Thread: How do you teach / did you learn the "Sohair Zaki downs"?

I am looking for different ways to teach a "saki", or the Sohair Zaki downstep (step while hip goes down on weighted leg). How do you teach it, or how did you learn it? What seems to make the lightbulbs start blinking? ..g.:

I start flat foot, with the weight evenly distributed and the knees slightly bent. Then I ask students to release the right knee down, thus sending the right hip down one the "1" count. I discuss how this action affects the opposite hip (causing an unaccented "up" on the opposite hip), but how we are focusing our energy downward on the working hip.

We work on that flat footed and at a moderate tempo until they are comfortable with it, and then begin to work on transitioning the weight and walking with it, again starting flat foot - we go through all the phases of the "Frankenstein Walk", which is how the hip drops look until you get up on your toes - and then when the students have the idea of stepping and dropping the hip down, we progress to doing it in releve.

Since most people can't keep releve going for long periods of time drilling in class, I work hardest getting the hip action flat footed before we work on doing the movement in releve. I also will drill the movement alternating between releve and flat if I want to do more extended drilling on the movement.

Once the basic hip/footwork is down, you can work on nuances of the movement, such as sending the hip on a slight backward diagonal as it goes down, thus increasing the range of motion and making a bigger visual.

But can you guys make it crisp like Suhair? Is she contracting her glutes? I've tried and tried but can't get that snap action she seems to have.

Originally Posted by tamrahennatx

I start flat foot, with the weight evenly distributed and the knees slightly bent. Then I ask students to release the right knee down, thus sending the right hip down one the "1" count. I discuss how this action affects the opposite hip (causing an unaccented "up" on the opposite hip), but how we are focusing our energy downward on the working hip.

We work on that flat footed and at a moderate tempo until they are comfortable with it, and then begin to work on transitioning the weight and walking with it, again starting flat foot - we go through all the phases of the "Frankenstein Walk", which is how the hip drops look until you get up on your toes - and then when the students have the idea of stepping and dropping the hip down, we progress to doing it in releve.

Since most people can't keep releve going for long periods of time drilling in class, I work hardest getting the hip action flat footed before we work on doing the movement in releve. I also will drill the movement alternating between releve and flat if I want to do more extended drilling on the movement.

Once the basic hip/footwork is down, you can work on nuances of the movement, such as sending the hip on a slight backward diagonal as it goes down, thus increasing the range of motion and making a bigger visual.

Thanks for this, this is useful. This step is not my strongest, but I want to work on it with my Intermediate class.

Originally Posted by SamarDahab

But can you guys make it crisp like Suhair? Is she contracting her glutes? I've tried and tried but can't get that snap action she seems to have.

I think that she is contracting her glutes sometimes, but you have to remember that this is a default move for her. Her body just does this, and it's not something that she has to put a lot of thought into. So sometimes it's more snappy, sometimes I've seen her do a slight down-down on one hip to catch the rhythm, and sometimes it's smaller...it all depends on the music.

If you love this movement, then work on it until it becomes second nature to you. But even then it may never look just like hers, just because you are not Souher Zeki...but you will find that you will have your own spin on it, because it is now a default movement for you.

Originally Posted by SamarDahab

But can you guys make it crisp like Suhair? Is she contracting her glutes? I've tried and tried but can't get that snap action she seems to have.

Also, make sure you allow your non-working hip to work in total opposition to the working "down" hip. You have to allow the opposite hip to come up as much as the working hip goes down, and really sink in to the weight shift.

I really enjoy this movement. :)

I have students stand with their feet a bit wider than shoulder width apart, feet pointing forward, weight evenly distributed on both feet, knees soft, and pelvis in neutral. Then, using our obliques, we tilt the hips (right hip down, left hip up), without flexing either knee, so that most of our weight transfers to the right foot and the left foot comes up on the ball, while keeping the chest and shoulders centred between our feet. Next we change the hip tilt to down on the left side so that our weight transfers to the left foot and the right foot comes up on the ball.

Once everyone has the hang of that, we bring the feet back in to basic position and do the same, allowing the tilt of the hips to transfer our weight entirely onto one foot while the other foot comes off the floor slightly. Knees stay relaxed but don't do any work so that the tilting motion of the hips translates directly to the stepping motion of the feet. I find that starting with feet further apart, as described above, gives a clearer understanding of how the hip movement governs the weight transfer.

Doing these stationary tilts with weight shifts, we're already stepping in place, so, once everyone's comfortable with the movement, we start taking baby steps forward with each hip tilt.

Originally Posted by tamrahennatx

Also, make sure you allow your non-working hip to work in total opposition to the working "down" hip. You have to allow the opposite hip to come up as much as the working hip goes down, and really sink in to the weight shift.

Yes! This is why I use the term "hip tilt" a fair bit in class, to indicate that our aim is a diagonal line that runs through both hips. That tilt becomes a building block for creating a number of other hip movements, like vertical hip 8s (hip slides + tilts).

Originally Posted by Ainsley

Yes! This is why I use the term "hip tilt" a fair bit in class, to indicate that our aim is a diagonal line that runs through both hips. That tilt becomes a building block for creating a number of other hip movements, like vertical hip 8s (hip slides + tilts).

I like the hip tilt approach, but how do you keep the emphasis from becoming the contraction of the obliques on the opposite hip, rather than the down motion of the weighted hip? I find that when I over-utilized my obliques for this move, it becomes muddy on me.

My students start learning a hip rock (or tilt) driven from the lateral flexors (QL and obliques) from day 1. I'm not saying they all get it quickly - but they are working on it. I think this is the underlying base move - ie you need to be able to contract your lateral flexors to lift the pelvis - not using the legs, not using the glutes, not wobbly out to the side etc. This also builds on the down which takes a bit of stretch - ie left hip lifts straight up, right hip stretched down.

Okay, so given that you can do a hip rock. On demi. Contract the right side (straight up using the lateral flexors). This will lift the right leg off the floor (stablize with the left glute and abs - but do not push with the leg) Now, slide/push slightly to the right. Release the hip - and at same time contract the left. Repeat.

Originally Posted by tamrahennatx

I like the hip tilt approach, but how do you keep the emphasis from becoming the contraction of the obliques on the opposite hip, rather than the down motion of the weighted hip? I find that when I over-utilized my obliques for this move, it becomes muddy on me.

This is a good point. In answer to Samar's question, I was going to say that the key to doing the move crisply, for me, is precisely to do a clean, quick oblique contraction on the unweighted hip, but I see what you're saying. Problem being when it looks like an overemphasized contraction-while-lifting-the-leg-off-the-ground movement rather than a drop down on the weighted side, correct?

I just tried a few things in front of the mirror, and for me it's doing the weight shift at exactly the same moment as the contraction that gives the movement the look I want. If I start transferring my weight before the contraction, it can look more like a lift on the unweighted hip.

Also, not involving the knees makes a big difference for me. If I absorb the downward motion of my weighted hip into my knee, it loses its emphasis.

So, I would say it's the power of a quick oblique contraction on the unweighted side coupled with a total weight shift at the same moment that gives the movement that downward accent.

Originally Posted by Ainsley

Also, not involving the knees makes a big difference for me. If I absorb the downward motion of my weighted hip into my knee, it loses its emphasis.

Yes. One way to teach this basic movement concept is to have your students do a "Herman Munster" walk or a pirate peg leg walk ..l;,

Originally Posted by Ainsley

This is a good point. In answer to Samar's question, I was going to say that the key to doing the move crisply, for me, is precisely to do a clean, quick oblique contraction on the unweighted hip, but I see what you're saying. Problem being when it looks like an overemphasized contraction-while-lifting-the-leg-off-the-ground movement rather than a drop down on the weighted side, correct?

I just tried a few things in front of the mirror, and for me it's doing the weight shift at exactly the same moment as the contraction that gives the movement the look I want. If I start transferring my weight before the contraction, it can look more like a lift on the unweighted hip.

Also, not involving the knees makes a big difference for me. If I absorb the downward motion of my weighted hip into my knee, it loses its emphasis.

So, I would say it's the power of a quick oblique contraction on the unweighted side coupled with a total weight shift at the same moment that gives the movement that downward accent.

You're right that there's a certain point in my teaching where the knees are taken out of the equation...but there's also a hidden secret to this move: the prep. Before the initial down hip, that hip raises slightly, so as to have somewhere to come from.

SO, there's a small contraction in the oblique on the side of the working hip to raise the hip in preparation for the down. The knee stays neutral, and the hip goes down as you place your weight on that side. The emphasis on the down hip comes from the release of the contraction made in preparation for the step. There is a simultaneous contraction on the unweighted hip, but if it's timed well with the weight change and the hard release of the contraction on the working side, the emphasis remains in the weighted hip.

Is this making any sense?

I do still believe in starting with the knees bent in the beginning, because it offers students the most stability and they are less likely to stick their rear ends out.

I was taught to imagine you are a penguin, with a UTI!

Originally Posted by bella237

I was taught to imagine you are a penguin, with a UTI!

Wow, I love you guys

Originally Posted by bella237

I was taught to imagine you are a penguin, with a UTI!

I just snorted tea all over the monitor. Thanks! ..l;,..l;,..l;,

Um, okay. This sounds dumb. But I swear it helped me.

As we did it slowly across the floor, our teacher made us say "down, down, down" as we stepped. I think it helped us remember the emphasis was on the down hip, not the opposition up-hip.

Originally Posted by tigerb

Um, okay. This sounds dumb. But I swear it helped me.

As we did it slowly across the floor, our teacher made us say "down, down, down" as we stepped. I think it helped us remember the emphasis was on the down hip, not the opposition up-hip.

LOL, nope. I do this with my students. As you are learning this, you have to THINK down as the hip goes down, or else you lose the accent.

I learned it by watching my instructor, but also watching hours of Beata Cifuentes doing it. First and foremost, I remind my students to keep their abs engaged, tailbone to the floor, as I find this move a real lower back killer if not done properly. I remind them to keep their step very small. Remarkably, they all end up getting this move down.

Is the move you're talking about the one here at 2:13? I would like to learn this traveling step but I can't even get my mind around the explanations above

Are there any other clips describing the Soheir down?

[ame=http://www.youtube.com/watch?v=wb1iqXiBK9Q]YouTube - Orit Maftsir in Poland 2008- Umm Kalthum[/ame]

Hookednovice: Yes, that is a saki Orit is doing, with my limited resolution here it seems she emphasizes it on the right hip and adds a shimmy on one or both legs.

You can see the legend herself here, starting at around 00:13: [ame=http://www.youtube.com/watch?v=HfRATlwjxqo]YouTube - Suheir Zaki - a bellydance Legend[/ame]

yours truly ..c:: does 4 of them here, curiously enough also starting around 00:13 ..l;, [ame=http://www.youtube.com/watch?v=UkBndigd7SQ]YouTube - Nile Group June 2009 - Marta dancing "Agibni Kullak"[/ame]

Oh, and Dandesh has some of my favourite sakis; here she does them in her piece where she portraits different famous dancers, you will hear him say "sohair zaki" right before she starts, at 2:08: [ame=http://www.youtube.com/watch?v=7wEDPrteTjo]YouTube - Dandesh Manga Routine[/ame]

LE SIGH. I just want to kiss the ground Dandesh walks on.

I never really 'learned' them, had to teach them to myself!

I start my students out with the weight on one foot, using the oblique (side waist) muscles to lift the other hip, picking the foot up off the floor, then pushing the foot down by pushing the hip down. So they're standing on one foot (hand on the wall if necessary for balance) picking up and pushing down the other foot *from the hip* with a straight leg.

After we practice that Frankensteiny movement on both sides, I have them put their weight down when they put the foot down. Now we're making sure the knee is soft but staying at the same degree of microbend. So they're stamping their weight onto the right foot, say, but initiating that movement with the downward push of the right hip.

After doing that in singles, on one side, for a while, we start alternating the down-hip weight shift in 3s. right, left, right. left right left. The pelvis moves like a see-saw to initiate the movement.

A slight outward angle to the downward moving hip is a variation (or degree of sophistication?) I add in after they're doing the basic move safely, with a neutral pelvis and unlocked knees. Not all students are capable of it, in my experience. Those with tight It bands or tilted pelvises, who have trouble with slides, mayas, vertical 8s, may not be able to do it safely with the outward angle.

This is a 3 parter:

I start by re-breaking down the basic hip-drop.

I break down the hip drop as follows, get in good posture, engaged abs, both knees soft, one leg popped in full stiletto heel position. I emphasis that the standing(weighted) leg is slightly bent.
-lift the hip of the unweighted leg with the obliques, drop the hip sharply by pulling upward with the inner thigh muscles of the standing or weighted leg. Sometimes I have them feel those inner thigh muscles with their hands, so they can feel them working to drop the hip.

I will also remind them to engage their core muscles again and continue the hip drop exercise with their unweighted foot in the air (knee bent, foot pointed and next to the standing leg). Again emphasis the softness of the standing leg's knee and remark on the work of the inner thigh.

The work the inner thigh is doing is what makes a really sharp hip movement possible without engaging the glutes. For me, this is the key to good Souheir hips.

Once we've identified and are working the inner thighs we would practice with both feet flat alternating sharp hip lifts/drops (while one hip is up the other is down) with slightly bent knees allowing the movement and emphasizing the work of the inner thighs to make them sharp.

Then engaging the core, we go on to full releve - double checking to make sure people are all the way up on their toes with their weight placed properly over the big toe side and with soft slightly bent knees. Repeat the sharp, inner thigh driven alternating hips in releve. If people are losing their balance, start them over encouraging them to think about engaging their core muscles and lifting through their centers as the balls of their feet are very grounded through the floor, always checking that soft knees are kept.

Aside***I must admit - a couple of you mentioned taking knees out of the equation and that baffled me a little. It was never the knees working the movement for me, but I'm assuming you still keep them slightly bent to work as the suspension system for hip movement. Hip dropping walks done straight legged or with suspension system in the feet instead of the knees (both of which I have seen), seem stilted and lack isolation. Souheir's knees are soft and slightly bent when she does her hip dropping steps and I'm sure they are her suspension system.

part 2 -

Back to the breakdown - After that, I'd go flat footed again and try to take small steps with the hip drops, still trying to keep the movement sharp and isolated. If everybody gets discombobulated at this point then I do one of two things.

1- Spread their legs wide and have them bend the weighted leg and straighten the unweighted leg as they step in place dropping the weighted hip down (this always reminds me of an 80s workout video and so I usually throw in a couple "work it, work it!" as we go). Strangely with wide legs people have an easier time dropping the hip on the weighted leg. To me these are not the Souheir drops, but they start to get people used to dropping the weighted hip. Then I have them gradually step their legs together. Still not the Souheir drops, this exercise brings a different quality to the movement and tends to push into back space a little, but it does get the hips dropping while their walking and I use this move. I'll just clarify that it is a slightly different step that is related to the Souheir drop.

2- one side at a time. I'll emphasis the drop on the right hip moving right, then the left hip moving left, so people only have to think about one side at a time. That also helps people wrap their minds and bodies around dropping the weighted hip. This one can be done concentrating on the inner thigh driving the hip down as you step. After doing one side then the other several times, go back to doing alternating.

Alternating downward hip walks flat footed, (try leading with the heel) these can actually be very smooth and graceful themselves. I've seen Sohaila do them flat footed beautifully - look at 26 seconds in, she's does them briefly walking back:
[ame=http://www.youtube.com/watch?v=7qxqrEyUbbo]YouTube - Sohaila - SAMEDA Faire 2006 Performance[/ame]

I don't think Frankenstein or uncomfortable penguins, as great as that imagery is, need ever get involved in the process.

Next alternating downward hip walks on full releve with soft knees all the time emphasizing the work of the inner thighs to maintain sharpness, control and isolation.

Everyone should now be doing Souheir Zaki-like downward hip walks, but that's just the start.

part 3

Next I have everybody do hip slides and myas to discover their personal range of motion. When they've got that range of motion in their minds and bodies, we do standing, alternating hip drops again, but this time the hip drop is sent out as well as down so that the full range of motion is used.

As we are mastering the full range of motion version of down hips I throw in a variation where the unweighted leg is brought so the bent knee crosses slightly in front of the other, as a bigger, slower more emphasized version of the step. You can see it here from the back at 1:05
[ame=http://www.youtube.com/watch?v=AUN7FVUwLsQ]YouTube - Soheir Zaki Pt1[/ame]
I have other footage of her doing from the front, but I couldn't find it on youtube right now. You can see how she's really extending her range of motion here and not just going straight down.

Then after I think a reasonable mastery of the down hip walk & the full range of motion down hip walk has happened, we start to talk upper body.

In general, I try to encourage nice hand placement as we go so it isn't an after thought. So this is in addition to that. Souheir sometimes does a slight tilt of her torso to emphasis her down hips. She doesn't do it all the time, but she definitely does it, and wonderfully so sometimes. But this is a good thing to notice. There is variation in her down hips. The torso tilts to emphasis the hips. You can see this pretty clearly here at 1:02
[ame=http://www.youtube.com/watch?v=AbWs8F2nVjQ]YouTube - Ra'asa Suheir Zaki - Laylet Hob[/ame]

and here at 4:06
[ame=http://www.youtube.com/watch?v=AUN7FVUwLsQ]YouTube - Soheir Zaki Pt1[/ame]

And from there we start to look at alternative arm placements and how that effects and changes the look of the step.

That's how I break down and teach Souheir Zaki walking down hips.

No one taught them to me...so I had to invent my own way. I teach them only on demi point with straight knees, open/ close foot work to the side, lifting the hip with the abs and driving down to the demi point on the beat while closing the opposite foot. (step together, repeat) I work both sides a lot before attempting a forward or back movement. I really like doing them in a triplet as it mimicks the horse step that I think this step grew out of.

I just read Lauren's post and she must life in my alternate universe...LOL...

Whoa shems. I have to go to bed now but thought I'd glance back at this thread. I am printing your instructions out and I'll go over them tomorrow at my daughter's soccer game. (can you just see me on the sidelines??)

I always like your detailed directions. I still have your traveling twist step break down in my file.

Oh goodness I love you guys! This is one of those moves that I learned on my own and was never really taught, so I would have no clue how to break it down for someone else...

That's what Bhuz is for!!!

Wow, so many great answers! Thank you everyone!