Another issue, or symptom from the heavily-choreography-oriented phenomenon is that people either misunderstand or improperly interpret this dance, simply because they know nothing about the history, culture, and society where the dance is originated. Language barrier may explain part of the reasons and I truly believe that this should not be an excuse, especially for those who make living with this dance or claim themselves as professional or full-time employee in this field.
Readers probably note that I didn’t mention much about tribal bellydance or tribal fusion bellydance choreography here. Indeed, we love Rachel Brice as others do in the world. Somehow such strongly-improvised dance style – well, I am not saying oriental dance is always choreographed, truly challenges local dancers who are trained with learned choreography. They could only imitate the shape of movement because they don’t know the anatomy of movement.
So some technique training like Suhaila Salimpour format is obvious what we need to fill the gap. However, for most of dancers who mainly focus on learning choreography and already make quick money from this, it is too much waste in terms of time and energy to do some fundamental technique training like this - It is really a matter of personal choice. I just wish they know what they could do if they could have took such training!
Yes! It all came back to the beginning when bellydance was so new and hot in Taiwan. Instructors had to send out not only her teachers but her students to meet the highly popular demands of performances. They had no time for fundamental training and choreographies by other masters were seemingly the perfect solution.
It remains the same situation till now. Saida, the beloved bellydance diva by local bellydancers just came to give workshops. Many instructors came to learn mainly choreography pieces so they could go back to teach for another session or for performance. There is nothing wrong for this. However, they only want to remember the choreography without really appreciating the true beauty of Arab dance which Saida wishes to present. This is not only a great loss for them, but also would prevent them from being really like Saida dancing, which is all they want to become.
Readers probably note that I didn’t mention much about tribal bellydance or tribal fusion bellydance choreography here. Indeed, we love Rachel Brice as others do in the world. Somehow such strongly-improvised dance style – well, I am not saying oriental dance is always choreographed, truly challenges local dancers who are trained with learned choreography. They could only imitate the shape of movement because they don’t know the anatomy of movement.
So some technique training like Suhaila Salimpour format is obvious what we need to fill the gap. However, for most of dancers who mainly focus on learning choreography and already make quick money from this, it is too much waste in terms of time and energy to do some fundamental technique training like this - It is really a matter of personal choice. I just wish they know what they could do if they could have took such training!
Yes! It all came back to the beginning when bellydance was so new and hot in Taiwan. Instructors had to send out not only her teachers but her students to meet the highly popular demands of performances. They had no time for fundamental training and choreographies by other masters were seemingly the perfect solution.
It remains the same situation till now. Saida, the beloved bellydance diva by local bellydancers just came to give workshops. Many instructors came to learn mainly choreography pieces so they could go back to teach for another session or for performance. There is nothing wrong for this. However, they only want to remember the choreography without really appreciating the true beauty of Arab dance which Saida wishes to present. This is not only a great loss for them, but also would prevent them from being really like Saida dancing, which is all they want to become.
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