Choreography Pre-Workshop Assignments
Choreography Weeklong Pre-Workshop Assignments and What to Bring
- Personal Choreography Homework
- Completed personal choreography (see below) typed and committed to memory. All participants must film their choreography segments and submit a link to their videos to the Certification Coordinator by Jan. 10th. See instructions further below.
- Additional Homework
- Stylization exercise homework in your dance journal as outlined below.
- Grid work exercises to be submitted separately from dance journal as outlined below.
- Learn the Improv-Prep choreography sets as assigned by year: 2018 Raks Jamila; 2019 Maharjan Set; 2020 Set El Hosen; 2012 Raks Suhaila Set. Dance art book (no smaller than by 9×12 inches or size B4 paper) and any related supplies (markets, glue, etc.) with at least 10 pages of new material.
- 3-4 emotional preparation songs/compositions.
- Additional items to bring:
- Costume for choreography segment performance at end of workshop. (Black scrunchy or yoga pant and simple top.)
- Your dance art book.
- Finger cymbals, veil, ballet or jazz shoes, hand towel, refillable water bottle, and deodorant to reapply as necessary.
- Access to a computer and printer during the weeklong for homework and to update your choreography notes.
- A notebook and pen or pencil to take notes.
- Bring various pieces of Middle Eastern music and a means in which you can play the pieces in the studio and also work with those pieces in the evening when you are away from the studio.
- An IPOD (or equivalent) is recommended.
- Review “About Workshops” page.
Notes. This homework is to be repeated each time a student takes an Improvisation & Choreography workshop. Although Suhaila and Jamila L2+ students may attend, the Improvisation & Choreography workshop is designed for students who have Suhaila L3 and Jamila L3 certification and is a continuation of work addressed in the Suhaila L3 and Jamila L3 weeklongs. All participants are still expected to complete the same advanced homework; no exceptions. If you have any questions, do not hesitate to contact the office.
- Create at least two continuous minutes of choreography.
- Bring the music on CD, queued to play at the start of the choreography segment.
- As described in TCH, prepare a box or the equivalent (Pinterest, box, envelope, etc.) for your choreography and bring or have access to at the workshop.
- The goal is to develop and fix the choreography during the workshop, so it need not be brilliant or even good. Just choreograph and get the assignment done.
- Tally the music.
- Know the music (phrasing, counts, instruments, etc.).
- Have a story line for your choreography (measure by measure) and assigned sentiments (measure by measure) and be prepared to talk through it.
- Commit the choreography to memory.
- Submit the choreography typed in Salimpour nomenclature (submitted separately from your dance journal).
- Begin working with stage presence energy and points, noting where you stand on stage and where you look in the audience.
- For SL4 testers, your goal is include 60% of L3+ technique which includes layering 2+ belly dance moves, doubletime movements, finger cymbals (when appropriate), etc. For JL4 testers, your goal is to include 40% Jamhaila, which includes fusing and overlapping of Jamila steps; layering with Suhaila moves; and finger cymbals (as appropriate). The L4 certification choreographies are a good example of the level of work to emulate.
- For dancers entering the L4 testing chute, the choreography notes submitted at the workshop do not need to include grids for staging and emotional intent; however, the final version of your written personal choreography (to be submitted 60 days after the workshop) must include staging and emotional intent.
- Arabic 1 [8 cts]
- Arabic 2 [8 cts]
- Zenouba [8 cts]
- Samiha [8 cts]
- Reverse phrase [32 cts].
Research the following stylizations using online classes and the internet. In your dance journal dedicate a page or page spread to taking notes about what you learn about each stylization.
- Folkloric (Mahmoud Reda)
Prepare to demonstrate the above phrase in each of the above stylizations. The goal is to research and present what you are able to find on your own. The class will then work together on the material together to delve deeper into understanding the adaptation and sentiment for each stylization.
- Include a chart showing the nine specific people you know in one of the nine audience spots (ex:. my maternal grandmother in 1, my ex from high school in 9 etc.)
- Include the typed choreography with grids including both staging and emotional projection to audience (Mawoud2015).
Choreography Workshop Resources
Choreography Workshop Music Theme
- Any classical Middle Eastern selection (at least 4 minutes long) from Suhaila’s published catalog of music (including the Enta Omri, Onzor Elai, 1990 Ala Nar Blvd, Beyond Byblos, and Ya Sallem Bal Anat albums) or a classic selection from the 100+ Compositions Every Bellydance Should Know in the Resources section of this website or click here.
Ideas to Help You Choreograph
- Outline the entire composition using tallies to count off measures.
- Select words, colors, and images that represent the piece.
- Using TCH, what is the spine of your choreography?
- Divide the piece into sections; provide your emotional perspective or intent for each section. For each theme, experiment with and document non-dance physicalization to represent that perspective.
- Experiment using different choreography exercises and document the outcomes.
- Select fabric swatches to represent the tactile and visual elements of the piece.
- Describe and draw a picture of the costuming you would design for the choreography. Explain why the costume is appropriate for the music, choreography and your intent.
- Add whatever additional materials, notes and inspirations you want to your “box”.