Guedra

I had the wonderful fortune to attend a workshop by Morocco - the dancer not the country - on Guedra. I first learned about this "dance" (we'll get back to that later) years ago in the SCA (Society for Creative Anachronism www.sca.org) and have participated in many guedras over the years. Attending this workshop gave me the opportunity to clarify a few questions and to learn the "dance" from the main instructor in the United States. For a background on Morocco and her research into this "dance" see www.casbahdance.org and look for her article on "Dance as a Community Identity" about the Berber National Identity and Guedra.

First off - the reason I keep putting the word dance into quotations is that one of the things she emphasized was that this was NOT a dance, but a ritual. "It's not a dance, it's never been a dance, and it never will be a dance!" I've always heard it referred to as a dance and this one statement completely changed how I thought about this ritual. The article listed above will give you a good background on the ritual and why it's performed. I'm not going to go into that - I'm sure you can all read! ;)

Some of the things that I took away from this workshop:

1. Clapping and Chanting: This was presented in a much different format to how I've always done it. The method I was using worked, but the method she presented was much simpler and less structured. I can't wait to try it out!

2. Magic Necklace and the Man's role: This was really cool! While only a woman can perform the guedra - men do have a role in this ritual and I loved the "magic necklace", which is the term Morocco used for the necklace that the guedra wears. The idea of a community building their own magic necklace that is then used for guedra was really enticing!

3. No Flailing: I'd always understood that the increased movement or "running man" or "flailing" at the end of the ritual was necessary to trance. Morocco was very clear that this was not so and could even be very dangerous to the woman performing the ritual! I spoke with her after the class and her best guess was that this came from a staged performance that she and her troop did where two of the girls added such movement in order to increase the umph of the performance. It was not traditional to the ritual and not necessary in order to trance. So while there is swaying and chest lifting - the arms are held fairly steady at shoulder level and the chin is just gently lifted and turned. Morocco said that if everything else was done correctly the movement was not needed in order to trance. The trance was about the energy work - not the movement. I've never liked the flailing at the end of the dance due some neck issues and was quiet happy to hear I could stop performing it that way!

4. Drum Rhythm: I'd always read that the drum beat was a heartbeat rhythm, but I've never - not once - had such a rhythm played at a guedra that I'd participated in. Most of the time the rhythm played was a Moroccan 6/8 - which works just fine, but isn't authentic. Morocco had a CD of several performances of guedra recorded in the 1970's and the difference in the sound is profound. I think the heartbeat will assist in the trance and it's much easier to play. Can't wait to try this one out either.

All in all it was a really great class - more lecture than movement, although the time we spent practicing the hand flicks, salutations, etc was really fun and I definitely felt it in my wrists the next day! It was also wonderful to see this legend in belly dance perform not once but three times in the show that evening. Morocco is a "granny" of belly dance and let me tell you what - it doesn't take amazing strength moves or super ooey-gooey undulations to create a great performance. I truly began to comprehend why they say in Egypt that no woman younger than 40 can be a great belly dancer - she has nothing to say. Well Morocco had something to say and I was thrilled to be able to listen that evening! I hope that when I'm a "granny" of belly dance that I can rock the stage - literally - with my shimmies that go on forever! Take that Belly Bunnies of the World!

Halleyah

Student Recitals

Most students decide at some point that they want to perform. Some students want to perform right away and others take a bit longer to get their confidence built up, but usually they all want to perform. I mean they've spent time, money and effort learning how to dance and they want to show it off. All very natural - I'm a big fan of performing myself! ;)

What many students don't think about when this urge comes over them is exactly what "performing" entails. Since a first performance is usually at a student recital, I'm going to use that as our example. There are rehearsals to attend, choreography to learn, costumes to purchase or make, accessories to purchase or make and usually some extra make-up to purchase. There are often photos to have taken, tickets for the show for family and friends, dvds of the show, etc, etc. "Performing" can get expensive fast!

Aside from the money, there is the time. Most shows rehearse for at least 8 -12 weeks as least one hour a week, sometimes more. It is good manners to show up for all of these rehearsals, so that is a major time commitment. Often students don't realize how important their attendance is. First performances are rarely solos, so if one person doesn't rehearse, then the whole group ends up looking bad. It's selfish and unprofessional to not consider how an individual's actions effect the group. Some teachers require extra paid classes if you should fall behind, others just remove the absent student from the show. Some do nothing and in my opinion that is a disservice to the student. It teaches them that they have no responsibility to the group and just causes future escalation of the issue. But to each their own!

Members of a performance need to show up on time, know their choreography and practiced outside of rehearsal time, be warmed up and ready to go, be dressed appropriately and remember to bring their props to rehearsal, to show up in a good mood, and work hard to not let their own personal frustrations (Why can't I get this right?!) to effect the group. It's not OK to snap at the other students, roll your eyes at the director, or stomp off in a huff! It makes rehearsals tense and stressful for the group and while we all feel frustration - it's our job as mature adults (and I'm assuming we all are mature adults here) to manage their own emotions. You may think that your frustration isn't showing, but most of the time everyone in the room is aware if someone is angry or upset and certainly if you start snapping at folks it's pretty obvious. Take a minute to go to the restroom or get a drink of water from the fountain in the hall (even if you brought a water bottle to class) so that you can take a deep breath and let go of your frustrations in private where others won't be effected. It will help you to feel better and it will contribute to the group and make others more willing to assist you as you try to do better.

All to often students think they know better than the director. This tendency really seems to come to the forefront during preparation for a show. The director says, "Be here at 1:00pm" and the student thinks, "Oh I don't need that much prep time! I'll arrive when I need to." The director says, "No food or drink in the dressing room." The student says, "Oh, I'm an adult I can manage not to spill." The director says, "Don't wear strong perfume." The student says, "I can't live without my perfume - everyone else will be fine with it!" I could go on and on - but I'm sure you get the idea. Please - PLEASE - give your director the benefit of the doubt that she/he just might know what they are doing. PLEASE! I know that for every one of those little nagging rules, there is a very good reason in my shows. Things happen over 20 years and you learn a few lessons - also the director may well have knowledge you don't. For instance perhaps one of the students is asthmatic and strong perfume could cause an attack on the day of the performance causing this student to be unable to perform! How horrible would you feel if that happened? I mean this poor lady spent the same time and money preparing as you did - not because one person couldn't follow the rules or thought that they knew better someone is horribly disappointed. Trust that your director knows what she/he is talking about and that there is a reason for what they do.

Things to remember on the day of the show:

1. Bring everything you might possibly need! Check your list twice and then do it again!

2. Show up on time. Allow time to get lost or park or whatever if you've never been to the location before.

3. Stay calm and considerate. Nerves are running high on the day of the performance for everyone. So do your best to be calm and flexible. Things happen that are beyond anyone's control - loss of air-conditioning, delays, sound mess-ups, lighting issues, etc. STAY CALM!

4. Do not leave the performance venue for any reason until you are finished for the day, evening, or show. Accidents can happen and how terrible for everyone involved if you get in one while running to the corner drugstore for something!

5. Allow time for visiting the friends and family that come to see you after the show. Don't book your time so closely that you have to dash off immediately following a performance. It's rude! They were gracious enough to buy tickets and take the time to come and see you, at least you can chat with them for a few minutes.

6. Be dressed, in full hair and make-up, and warmed up ready to go well before your stage time! You don't want to be the person who causes the whole show to be delayed or worse yet, be in the bathroom when your music starts!

7. Manage your own physical needs. Make sure you drink enough, eat if need be, take medications, don't stand around all day until your feet swell, etc, etc. You know best what issues and needs you have. Don't expect others to remember all this on the day of a show. You are responsible for your own needs.

8. Be considerate of others when you are not performing. Don't hog the mirror, don't make noise backstage, don't parade around in public before the show in full costume and no cover-up, keep your supplies, clothes, etc in as small a space as possible, pay attention to time, be kind and helpful and please try to overlook the other performers not in your group who may not be as well trained as you are. Nerves explain only so much bad behavior, but it does no good to start WWIII backstage during a show. Wait until afterwards to let your director or the dance school owner know about any incidents.

9. Follow the building rules. The venue will have rules that may not be what you are used to. FOLLOW THEM! Many dance schools have lost venues due to the bad behavior of one student. Don't be that student!

10. Last, but not least - Have a good time! You've earned it! You've worked hard, so take the time to take a deep breath and enjoy the day!

"Performing" can be one of the greatest experiences in your dance studies. Just remember, you're not the only one on the stage and your needs and desires do not take precedence over the other performers who are just as excited as you are about this special day.

Halleyah

It looks like my advanced students and myself will be performing at the Conyers Fine Arts Festival with Dominy School of Performing Arts on Saturday May 16th. As soon as I have the venue and times, I will post them. I hope to see you there! 

Also, on Saturday May 30th 1-5pm I will be hosting a Hair and Make-up workshop for students looking to explore the fantasy "Gypsy" look. This workshop is designed for my students who are participating in the June recital, but there will be good information for anyone interested in this theme. Jennifer Harmon, a professional hair and make-up artist, will be the co-instructor for the seminar. We will be covering stage make-up applications and achieving the "natural" look without disappearing under heavy stage lights and will also be looking at several loose hair styles that will give you that fantasy "gypsy" look. Those interested should contact me at holliewilliams (at) gmail (dot) com for details and fees. I hope to see you there! 

Halleyah