Collect basic items to share with your class.

Hips scarves, veils, skirts, and finger

cymbals. You should have enough for each expected student. Allow students to borrow
your items for the first few classes, but encourage students to buy their own, either
from you or a recommended source.
Prepare handouts describing zill patterns, the history of belly dance, music you
use in class, and maybe your bio including names of teachers with whom you've
studied.

Plan something special your first night of class that will unite your students and
release inhibitions. For example: Start class with a hula hoop contest to help your
students to begin thinking about hip movements. OR, begin your course with a short
performance of your own. Your confidence in doing this will assure the respect of your
students.
Start each class with your favorite warms-ups & stretches. Authentic, soft, melodic
pieces work well.
Plan to cover 10 basic moves over the entire course, for example:
Shoulders: snake arms, shoulder shimmies, shoulder lifts
Hips: small & large circles, figure 8s, mayas (reverse figure 8s), hip drops & lifts.
Chest: circles & lifts
Undulations, body waves.
Moving across floor: Arabic walks, grapevine.
Walk with shimmy (3/4 shimmy).
Basic zill patterns.
Turning: pivots, three point turns (rhumba), barrel turns.
Veil: draping, holding, chene turns, rhumba walk with veil.
Basic combinations.

Choose inspiring music from your own collection that fits each move. Create a
CD (or playlist) of these songs for easy access while teaching. Your enthusiasm will
transfer to your students when you teach with your favorite music.
Each week bring to class something different to share. Belly Dance Magazines,
flyers, catalogs posters, newspaper clippings, your favorite DVDS, a list of restaurants
featuring belly-dancers, books on Belly Dance, music collections on CD representing
various countries, styles, traditions and original classics.
Teach new moves each week, and review the old ones
Plan a hafla at a local restaurant at the end of class where you encourage your
students to show off their new moves.

Tips
Do not be afraid to teach difficult moves such as a 3/4 shimmy or maya. It gives
students a challenge they will master in about the same amount of time, even
when introduced it later.
On the first day of class, collect your students' names, phone, addresses &
emails on an index card for future reference.
Teaching basic combos is the first step to learning choreography. You can use
combos from your own repertoire or review videos of famous dancers for
inspiration, use these combos in your class and credit the dancer: "This is a
move Fifi Abdo did in her movie, Hazemni-Ya" This introduces a new move as
well as the name of a belly dance legend.
Do not focus on one particular style of belly dance. Introduce your students to
the basics and discuss various styles. Encourage students to take the next level
course where you can delve deeper into styles that appeal to your student's
interests.
Teach a move in front of the class, have them continue to do the move while
you walk around each student, making suggestions for improvements and
pointing out good examples. Don't be afraid to touch your students if you think it
will help them.
Do not isolate your students, encourage them to explore the larger belly dance
community. They will support your future events when you create an
encouraging learning environment.








Master the side to side move and the back and forth move. For the side to
sidemove, just drop your left hip to raise your right hip, and then drop your right
hip to raise your left. Start slowly until you perfect this motion, and then speed
up until you're shimmying your hips. For the back and forth move, just move
your hips back and forth, using the center of your pelvis to make the movement
look graceful.
Keep your arm lifted at a ninety degree angle and move your fingers to add
balance and grace to your movements.
To move side to side, first lift your right foot and lift your heel until only your toes
are touching the ground. Use this movement to pop up your right hip for two
counts, and then let it fall lower than normal for two counts. Repeat this
movement with your left leg and hip and then alternate until you can shimmy
rapidly.
Use your knees to help generate momentum and movement, not your knees.

To master the hip movement, try to mentally divide your torso vertically down
the center. This will help you learn to move one side of your hip up and down
without affecting the movement of the other hip.

1.
2
Make small circular movements with one side of your hips at a time. Try
'drawing' little circles in the air with your one side. As you get the hang of it, try
8's, arcs, and swirls. Don't forget your other side. One side will always be
easier, or stronger, depending on whether you are left or right handed. Keep
your arms lifted, a slight smile on your face, and your fingers moving as you
master these techniques.
2.
3
Combine your moves. You don't have to belly dance using the same motion all
the time. Once you master a few techniques, you can switch things up. Do the
left hip circle, the right hip circle, two right hip circles followed by two left, or
move your hips back and forth and then transition into moving them from side to
side. Remember to continue using your stomach to pull your hips in different
directions.
Method 3 of 3: Mastering the Stomach Ripple
1.
1
Practice making the stomach ripples that cause the back and forth
movements. There are three main muscles that you will use: (1) a crescent shaped
muscle just above the pubic area; (2) The area between the 1st muscle and below the
navel; (3) just above the navel to your ribs (the one that hurts when you laugh too
hard).
2.
2
Try isolating or clenching each muscle individually. Isolate the first muscle group,
then the second, and then the third. Once you can isolate and clench these muscles,
you'll be on your way to doing the stomach ripple. Work on clenching and releasing
them individually and then combine the movements





Tips
Your head needs to remain level while you move.
Bare your middle so you can see the movements.
Use music that you are familiar with, to start off, especially something you
already dance to (like perhaps Shakira). In fact, if you are really interested in the
Shakira style, just watch one of Shakira's videos and try to follow along. Even
though she dances fast, just take every step slow so you can learn. Try using
YouTube so you can stop and start the video as needed.
Arm movements look better when your fingers are extended gracefully. Swirly
movements look especially good.
Try rapid hip 'flicks', as if you're swatting a fly away with your hips.
Use anklets and bangles to add jingles that detract from beginner movements.
Start with bare feet or sneakers. No heels.
Don't be self conscious. Have a little confidence and lots of fun. Feel sexy!
Try getting a hip scarf with jingles or coins. The extra sound really helps the
overall feel. Some accessories, like chain belts, come with little bells. These will
do if coin hip scarfs aren't available.
Sign up for a local class. Be aware that there are different styles of belly dance,
from traditional Egyptian to modern Tribal. Your instructor can tell you what
he/she is teaching.
If there are none available, buy yourself a full-length mirror to practice
with, a fringed shawl for around your hips, and a few belly dance videos.
Recommended: "Veena and Neena's Sensual Art of Bellydance" series,
"Dolphina's Goddess Workout Video", or Amira's "Bellydance 101" DVD.
Move with flat feet, and keep your feet hip-width apart for balance.
This looks great in hipsters!




Sfaturi bune
Your Guide to Teaching Bellydance






Your exciting role as a bellydance teacher

Teaching bellydance is rewarding and fun. Its a great way to supplement your favourite hobby and learn how to
explain the dance in its broader spectrum as well as being able to deliver it in bite-sized pieces. Your involvement will
assist the artistic development of others. Ultimately, you will be helping women learn a new, creative form of
expression. You will be teaching them many new movements and techniques and you'll deliver information on Middle
Eastern music, culture and stylisations.

You will be responsible to pass down knowledge of traditional dance styles- often from cultures that are not your
own, yet you will also have the freedom to create your own characteristic bellydance style. With education however,
you will be able to create 'fusion' styles with greater awareness and insight. The technical aspect of teaching
bellydance must be balanced with the emotional quality of this age old art. Celebration, gatherings, laughter... the
playful spirit of the dance! As a teacher, you can enjoy the honoured role of mentor and guide as you support women
on a journey of joy, confidence and femininity.

Important basic knowledge for teaching bellydance

As a teacher you know must your basic bellydance history. Whether students ask during class or you are referencing a certain move - its good
to be able to draw on a historical or cultural reference. Students appreciate a well researched topic delivered to them with interesting facts. Check
your sources to make sure what you teach is correct. Continuous study and refresher courses wil help you with your teaching and make you a better
teacher as the years go by. Teaching is more than just being able to do the moves well. It is a skill that can be improved with education and effort.
There are many courses around that can help you. Not only bellydance workshops and tuition to advance your technical skills, but also fitness courses,
lifestyle courses, goal setting and teacher training. Any training you do will be reflected in your classes.

The safety of your students is paramount. Learn about correct posture and safe dance warm ups - there are many fitness coursesaround that will
help you with this. Pay particular attention to your student's backs, knees and joints - areas that are prone to injuryunless you understand correct,
safe execution of movements. As a teacher you should also know basic first aid and personal and public liabilty insurance is highly reccommended.
Learn about safe stretches and warm up techniques you can incorporate into your class. Large, relaxed movements that locomote the body should
become part of the warm-up activities. Co-ordinative moves like a continuous step/point on the spot or around the room - with arms lifting and
stretching are excellent for boosting circulation to areas which will be working the most - the legs, hips, arms, etc. Muscles must be stretched gently,
without bouncing, only when the body is warmed up, and not before.


The value of networks and learning opportunities

As a teacher you must continue your training for as long as you teach. It will keep you inspired and keep you in
touch with what is going on in the local and international community. Attend workshops and master classes when
possible and even swap classes with fellow teachers. Teaming up with other bellydance schools is a good idea.
Generous teachers encourage their students to explore other classes and schools outside their own. Building up
networks within your local Middle Eastern communities will be a bonus if you teach and perform. Locals from Middle
Eastern backgrounds may be helpful with music, latest videos and its worth seeing how the women dance at home!

Travel will expand your horizons - especially to festivals and special workshop events. Keep a file for your notes
and also re-type notes for classes in a way you know your students will understand. The internet, public libraries and
your dance mentors can inspire you when you need 'refreshing'. Get to know dancers who have 'fields of speciality'
such as in depth knowlege about a certain cultural style, vast experience in certain performance genres or someone
who's techniques you admire - they may be masters of dancing to the tabla solo, Egyptian baladi, veilwork, taqsim,
ethnic fusion, etc.


Teaching styles that facilitate maximum learning

You will have many different participants in your classes - some will be natural or experienced dancers, others will be total novices. It is
important to be personable, relaxed and to be able to teach with clarity and confidence. When demonstrating movements, begin by facing your
students and identify muscle groups and safe techniques. Emotive, round and taqsim moves are best taught in a circle. Co-ordinative techniques,
steps and turns should be linear, with you at the front, showing the move from both the front and back.

*Some students are visual learners so explain the movement carefully, step-by-step adding visual reference. For example, describe the shape you
are drawing with your hips
*Others learn quickest through kinesthetics - which is a hands on approach. It is best to ask if the student would like you to guide the hips, ribs
or arms with your own hand. Always approach from the side, not the front (can be imposing) or back (may be surprising).
*The oral learners need sound cues, so identify and play rhythms, don't be afraid to 'sing' the rhythms aloud - many participants respond well to a
teacher who vocalises the music and accompanying moves.

Be clear and articulate. Repeat as often as is necessary. Look carefully at the students movements to see whether they are achieving the move and
executing it safely and properly. Encourage feedback from participants. Ask how the move feels, if they would like some help in the form of further
explanation, accomanying music or hands on guidance. Some students with an advanced spacial awareness can mirror you well, that is when they are
facing you, they can do what you do symmetrically. Others need to really see right and left to copy and follow, so you must stand in front of them,
with your back to them so they can step exactly as you do. It is best to only use mirrors sometimes - the real 'feeling' of the movement is often
distracted by the reflected image in the mirror. Try turning your class to face different directions, and rotate the group so the people at the back get a
chance to come forward. Partnering, mirror image, linear group dances, circular group dances and interactive choreography are great ways for your
students to mingle and have fun as a group. It also paves the way for some exciting troup choreography.



Structuring the class and sessions

Participants often like to get together and chat during class time. Allow a little time for this, but be firm when it
comes to 'class time' - when the tuition begins and ends. Begin by welcoming all participants, with a clear verbal
introduction of the class and some gentle warm ups to slow relaxing music. Circular formation is best - it creates a
nice friendly environment. Add steps and co-ordinative techniques as you bring some rhythm into the warm up. Linear
formations work best for step sequences.

Describe techniques and make sure they are being understood by everyone. Remember visual, kinesthetic and oral
descriptions and training techniques. Help those that need it, but don't spend too much time on one move. Integrate
the moves into a routine with transitions or choreography, and then during dancing give historical, cultural and
musical reference. Introduce props such as veil, stick, zills or other props that will be used in the dance style they are
learning.

Do demonstrations, interactive dance, practice choreography of allow time for free dance. Improvisation is a
valuable skill, so its a good idea to leave some time near the end of the class for this. Sometimes ladies enjoy dancing
for one another, other times the group will not be as forthcoming. Avoid making anyone dance on demand or selecting
'volunteers' at random. People will let you know if they are ready to dance infront of the group.

Finish with cool downs to relaxing music, stretches and inform the participants about the next class and any
upcoming events. Deliver notes and any back up information, such as name of music cd, where its available, etc. Allow
a feedback time afterwards - students usually enjoy a coffee or a chat after class. A selection of bellydance cds, books,
photos, costumes and fabrics in a basket is interesting for students. Encourage dressing up, colour and sparkle for the
fun of it!

Courses, payment and overall structure

Casual classes are good for some students who can't be tied to a timetable, for example shift workers or mums with small children. Ongoing casual
classes sometimes work wonderfully, with good participation year round. However, for both students and teachers there are several main benefits of
structured week by week courses.

Courses give participants the opportunity to learn a dance and cultural style in a logical, step-by-step series of classes that graduate from basic
concept to full artistic form. This type of class is often more specific to certain levels or learning range. Students usually prefer to pay up front if a
course is offered at a multi-session discount. This is good for the teacher too - as it ensures the numbers are there every week. People are more likely
to turn up if they have paid upfront. Structure your 4, 6, or 8 week course (or any other length of time) into a series of classes. Introduce this concept
at the beginning of the course and provide notes for your students. It is a good idea to begin with a dance demonstration, video, cultural overview or
supply reading material/photos of style and costumes to introduce the cultural or choreographic principle.

Allow students to listen carefully to the rhythms and music. Explain appropriate techniques. In multilevel classes always begin with the grounded
version of the move, that is the feet, hips and basic posture for the movement. As students advance add co-ordinative techniques, arms, expression,
etc. Live percussion, finger cymbals or props make the class more interesting. Any extra skill that can be learnt will help with the student's broader
understanding of the culture, music or style. When techniques are perfected, show how moves can be linked through choreography or improvisation
techniques. Towards the end of the course highlight the most important moves and philosophies behind the dance style. Arrange a fun student night
or 'hafla' where everyone can bring food, dress up and dance to exotic music!



The enjoyment factor

Bellydancing classes are best when they are fun, friendly and informative. Participants enjoy learning new skills
that can be mastered and developed. A sence of accomplishment is achieved by setting personal and class goals, such
as learning a group dance or arranging a personal choreography as a project.

The teacher should liase with her students about both their personal dance goals and how they would like to
benefit from the group. Its worth spending 20 minutes of one-on-one time with each student if you can during the first
few months of their training. Perhaps you can create a scheduled roster for one-on-ones after class every second or
third week to have a friendly chat with individuals. Some kind of recognition of study is also appreciated - getting a
certificate of attendance and achievement at the end of a course is something you can organise as a teacher.

Self care and a final note about quality

Your teaching will be its best when you look after yourself physically, spiritually and emotionally. Keep your lines of communication clear and open.
Encourage all your students, show warmth and never let competition, politics or judgement cloud your vision. Have clear boundaries where your time
and energy are concerned - analyse if there are draining factors and either resolve them with truth and clarity or step back. You can balance the cycle
of giving and receiving with honest insight as to how YOU are handling things. No one is responsible for creating that fine balance in the
teacher/mentor role except you.

A wonderful quote from the great book 'The Four Agreements' by Don Miguel sums up the great teacher well:

1. Be immaculate with your word - speak only well of others and yourself
2. Don't take anything personally, practice comapssion over ego
3. Always do your best, and know your best fluctuates from day to day
4. Clear your mind regularly and focus on the present moment



http://melissabellydance.com/free-belly-dance-class/