dance

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After fin­ish­ing three bel­ly­dance chore­og­ra­phy classes, I knew it was time to really get down to tech­nique. The chore­og­ra­phy classes do go over the moves used in each dance, but it’s kind of a “here’s what it looks like, just fol­low as best you can” pre­sen­ta­tion. It’s been hard to really see what each move involves and to iso­late and per­fect it.

Tech­nique I is the class I needed. Sure, it means I have to make a mad dash to get there once I fin­ish teach­ing — I get out of teach­ing at 6:45 p.m. and Tech­nique I starts at 7:30 p.m. fif­teen miles away through Atlanta evening traf­fic. Luck­ily, unless there’s a dis­as­trous acci­dent block­ing the Top-End Perime­ter, I can just make it, do a quick clothing-change, and be ready to SWEAT.

You wouldn’t think that just pulling in and releas­ing spe­cific abdom­i­nal mus­cles for 45 min­utes would be much of a work­out. Ha! First, you have to FIND the spe­cific abdom­i­nal mus­cles you’re try­ing to iso­late. Unfor­tu­nately, most of my excess weight is in my abdomen, and those mus­cles are try­ing to stay hid­den behind it so they won’t have to work. At least Sabeeya has some tricks up her sleeve to help you find them.

Then you have to tighten spe­cific ones, and only those ones. I can suck in the low­est ab mus­cles by them­selves, but when I try to suck in the pair right under­neath “the girls,” every­thing else in the region wants to suck in also. You’re sup­posed to do this, though, with­out clench­ing up EVERYTHING, espe­cially with­out clench­ing up your butt like you have been con­sti­pated for a week.

The whole name of the game is iso­la­tion — move what you want to move and don’t move any­thing else (though it can come along for the ride). If you can’t do that you can’t layer moves atop moves, you can’t move your top half one way and your bot­tom half another way. After fifty years of slack­ing, those mus­cles of mine are hav­ing to learn a whole new way of work­ing, and they aren’t that happy about it. But damnit, I’m going to dance at least sort of pass­ably so they bet­ter GET happy about it.

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Last time it was Dee’s fault — she arranged for the fusing/flameworking work­shop that made me real­ize I could play with fire in a care­fully arranged home stu­dio. This time it’s Andrea’s fault. She found that Nazeem Allayl Stu­dio offered a Sat­ur­day morn­ing walk-in work­out class at their Perime­ter stu­dio, halfway between her place and mine, and con­vinced me to go with her so nei­ther of us would feel too old or too fat by ourselves.

We were both relieved that first morn­ing to find that she was not the largest, nor was I the old­est, woman there. So we went back the next week. And the next. By then I had found that this was actu­ally do-able, damn good exer­cise plus a whole lot of fun!

When the next six-week class ses­sion came around, I decided what the hell, let’s try a chore­og­ra­phy class as well and learn an actual dance — an actual BELLYDANCE. Yep. BELLYDANCE. Tra­di­tional Raqs Sharki, Mid­dle East­ern folk­dance, is done by women of all ages, shapes, and sizes as part of their own cul­ture, and Nazeem Allayl Stu­dio encour­ages that in their pro­gram, so why not?

So I took one chore­og­ra­phy class, then another, then another. Last week I started a fourth chore­og­ra­phy com­bi­na­tions class on Turk­ish style; tomor­row my basic tech­nique drill class starts so I can learn to do the moves pre­cisely and properly.

I started doing bel­ly­dance for exer­cise, but as I told Scha­dia after class last week, “I want to dance, not just sweat.” For me, most forms of exer­cise are B-O-R-I-N-G and tedious and I won’t stick with them. Bel­ly­dance accom­mo­dates where I am now and gives me lots of room to grow as a fit and healthy per­son — exer­cise I can and hope­fully will stay with as long as I can move.

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