Belly Dance has some fairly unusual factors for the choreographer to consider. These issues are not ordinarily covered in books on "mainstream" dance. We don't always dance on elevated stages. We may not know the size or shape of our dance space in advance. We don't always know the seating configuration (will the audience be in the front, in the round, or in a semicircle?). In many venues anyone not seated in the front row will not be able to see the lower half of the dancer's body. Floor work is invisible. The psychological and physical distance between performers and audience is more tenuous without the demarcation of an elevated, curtained stage. Often the dancer chooses to eliminate this separation in the hope of earning more tips or in a desire to "lighten up" the atmosphere. However, there are some aspects of the dance that are universal and make the study of these books worthwhile.

When dancing at belly dance competitions and at most workshops performances a knowledge of stagecraft and a familiarity with the elevated stage can make a big difference in the perceived quality of a performance.

If you've never formally studied choreography, The Art of Making Dances by Doris Humphrey is a valuable source. The book excels in it's guidelines for dance on a stage in Chapter Nine "The Stage Space". Even improvisational dancers need to think in terms of optimal use of space on stage.

The book will also ground you in some basic concepts that may have been overlooked in classes where you have just learned steps, combinations and someone else's pre-constructed choreography.

Humphrey was a respected figure in American Modern dance before her death in 1958. This book was a culmination of her life's work and she writes with a lot of passion.

I am definitely not recommending you dance our dance in Modern Dance mode! But Humphrey was an exceptional and articulate artist and many of her ideas are applicable to any dance performed on an elevated stage.

I enjoyed her writing style so much and her opinions on the traits necessary for a choreographer, and the tools of the craft; design, dynamics, rhythm, music et al that I'm tempted to quote extensively from the book. Instead I'd like to leave you with her checklist designed to help avoid choreographic mistakes. I hope it will entice you into reading the entire book.

1. Symmetry is lifeless
2. Two-dimensional design is lifeless
3. The eye is faster than the ear
4. Movement looks slower and weaker on the stage
5. All dances are too long
6. A good ending in forty percent of the dance
7. Monotony is fatal, look for contrasts
8. Don’t be a slave to, or a mutilator of, the music
9. Listen to qualified advice, don’t be arrogant
10. Don’t intellectualize; motivate movement
11. Don’t leave the ending to the end

Want to purchase this book online? We got it from Barnes and Noble, Click Here To Purchase Online.

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