Thread: Please help my awful rag doll arms!

Hello ladies,

I throw myself upon your collective mercy! I have been bellydancing for a little over three years. I think I do pretty well with isolations, turns, layering, choreography, etc. But I feel like my arms are MISERABLE no matter how much I try to improve them. They always look like an afterthought. They're not particularly graceful, and I always seem to follow the same pattern (both up, both down, both up, both down, oh crap I should do something else with my arms, one up, one down, both up, both down ... gah!).

I really try to be relaxed and flowing and graceful, but when I perform it's so easy to forget about arms in the midst of everything else. Does anyone have any suggestions for me? Exercises, visualizations, DVD recommendations, electric shock, I'll take anything!

Thank you in advance for your help,
Eve

Get Sahra's instructional video: "Arm's and Torso" at Sahra Saeeda's Site

She breaks down all of the movements with in depth explanations, then at the end of the video she goes through a 20 minute run through of all the moves she taught. Its good cuz you can use it for regular practice.

She really stresses the idea of "arm paths" in the dance and this will really make a difference in your dancing!

i have studied alot with Sahra and was in her dance company for many years and I always get compliments on my arms-and I know its all because of her!

good luck!

the best thing i've ever been told (surprise- it was by Hadia) is to sit in a chair or on the floor turn on the music and ONLY dance with your arms. you can also close your eyes or turn out the lights if that helps. i've used it a couple of times when working on choreographies and my arms have become so much more organic to my dancing!

best of luck!!!

Thank you so much! I'll definitely try both suggestions.

Eve -- I continue to struggle with my arms!

BUT I had a giant breakthrough with exactly what you're talking about -- moving them gracefully through space rather than holding them in positions -- by pretending I was using a veil when I danced.

My patented "Air Veil" technique (lol) involves holding the imaginary veil behind you, and moving your arms as if you're swishing & lifting & swirling it as you dance.

I suppose if you're not much of a veil user it won't help you. But then, I guess I'd advise practicing while holding a big silk veil in your arms, THEN put the veil down & pretend it's there....

That's great, Lauren!

My arms are still not quite where I want them to be, but they are unrecognizable from the hot mess they were a couple of years ago. The only thing that worked for me was private lessons with a fantastic teacher, who harped incessantly on my lousy arms and hands. After a few months with her, I could hear "Where are your arms?" in the back of my mind every time I practiced at home. This boot camp approach to arms made me so much more aware of what my arms are doing, even if I'm not specifically working on them.

OK. Picture all the joints in your arm and hand (i.e. elbow, wrist, knuckles) are made of cork, and the goal is to keep 'em happily bobbing above the surface of the water. (Draw imaginary smiley faces on the corks, if you wish!)

Or, I like this one from Fathiem's Beautiful Arms and Hands video: try moving your arms first through air, then through imaginary water, and then through imaginary taffy, experiencing the different dynamics of resistance. I like to keep my arms somewhere between "water" and "taffy." ..l;,

Ooh, I love all of these suggestions (especially the air veil; maybe you SHOULD patent that, Lauren!). :-D Heartfelt thank yous!

Eve, I still feel the same about my arms... so I'm totally stealing all suggestions you've got above:)

Ohh, Lauren, love the 'Air veil' idea, do you plan to start selling them? How much would it cost for shipping to the UK?

..g.:

*grin* I'll share, Maria, but I've seen you dance and I don't know what you're worried about! ;-)

My arms are a mess. When I get stressed I somehow end up with one hand looking like "the claw" we call it in class. I find when I review myself on tape that my body looks fabulous but my arms are just kind of chilling and it takes away from the dance. I am so glad you posted this. Can't wait to try all these great suggestions. As far as Sahra Saeeda I am taking a workshop with her in May. I will have to pick that DVD up.

Just finished practicing to Sahra's "Arms & Torso". Thanks for the reminder of how good that video is, Roxxanne!

another idea: once you've nailed down your choreography (if you're working on one) video tape yourself and then give yourself feedback...if you look like you're crushed-open your arms up...too sloppy- find out what movement you want to happen and then localize it (i.e.: shoulder roll) so that everything isn't coming along for the ride (hands flapping up and down when you roll). if i wasn't too embarrassed, i'd post the before and after video from my choreography i just worked on...my arms were SHAMEFUL! ;)

One more idea, from my teacher: do the entire choreo or improv, but *only* do your arms and hands - just mark everything else. I don't do it as often as I should (which is probably one of the reasons my arms aren't quite "there" yet), but when I have it's been really helpful.

Originally Posted by Lauren_

My patented "Air Veil" technique (lol) involves holding the imaginary veil behind you, and moving your arms as if you're swishing & lifting & swirling it as you dance.

Hey Lauren, I've been playing with this technique since you first brought it up a a long time ago, and I had a question. How do you suggest one keep the arms from getting too swishy and busy? You know what I mean, that super thin line between too much movement and not enough?

I saw a recent video performance of mine, and although my arms had graceful lines and my hands weren't flippy, it was a little too busy to my eye. Any tips?

Originally Posted by laura 2

One more idea, from my teacher: do the entire choreo or improv, but *only* do your arms and hands - just mark everything else. I don't do it as often as I should (which is probably one of the reasons my arms aren't quite "there" yet), but when I have it's been really helpful.

Fabulous idea! ..g.: ..g.:

Cory Zamora's volume 1 might be a good choice. As a video, it kind of stinks (bad production values, poor chaptering, etc.), but it has a great 7-minute drill that will build strength and fluidity, as well as keeping variety fresh in your mind. (Then they repeat it with zils, which is surprisingly difficult.)

Netflix has it - if you have a subscription, you can preview it that way.


It also helps to practice with light weights (around 8oz - maybe a package of food). It keeps you VERY aware of your arms while you're practicing (my arms are better when I'm wearing zils for that reason), and then when you're performing, everything seems easier. Just be careful not to let your arms sag under the weight.

Genius! I'll try that.

Last night I was dancing while making dinner, and I tried the air veil technique -- I really think it helped! 'Course, I realized I should probably stop when my boyfriend looked at me funny and I noticed I was waving a seven-inch knife around. *giggle*

hi,

I've forever been struggling against noodle arms, my whole dance life, and here are the only things that worked for me at all.

When I practice or drill movements, the arms have a specific place to be and quality that goes with the movement that I also drill at the same time. My arms are always great when I'm only doing arms because I'm thinking about them. They suffer when I'm thinking about other stuff, so I've learn to drill arms specifically as part of every movement I do, so they aren't ignored at any point. Practicing undulations? Drill them with a specific arm position and quality in mind. Isolations? Drill them with that arm set just where you want it, shimmies drill them with that arm you want, always be thinking arms, arms, arms when you practice every move. Decide where you like it, then drill, drill drill - other movements with arms together.

Next, weight lifting. A little bit of extra strength helps a great deal.

Other than that, the videos (Sahra's is really great) will help you know what to do with your arms. From there you just need to drill them into submission.

good luck.

Originally Posted by laura 2

Hey Lauren, I've been playing with this technique since you first brought it up a a long time ago, and I had a question. How do you suggest one keep the arms from getting too swishy and busy? You know what I mean, that super thin line between too much movement and not enough?

I saw a recent video performance of mine, and although my arms had graceful lines and my hands weren't flippy, it was a little too busy to my eye. Any tips?

Boy, I dunno... other than making a conscious decision to settle them down & practicing. I think I mostly do the 'air veil' thing during traveling/spinning sections, maybe let go of yours when you're standing still?

Originally Posted by shems

hi,

I've forever been struggling against noodle arms, my whole dance life, and here are the only things that worked for me at all.

When I practice or drill movements, the arms have a specific place to be and quality that goes with the movement that I also drill at the same time. My arms are always great when I'm only doing arms because I'm thinking about them. They suffer when I'm thinking about other stuff, so I've learn to drill arms specifically as part of every movement I do, so they aren't ignored at any point. Practicing undulations? Drill them with a specific arm position and quality in mind. Isolations? Drill them with that arm set just where you want it, shimmies drill them with that arm you want, always be thinking arms, arms, arms when you practice every move. Decide where you like it, then drill, drill drill - other movements with arms together.

Next, weight lifting. A little bit of extra strength helps a great deal.

Other than that, the videos (Sahra's is really great) will help you know what to do with your arms. From there you just need to drill them into submission.

good luck.

If you drill shimmies whilst doing arm paths, it also helps you get wonderful automatic shimmies that then become effortless