Thread: Methods for teaching upper body/arm engagement?

I'm doing an intensive technique session with some of my level 4 (2-8years) students.

The biggest issue most of them have is with upper bodies & arms.

I realize part of this is about actual physical strength (I wonder if dancers who don't rehearse every day OR crosstrain are physically capable of maintaining a strong posture & arms for more than a few minutes at a time?)

But a big part of it awareness, too, and maintaining that engagement through the upper body and out to the fingertips while they're also executing hipwork, or choreography.

Anyone have favorite drills, exercises, partnerwork, games, or other techniques they use to teach this strength and awareness?

I like using a 15 minute drill to a bare drum pattern like a slow Tsifteteli. I will do grapevine to the right for 7 counts (pose on 8). I use slow "shirt on" arms while moving to the right to end in a hip frame pose (one arm up, one at the presenting hip) for hip accents for a stationary 8 count on left diagonal. Repeat grapevine to right with "shirt off" arms ending at same hip pose on right diagonal. Repeat for 15 minutes without variation.

The long term repetition and the juxtaposition of the lateral leg movements combined with the sweeping vertical arm movements create a strong neural connection with the arms that become independent of the direction of the feet and legs.

This was really hard for me as my original teachers never counted and never moved our arms past the "out to sides" or "L". pose

This is sort of off the cuff, but--

1. Have them dance seated in a chair. For an extended period of time. Often.

There is historical basis for it----there is fabulous footage (in Egypt Dances, viewable at the Lincoln Center Library) of (crap, I forget her first name) Kloppitiyya, an Egyptian dancer who originated shemadan dancing back in the day (her shemadan weighed 40 pounds).

She explains that dancers often danced seated because they were often so heavy they could not stand (and she is a big woman herself). She then proceeds to demonstrate. It is awe-inspiring (and it allows chair-bound folks to belly dance, which is very cool).

Anyway, it forces you to engage the upper body and become aware of it.

2. Another thing is breathing, and marrying the breath to the movement (inhale up, exhale down, for example, or exhale on an accent). This powers the movement and gives you energy that allows you to stay lifted.

3. Delsarte movement progressions, lifting from the tricep, and initiating movement from the dantien below the navel all allow for easier lifting and maintenance of arm positions.

Please let me know if this helps--or if there are further considerations. Thanks!

I'd love more ideas on this kind of stuff too

FWIW - this is what I currently do:

For Foundation / Beginners:

• Drill arm positions and pathways at the beginning of EVERY CLASS Remind students to have resistance in their arm movements.
• When drilling other movements get students to have their arms in a variety of positions, using a variety of pathways, so they don't get 'stuck' with particular arm shapes for particular moves
• Ensure students understand that the arm stuff comes from the centre of the upper body, to which the arms are attached. The upper body in turn 'floats' above the strong core and grounded lower body.
• Try and ensure that students allow their upper body to be involved in dancing even when 'isolating' the upper body. If upper body is fixed and disconnected (as opposed to still/relaxed) arm involvement is always going to be tricky.

For Improvers onwards, all the above, plus:

• Do upperbody exercises where we make all the shapes in all the planes, circles, 8s, lifts and drops - we might not use them all as standalone moves, but having the strength to make the shapes, and actually practicing making them, makes involving the upper body in dancing a tad easier (e.g. for things like allowing fig8s of all varieties to 'travel' up and down body). There's some good stuff on this on Aziza's Ultimate Practice Companion
• Do music response exercises where we dance from the centre of the upper body, to which the arms are attached, to express emotion rather than go through a series of pathways/positions. Taqasim are good for this. Getting students to sit in chairs/kneel is good for this too.

That's all I can think of for now. Arms are the bane of my own dancing life, and trying to teach them effectively are the bane of my dance teaching life

Originally Posted by alia t

She explains that dancers often danced seated because dancers were once so heavy they could not stand, and danced seated.

Where? When? Why? How?
I've never heard this before, so I'd like to hear more.

Maybe this is too obvious but it was a big revelation for me when I found out how much arm work comes from the *back* as opposed to the arms per se.

Originally Posted by NisreenBrooklyn

Maybe this is too obvious but it was a big revelation for me when I found out how much arm work comes from the *back* as opposed to the arms per se.

Yes, I agree - should have put this in my list upthread!

Originally Posted by deelybopper

Yes, I agree - should have put this in my list upthread!

Funny you say this -- after I posted, I read the thread again and after looking more closely, felt that I had reiterated what you'd already said and should have just given you a thumbs up. :)

Herein I believe is a mention of that early shamadan dancer Alia referred to. Name spelled here as "Shoufiqa at Koptiyyah"

Shamadan :: Sakkara

Rosette

Just a suggestion: for continued practice after class, you could suggest they review the exercises with wrist weights (you can get that at Five Below for cheap). I use them when I train at home and they definately help with strength and toning (suddenly doing the exercises without seem rather 'effortless' ;)

There are some suggested drills and arms ideas on my web site at this page: Belly Dance Technique: Beautiful Arms

Sitting dancer:



PS I love this dancer! Talk about a majestic presence - she is one of my favs.

Also, what can help upper body work - floor work. If people are on their knees or seated it helps people with the upper body isolations.

Lately too I have been working with ballet arms, working through transitions from one position to another - working with veils helps people focus on good arm and upper torso carriage and also on graceful transitions. It doesn't matter if you actually dance with veils or not - working with them is good for arms and it encourages a strong upper torso posture.

Of course oriental dancer arms are not the same as ballet arms but the positions make sense. Then add the push from the back, spiral down the arms, circle in the wrists and energy out through the finger tips etc.

I usually start my classes with several minutes of upper torso and arm isolations. I think they're so important and yes, people get worn out after a short time.

I don't know what arms weigh but just holding them up and out for several minutes is tiring so it's an important part of any dance exercise routine.

Plus, of course, learning to engage the back muscles, all the small arm and shoulder, wrist and finger muscles that make the arms rippling and expressive; this also helps with upper body arches, contractions, shimmies and circles. I drill a lot with the circle movements, then switch to lower body and finally practice full body undulations and working the upper body in opposition to or in concert with lower body movements.

Working with 5 pound weights helps build upper body strength also and it shapes everything.

Also with upper body posture - I try to show people how contracted upper body = a different body shape/emotional expression altogether from Bosom = Horns of the Bull. When people realize that the upper torso is such a powerful instrument of expression, they start to use it and think of posture not as a "rule" but rather as a tool.

Rosette, yes; that is she: Shoufiqa al Kloptiyyah. In the film, my memory is that she designates herself as the first to do it.

Originally Posted by yameyameyame

Where? When? Why? How?
I've never heard this before, so I'd like to hear more.

The only place I've ever seen mention of it was in Egypt Dances, but it makes sense to me. Fat was valued and you can do everything but steps while seated (and trad Egyptian dancers don't do so many steps anyway).

Re: Arm movements coming from the back: imo, they come from deeper. Every move in trad oriental ideally initiates from the dantien, even if it doesn't seem to (even if that's not how we were taught). It rises from the core and returns to the core. So your arm rises from the core, around the ribs, through the shoulder blade, tricep, elbow, forearm, wrist, palm, fingers--and then it returns in the opposite order--why elbows stay up as hands come down. Thinking about it, it may even be a fascial thing, wrap the ribs and go up the opposite arm. Hmmm...

Anyway, try it. Raise your arm from your back. Then visualize your arm sweep arising from the dantien and feel it blossom in the body. You'll feel the difference instantly. It's graceful, sensual, and involves so much more of the body.

Originally Posted by alia t

Rosette, yes; that is she: Shoufiqa al Kloptiyyah. In the film, my memory is that she designates herself as the first to do it.



The only place I've ever seen mention of it was in Egypt Dances, but it makes sense to me. Fat was valued and you can do everything but steps while seated (and trad Egyptian dancers don't do so many steps anyway).

Re: Arm movements coming from the back: imo, they come from deeper. Every move in trad oriental ideally initiates from the dantien, even if it doesn't seem to (even if that's not how we were taught). It rises from the core and returns to the core. So your arm rises from the core, around the ribs, through the shoulder blade, tricep, elbow, forearm, wrist, palm, fingers--and then it returns in the opposite order--why elbows stay up as hands come down. Thinking about it, it may even be a fascial thing, wrap the ribs and go up the opposite arm. Hmmm...

Anyway, try it. Raise your arm from your back. Then visualize your arm sweep arising from the dantien and feel it blossom in the body. You'll feel the difference instantly. It's graceful, sensual, and involves so much more of the body.

I like this idea, of spiraling movements; in fact, linking upper torso and lower torso through the core, working upper body in counterpoise to the lower body, like the spirals of a shell.

And, the idea of the arm movements coming from deep within -

Originally Posted by Elibelinde

I like this idea, of spiraling movements; in fact, linking upper torso and lower torso through the core, working upper body in counterpoise to the lower body, like the spirals of a shell.

And, the idea of the arm movements coming from deep within -

You're so poetic :)

One of the things that my teacher used to do for our advanced class was to make us hold broom handles out in proper posture about 10-15 minutes while doing other exercises with the hips, traveling, etc,. It was effective in developing the muscles needed to keep our posture upright and arms strong.

Originally Posted by Azedah

One of the things that my teacher used to do for our advanced class was to make us hold broom handles out in proper posture about 10-15 minutes while doing other exercises with the hips, traveling, etc,. It was effective in developing the muscles needed to keep our posture upright and arms strong.

Oh, interesting! We could do this with canes, I have plenty in the studio!

Originally Posted by Azedah

One of the things that my teacher used to do for our advanced class was to make us hold broom handles out in proper posture about 10-15 minutes while doing other exercises with the hips, traveling, etc,. It was effective in developing the muscles needed to keep our posture upright and arms strong.

That sounds like the Army but it probably works.

My ballet teacher had a long stick and she'd poke us with it if we slumped.

That worked too.

When I was on my university's ballroom dance team, they had a 2x4 that could be strapped across a person's back, from elbow to elbow. If any of the men slouched, they got the posture board!

That method might be a bit draconian for our purposes...

Originally Posted by anala

I like using a 15 minute drill to a bare drum pattern like a slow Tsifteteli. I will do grapevine to the right for 7 counts (pose on 8). I use slow "shirt on" arms while moving to the right to end in a hip frame pose (one arm up, one at the presenting hip) for hip accents for a stationary 8 count on left diagonal. Repeat grapevine to right with "shirt off" arms ending at same hip pose on right diagonal. Repeat for 15 minutes without variation.

This sounds like a great drill. Could you explain the "shirt on/off" more? I think I know what you mean, but am uncertain. What I think of is raising the arms over the sides (sweeping them out and up) and bringing them down, crossing them in front of the body. Shirt off would be the arms going up crossed and coming down to the sides. Is this what you mean?