As Printed in the Quarter 3/05 (July/August/Sept) issue of The Belly Dancer Magazine)

Choreography Basics

Nabeela El Shalimar

     Structuring a dance number is very time consuming and will require some responsible dedication.  This is jut ONE way of making the process more enjoyable.  Starting with the bare bones and putting on the muscle necessary to flesh out a dance piece.  You will embellish, polish, define and refine before the piece is ready to perform.  The end result is worth the effort.

     The desire to choreograph a piece of music is a very personal and rewarding endeavor.  Many times the choice is dictated by a group effort, as in; a shoe request or troupe.  If you choose to dance in a group there needs to be some order to the performance piece or your performance can easily become a chaotic disaster.  Even a seasoned professional will many times choose to dance to a choreographed number.  Do a little research so your choreographed piece will reflect and enhance the finished product you would like your audience to see.  Total viewing enjoyment is the goal, not audience confusion.  Don't forget this is just one way of making the process work for you.

CHOICE OF MUSIC

1.  Choose music you really enjoy listening to…..A LOT.

2.  Find music you truly enjoy dancing to…..A LOT.

3.  Unless your intent is to do a paced piece, stay away from music that has few changes in tempo unless it is very short.  This can make a lackluster performance under the best conditions so have a total picture of the end results.

4.  Choreograph to music that matches your dancing abilities.  This is a good time to stretch your imagination as you increase your dance skills but you must be able to do the moves well or they will not look polished on stage.

5.  Find out what the music is about, i.e. war song, love song, prayer, song of lament, folk piece danced only by men, etc. (You can look real silly dancing gaily to a prayer or doing slow lovely veil to a song about lost crops).

6.  Taylor your moves to match the culture trying not to take too much license.  The audience should be able to recognize it.  You don't want to look like you are completely ignorant.  Do some research, ask, etc.

LISTEN TO THE MUSIC REPEATEDLY

1.  Become familiar with the entire piece.  Become comfortable with music changes.

2.  Listen not only to the notes and beat but the intent of the piece.

3.  Understand the flow.

4.  Try not to get too attached to the sound of the drum.

5.  Mentally separate melody and rhythm.  Note the same with our moves.

6.  Note similarities or opposites in songs that are sung.  What are they singing about?

7.  Relax and let your imagination flow with the piece.  Mental Playtime.

COUNT THE BEATS AND CHANGES

This portion is crucial to the finished product.

1.  Get someplace where you can concentrate.

2.  You will need paper, pencil, and a stop watch.  (earphones ay help)

3.  Listen to the piece to time it (covers are not always reliable for this).

4.  Now count each beat using 4/4 and/or 4/8, etc.  Note any breaks in music.  This is very time consuming but an absolute must.

5.  Repeat step four at least three times.  Your ears can play tricks on you.

6.  Now, break the piece down into units, i.e. introduction, opening, stops, first movement, change, repeats, etc.  Use the counts to separate the units.

7.  If at this point you are still in love with the music, move on.

GET UP AND DANCE THE PIECE

1.  Begin writing down the moves that work well and keeps the flow going.  If a mirror is available put it to good use.

2.  Be aware:  dance movements should match the culture.  Do some research, ask, internet, etc.

3.  Start with the foot patterns.  (at this point be very basic)

4.  Work on a number of combination steps that will be repeated throughout the dance as a bridge within the choreography.

5.  Dance and write, stop and recount; making necessary adjustments.  Repeat as needed.

6.  Next add the arms, hands, and facial expression, etc.

7.  Do not rush this portion of the creation process.

TIME TO EMBELLISH

1.  This is a good point to begin adding accent moves.

2.  As the dance comes together incorporate shimmies, put in some pause for effect, drops, different turns, stops, etc.

3.  Embellish but try not to clutter with excess movement.  The moves should reflect the music.

4.  To keep the piece from becoming one dimensional (flat) do not leave out level changes.

5.  Dance all-out.  If you have an audience, ask for feedback.  Take notes.

6.  Get in front of mirrors if available.  See if the dance works.

WORK WITH THE SPACE AROUND YOU

1.  Your dance space is ALL around you.

2.  You should use the entire floor space, floor to ceiling, wall to wall.

3.  Push the dance movement beyond your physical space.

4.  Connect with your audience and beyond the room.

5.  Do not leave out the corners of the room or the airspace.

6.  Work life elements into your choreography so it will be alive.

WORKING WITH OR WITHIN A DANCE COMPANY OR TROUPE

1.  Plan your choreography with the entire group in mind.

2.  You will need to structure the movements with additional elements in mind.  Trying not to run into each other on stage comes to mind.

3.  Keep the dance flexible so that both an odd and even number of people can perform the piece.  This is a lifesaver if not all members can attend an event.

4.  With group work you must keep in mind the use of staged space.

5.  The transitions will need to be planned differently so the flow remains smooth.  As you make changes in position plan your traffic patterns as part of the choreography.

6.  Be sure all learn the more complicated moves well so the piece will perform well.

7.  The entire group should reflect the same spirit of the piece.  Happy, mysterious, etc.

8.  You must even plan hands, (palm up or down) expression, focus, posture and more.

POLISHING YOUR CHOREOGRAPHY

1.  Review choreography for intent, flow, cohesiveness, staging, etc.

2.  Does music, costume, and message remain consistent?

3.  While wearing costume use the mirrors (rent space if necessary) to see if the choreography works.

4.  Trim any over-the-top movements or gestures.

5.  Are the transitions smooth? (Not cumbersome, seamless, not jolting?)

6.  Can you get where you need to be on stage in time?

DANCE IN A NON-THEATRICAL ENVIRONMENT

*  Now is the time to test your work in front of an audience.

*  This could be another dance group, senior center, trusted and knowledgeable friends.

*  Ask for feedback or prepare your own.

*  This is how you will begin to set the piece.

TEACHING THE CHOREOGRAPHY (TO GROUPS OR INDIVIDUALS)

*  Review the choreography just like a report.

*  Explain intent of piece, place in history, music, costume, intended audience.

*  Dance the choreography so it can be seen full length.

*  Walk through the piece in sections, starting at the top. 

*  Repeat sections six times as you string the choreography together.

Nabeela El Shalimar: Teacher/Performer - “The Belly Dance Diva”, 206-325-9677