Ruric-Amari Home Page » Classes » How I Dance
Belly dance (Middle eastern dance, oriental dance) started out as a dance performed by women for women (on occasions as diverse as parties and childbirth) and it remains a personal expression of delight, energy and joy.
Belly dance starts with an upright torso, an open chest, aligned pelvis, soft knees (and an open heart!). Contrary to what many Americans think, real belly dancing does not consist of tipping your pelvis back like a fashion model and shaking your hips in a 'sexy' way. Proper dance posture allows you to move powerfully, even as a beginner, to layer movements one on top of another, and to express emotion in the way most appropriate for you. Undulatory movements move energy freely from one part of your body to another; traveling steps bring energy up from the earth into your body; layering movements transform the dancer into a dancing galaxy.
So now you know why belly dancers are always smiling!!
American belly dance, which is what I perform, emphasizes traditional Oriental dance technique adapted to reflect American experiences and culture. Hence, the use of music from all over the world; the inclusion of flamenco, gypsy Rom, modern dance, and Polynesian movements and influences; and the use of props (such as swords and veils) as partners in my dance.
My 'partners in the dance' are my sword, veils, candles, zills and improvisation. Swords add a very spiritual and meditative aspect to the dance, and veils add wings. Candle dancing in a darkened room or outdoors at night is a divine masquerade; the dancer becomes two spiraling points of light to the audience and to herself. Zills are finger cymbals; they add a lighthearted rhythmic pulse to the performance. Improvisation allows the dancer to totally immerse herself in the music and to interact with the audience and the music as they are at that moment, which creates very high energy.
In venues where the audience expects to tip the dancer, I collect tips during a lively and light-hearted basket dance with the basket balanced on my head. I do not collect tips in my costume, or go from table to table with a basket in my hand. This allows the ladies to interact with me without embarrassment, prevents tipsy gentlemen from wondering just what part of my costume they can tug on, and allows me to keep dancing, which is what I am there to do.
Because I am an active performer, I am constantly taking private lessons and workshops from other teachers. (My current training schedule is always on my Events calendar , and my past teachers are listed on my Resume.) I encourage my students to study with other teachers as well; I often organize field trips for students and troupe to attend other dancer´s workshops and performances. But I do realize that many people don't have time to study with more than one teacher, so I am careful to bring what I learn back to my studio so that my students get the benefit. My classes are never boring and there's always something new to learn... because I just learned something new myself!
And that is How I Dance.