two songs you should know:

• "Tutah" • "Ah Ya Zein"

A very common option is to end the routine with a reprise (shorter version) of the introduction song.

It's also common to end a routine with a fast 9/8, such as "Rompi Rompi", "Mastika", and "Marinella". However, 9/8s require special styling, and the rhythm may be unfamiliar. If you don't know how to dance to 9/8s, avoid them for now. So what now?

By this point you know quite a bit about the 6-part routine:

• How the routine is structured • The emotional roller coaster • What is expected in each section: o Purpose o Aesthetics o Must-know music • How to dance to each section o Improvisation strategies o Common mistakes

So where do you go from here?

Practice, practice, practice! The most important thing you can do with this knowledge is to apply it. There's a Papua New Guinean proverb: "knowledge is just a rumor until it's in the body". Make sure that it gets into your body, and stays there!

You can: • Include an improvisation drill in your regular practice sessions. • Set aside a regular time for just practicing improv. • Incorporate improv in your next show (whether it's the whole routine, a single song, or just a thirty second section).

Listen, listen, listen! A great way to integrate what you've learned is to listen to full routines. Put together a playlist that's organized into routines, so you can listen on the go.

The most common length for a full routine performed in a supper club setting is about 25 minutes (4-5 minutes per song).

You can also make it as short as 15-18 minutes, by choosing shorter songs (2-3 minutes per song) or by omitting a section or two.

For party shows, you'll want a shorter routine, around 10-15 minutes. To get this length, you'll need to choose shorter songs and omit some sections.

It's perfectly okay to omit sections, but don't forget about the emotional roller coaster! You need to take the energy levels up, down, and up again.

Some common mini-routine structures are: • Introduction, veil, drum, finale • Introduction, chiftetelli, finale

Chunk it down While you're learning these skills, focus on just one thing at a time. Choose just one topic, like one of the improvisation strategies, and work on it in isolation.

Once you get the hang of it, you can start applying it to a full song, and then to the full routine. But until then, don't bite off more than you can chew. That's frustrating, and it impedes your learning.

Branch out I introduced each improvisation strategy in the context of one section of the routine. But many of them can be applied to other sections as well.

For example, I suggested "dimension" for the chiftetelli because it comes in handy in that section. But you can apply it literally anywhere in your dancing.

So try applying different strategies to different sections of the routine, and to different kinds of music. You'll be amazed what you can create.

Create your own strategies I've introduced you to some of my favorite improvisation strategies, but there are many, many more. A great exercise is to come up with your own strategies.

A strategy needs two components:

1. An action, such as "choose one of these categories and play" 2. Limitations, such as "the categories are shimmies, accents, and fillers"

The action gives you a clear goal to pursue. The limitation narrows down your choices, so you can make quick decisions.

Your strategy also needs to be simple, so you can remember it in the moment.

Build your skill set When you work through a program like this, you may run into some gaps in your skill set. This may be a technique issue, like discovering that you can't do your traveling steps at the fast tempo of the introduction. Or it could be a skill that you're missing, like not knowing how to play zils.

These are not emergencies.

It is important to keep learning and growing. But it's easy to get overwhelmed by all the things there are left to learn. So don't beat yourself about the gaps in your skill set.

Instead, work on one tiny piece at a time.

Make a list of everything you feel you need to work on. Choose just one thing, and put the list away. Narrow that one thing down to the smallest chunk you can imagine, and work on just that piece. When you're done, take on the next tiny chunk.

If you keep repeating that process, you'll steadily close those gaps. Resources Here are some resources to help you on your improvisation journey:

Taktaba Confused about dance composition? Check out my free video podcast, Taktaba: http://taktaba.com/video-podcast/

The Improvisation Toolkit Frustrated by improv? Build your improvisation skills from the ground up with the Improvisation Toolkit DVD series: http://nadirajamal.com/improvtoolkit.html

Coaching Need some personal feedback and direction? I'd be happy to help. I offer: • One-on-one coaching programs • Private lessons (live or over Skype) • Online courses • Video critiques

And if you're not sure what you need, drop me a line. I'll be happy to help you find what you're looking for. Don’t Be a Stranger! Email me: [email protected]

Visit my website: http://www.taktaba.com/

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Say hi on Facebook: http://facebook.com/NadiraJamal (Chattier personal account.)

Acknowledgements Big thanks to my Spring 2012 Level 2 students, for being my guinea pigs as I developed this curriculum.

Special thanks to my teacher, Amira Jamal, for giving me old-school tastes, and to the Freddie Elias Ensemble, for playing so many wonderful routines for me.

Photos by Michael Baxter (blue costume) and James W. Anderson (red costume).