Thread: Impressive moves

I think someone mentioned before that being impressive depends on your audience, if it is the GP then impressive does not always equal difficult to do. So what would you consider an impressive move from these perspectives:

1. GP watching bellydancer in show of mixed content (not all dance)
2. Hafla, dancers / teachers / students of dance watching in an all bd show.

I'm not saying that all we should do is impressive moves. Indeed sometimes you'll want to *not* do them to concentrate on other things. However I was wanting to split this bit out and disect it.

1. Turkish drop, drop from backbend to the floor, all veil work, sword, flutters, belly rolls, major level changes.

2. Tiny little muscular thingies that make you say "oooh, what is he/she doing?" Major level changes, but only because oooooh, they're doing X on top of it. Delicious layered travelling shimmies. Hard zill patterns.

i've had great gp reactions to my float. like that's something they come and ask about or comment on after the show, or you even hear this collective "ooooh" in the audience....

i've had strange experience with veil work, "tricks" that i consider relatively easy have results in "oohs and ahhs" (and even a sponteaneous applaus once, in south africa at a point in the song where i really wanst expecting any, shows you it is in the execution and not just the trick it self, somehow i must have gotten the build up right), and then other things that i KNOW are damn hard: no reaction at all...!!

i even had that with dancers, after a show someone comes and ask "like how did you do that", and it's like one of the simplest things (for me) in the whole routine.

ah, and impressive for the gp, funy enough sometimes just very very basic chest isolations. chris says it's the funny face i pull while doing them.

Extended shimmies (Any crowd)

Barrel turns w/veil (Any crowd)

There's this neat leap into a hip circle Hadia taught me - hard to explain, but if you've seen her dance you know what I'm talking about. (Any crowd)

Balancing anything on your head (non-dancers)

Extended shimmies (Any crowd)

Barrel turns w/veil (Any crowd)

Yes, I think these get the 'Wow' reaction nearly 90% time, though I remembering being totally stunned that in my first solo I got a spontaneous round of applause for just standing there and shimmying (ok, I was doing it up on the toes and with some fun arm stuff worked in, but even so).

Also:

Anything that involves wings which I actually think is a shame because much as I love learning wings myself and watching good wings performances, I think that they are all too frequently use to prop up some shocking dancing (but that's another discussion).

Khaleegy head twirls

When I very first started, I really really wanted to learn how to do camels/undulations. They were what most impressed me back then

I also demonstrated the whole balancing your cane on your head whilst dancing thing the other day to curious friends and they were very impressed. Their reaction really did surprise me because I've never a) found it hard to do or b) found it that exciting: fun - yes; mega exciting - no.

1. GP watching bellydancer in show of mixed content (not all dance)
Veil, sword, Isis wings,

2. Hafla, dancers / teachers / students of dance watching in an all bd show.Good use of props (the prop is used well in the dance), good expression, subtly

in addition to what others have said:

flutters (ok i didn't think of that on my own, just finished reading the flutters thread)

i think dancers also appreciate any especially clever execution of a movement. i'm having a hard time explaining what that means to me... but you know, when someone's dancing and the music comes to a particularly juicy point, and the dancer hits it with the perfect juicy movement. sometimes it's not the most complicated move (in the technical sense), but it's just what the music called for at that moment. does that make sense?

This is a bit off topic, however, when I perform as part of a bunch of people who do circus, I can't do a stick dance. In their world, I'd be juggling the stick (or juggling 2/3/4 sticks), or setting it on fire, and using it as a prop to dance with - not doing any 'tricks' with it per se and just dancing - it doesn't translate to them.

1. GP watching bellydancer in show of mixed content (not all dance)

I would agree with much of what has been posted here; anything prop-related, because it's new to them. Extended shimmies get a good reaction. Belly rolls and flutters. Turkish drops.

I've found that "pulling invisible strings" - especially when it's done very well, like Aziza, gets a big laugh and applause. I think that one is so unique because GP audiences don't know if they're "allowed" to notice that your chest is lifting and dropping so heavily, but by drawing attention to it you break that tension. Yes, it's cliche, but it's cliche for a reason.

Head slides also seem to be impressive. I think they sort of speak to the GP's Orientalist stereotype of "Belly Dancer". I have a weakness for them myself.

2. Hafla, dancers / teachers / students of dance watching in an all bd show.

Much of the same, actually, but under different circumstances. When they're done particularly well - with excellent form, expression, and smoothness. When they appear effortless, like breathing. And fit particularly well with the music.

I think the simple moves can be impressive to a BD crowd when you put the right attitude on it. A slow, giant hip circle with a Dina hurts-so-good face will usually evoke a laugh or an Aiwa. We've done it where we rest our chins in our right palm while holding our left arm out, like we were resting on a table top... it had a "Matrix" effect and the crowd loved it. Cheekiness and playfulness help dancers remember what they love so much about what they do, and I've found they like to show their appreciation.

non-bellydancers: Spins - especially with lots of layers and big tribal skirts. The crowd goes nuts!!

dancers: well executed technique and great musical interpretation. The choreography could be relatively simple, but when you do it well, it will impress even the most seasoned dancer.

Originally Posted by Adishakti

There's this neat leap into a hip circle Hadia taught me - hard to explain, but if you've seen her dance you know what I'm talking about. (Any crowd)

If this is the leap into the big hip circle that you did at the IBCC this year in your Saiida routine you are talking about . . . then yes, the few people I have seen do this have all been trained by Hadia. As soon as I see it I immediately think Hadia.

I forgot to add that I think it looks cool!

G.P. audiences eat up fire tricks, double veil, swords, spinning and extended shimmies like they're going out of style. Backbends, too.

As a dancer, I especially enjoy cool uses of facial expression, be it an exquisitely timed wink, a gorgeous look of sorrow or reflection, or an ever-changing constellation of expressions to match the mood of the music. One of my favorite regular photogs aptly pointed out that dancers are so focused on their body lines that they forget to emote through the face. An expressive dancer will make me sit up and take notice.

Cool muscular stuff always impresses me, too. This is one reason why Sadie of Colorado has always amazed me. Her drum solos are like brain teasers!

Any *innovative* use of props also gets my kudos. We all have the usual tricks in our arsenals and, personally, I'm getting sick to death of performing with them (that's a different thread, though!) As a viewer, I love to be taken along on an exciting departure from the ordinary.

I love that big hop skip jump drop circle!

We get a collective roar from the audience when we (13 of us) are chorus line to the front and turn on a big dum that follows a silence. The turn lands spread legged and arms up with a huge 8 count shimmy that turns into a side to side slide 8 count shimmy. Ala Nagwa X 13. And the crowd goes wild!!! Go figure!?

Originally Posted by SatinWorship19

Cool muscular stuff always impresses me, too. This is one reason why Sadie of Colorado has always amazed me. Her drum solos are like brain teasers!

I could watch Sadie dance drum solos all day. When it comes to abdominal flutters, pops, rolls, etc. she's da bomb ..g.:

Keep these comming! My teacher has been talking about getting me signed up to dance at a local spot that has a small crowd but mostly dancers so this will help me. Especially because it would be my first dance in public! The class is really small so Hafla's or recitals are not really possible.

The GP is very different from our peers: the GP usually don't know how to belly dance, so for them a very complicated move may not be very impressive because they don't know how hard it is to do. But if it looks good, a simple move can make them think you are the best. For example a vibration shimmy may not get as much of a reaction from them than a big, up/down shimmy.
Or simple maya traveling side ways, with very niceley isolated hips will make them wonder how in the world can you do that? Wow, it muast have taken 7 years to master that?
But then you do some shimmy with layers, and travel and add arms or whatever and they say / ok, that's nice.
So I feel for them simple is better.

As for belly dancers: they appreciate the technique and the obvious work and practice that has been put into that specific movement. There are movements that really don't show much, but we know that it's pure Egyptian style for example, and we appreciate it.

In addition to all the great stuff above:

Dancers love nice layering, but the GP doesn't even 'see' it.

Dancers also love graceful Reda-style choreos, with lots of arabesques and turns, but to the GP it's just not 'belly dance.'

Dancers appreciate choo choos, I'm not sure the GP sees that it's different from any other shimmy.

Dancers also love big juicy hip circles.

Originally Posted by Lauren_

In addition to all the great stuff above:

Dancers love nice layering, but the GP doesn't even 'see' it.

Dancers also love graceful Reda-style choreos, with lots of arabesques and turns, but to the GP it's just not 'belly dance.'

Dancers appreciate choo choos, I'm not sure the GP sees that it's different from any other shimmy.

Dancers also love big juicy hip circles.

I have had really nice responses to a choo choo shimmy while balancing a giant sword on my head and traveling up and down the aisle at restaurant shows.

course, that might have just been fear .w.:..g.:

as a dancer, I love to see dancers responding to and inhabiting the music they chose. I also love to see a well-executed drum solo.

It seems like the GP is impressed by veil tricks, sword, backbends, etc.

Originally Posted by kina

I have had really nice responses to a choo choo shimmy while balancing a giant sword on my head and traveling up and down the aisle at restaurant shows.

course, that might have just been fear .w.:..g.:

I danced for a time in a tiny restaurant and INEVITABLY a huge table would be served during my sword dance...I made a practice of frowning theatrically at the waiter (the owner's son, who played along) and wagging my finger at him...the GP loved it, even the Arabs in the audience thought it was cute.

Originally Posted by Bellybabe

If this is the leap into the big hip circle that you did at the IBCC this year in your Saiida routine you are talking about . . . then yes, the few people I have seen do this have all been trained by Hadia. As soon as I see it I immediately think Hadia.

I forgot to add that I think it looks cool!

Yeah, that's the one and thanks! Even if I did kinda "borrow" it.

On their own, "moves" and "tricks" are not terribly interesting to anyone. Even if the dancer is an expert at the "move" I think the following factors must also come into play:
1. Using exciting/appropriate music. Even the most simple of movements done well and timed perfectly with the music almost never fails to impress.
2. Interacting with the audience. Breaking the 4th wall by connecting with the audience through facial expressions or body movements will make an impression on any audience and "pull them in" to your performance.
3. Wearing an exciting/appropriate costume and make-up. It may seem shallow but how you dress goes a long way towards making a favorable impression. Plus, belly dance is a visual art form and the effort you put into your appearance is part of the overall impression you create. This doesn't necessarily mean putting a ton of money into the costume itself. A clean, simple look is pretty impressive when presented with a great attention to detail (i.e. Heather Stants). Appropriate make-up will help the audience see your facial expressions. .w.:,r:;,f::,m::..c::..g.:..l;,

Is the Hadia hip circle the one where you do a 3 point turn but the last step is a leap that lands in a hip circle? Is this the one Dhalia Carella taught in Fayetteville? Or is it something else? I looked on YouTube, but didn't seem the fabled leap/hip circle. Just wondering...

KS

Young people love the costume and sparkle. ;0)

Amongst the initiated, beautiful [and controlled] arms and hands.
I also like your response, Jaded.

Originally Posted by s1dur1_sab1tu

Is the Hadia hip circle the one where you do a 3 point turn but the last step is a leap that lands in a hip circle? Is this the one Dhalia Carella taught in Fayetteville? Or is it something else? I looked on YouTube, but didn't seem the fabled leap/hip circle. Just wondering...

KS

I wouldn't be surprised if it was, because my teacher used to teach that and she devoured Hadia's teaching tapes back in the day. Big Hadia influence. It's not really very leapy, though.

Yes, I was thinking it's more of a swing the leg from behind on your last step, back to audience as you're about to turn, and jump into place, with the hip circle starting at the outside of your turn direction. Good, maybe I can do that then. Yay!

to reduce it to simplicity
For the GP balancing anything on your person and a nice big shimmy especially doing both things at once. i have this backbend thing I do i the restaurants-they love it
for dancers-dancing with, musicality and interpreting the music and meaning-taking the audience with you on a journey through the music-if that makes sense.