Thread: When your dancing...what do you look at?

Hi,

I'm curious.
When you're dancing.....what do you look at?

Are you supposed to 'connect' with the audience by looking at them?
Or, do you look at them without 'seeing' them (hope this makes sense).

I've seen some dancers look at the audience, and others seem to look across everyone, and have their eyes down in some moments (while doing umi, or undulations), like their in their own world, just them and the music.

If both are correct....how do you know when to do either one?

I have so many questions about dancing!
Thank you for this forum!!!!

PS, I've heard actors are told not to look into the camera, because it startles the audience?

Oh, I totally look right at them! That's one thing I love about belly dance. When I was in highland dance, though - I did look at the top of people's heads, but that's not a dance form that is receptive to interaction... it's much more rigid...

I think when you say "...have their eyes down in some moments (while doing umi, or undulations), like their in their own world,..." it's to draw the audience attention to that movement. I was taught that wherever or whenever you look -at your hands or hip movements -its to draw the audience attention to that movement. You should look at the audience but just a gaze or glance and smile, not stare at them so that they feel intimidated by you. I've often seen dancers stare at me and I don't think they are even aware of it, they're just concentrating on the music or the choreography. It made me feel uneasy, like I was invading their moment of zen or something and thats a feeling you don't want your audience to have.

I am unfortunately a floor/feet watcher. Always wanting not to trip on anything. Just about every form of dance has tried to rid me of this bad habit.

I try to look just over the audience. Working on looking right at them. I tape myself to see what my feet, hands, and eyes are really doing. Even when I am just improving by myself in the basement.

Eye contact for sure.

If they are my friends, I like to wink to let them know I see them out there, if they are crazy like my friend Jackie, Ill blow her a kiss for clapping and whisteling so much ;)

I look at people's faces, absolutely! And, I smile at them, which fortunately for me comes naturally. I also look at the musicians, if I have that luxury, and other dancers. I gaze downwards/over the audience into the distance when it's a more introspective moment, or e.g. at my hips when I wanna draw attention to it.

I feel it is good to share the emotion with the audience - which for me is having a good time and enjoying myself, especially for more lively songs. For slower songs, it's a few notches down, but I still feel it's great fun to go with that, so usually I smile and look at the audience, as well. (And then there is the concentrated frown with the tongue sticking out - which we shall skip.) But, it's not a stare, it's more "Hey guys, I am so happy you're here while I am having a grand time", and it's a sincere expression, which I think the audience picks up on.

When it comes to "what to do" - I don't think about it, I listen and follow the energy of the music, which sounds rather vague. From the reactions I have gotten, that works.

I do both and think it's important to project out and focus inward for good performances. If you focus inward all the time, you'll lose the audience. If you project out all the time you will wear them out. I think of it as a give-and-take. They get some attention and I give myself some as well. Music will allow for this...you really don't come across many songs that are always at level 10 - they bring the energy down a few notches occasionally.

Yes we are always taught to make eye contact with the audience but it is a bit unnerving at first. Imagine my surprise when I went out on stage last weekend and the theater was so dark that it was like looking into a cave. I could not see anyone! It could have been a full house or no one even there, it sort of freaked me out – I didn’t realize how much a dancer feeds off the vibe of the audience and when I couldn’t see them it was weird. For my 2 and 3rd dance I still couldn’t see anyone but I knew where my Mom was sitting so I looked that way and smiled. She later told me she thought I was smiling at her! I think looking out to the audience helps to bring them in to the dance but it really depends on the mood of the dance.

I think eye contact with your audience and your facial expression is very important.
I saw a dancer recently who was completly dancing for herself without any interaction with the pubilc, even when she invited people to dance with her, she didn't look at them. Her dancing was professional, but for me it missed something becouse there was no connection with the people.

I think it's wonderful if you can make eye contact & genuinely connect with individual audience members. You can't be staring or forcing a facial expression, though, that's creepy. It has to be a genuine moment of greeting, so your face is natural and alive. Usually you can smile at them and they'll smile back, or flick your eyes down to your hip movement while you do an accent and look back up again. I don't know if it's something you can plan or rehearse, it's just a matter of being relaxed and genuinely (there's that word again) having fun with them and inviting them to have fun with you. Enjoying the music -- and your interpretation of it -- together.

But yes, directing your own gaze toward your movement is also powerful. However, it's an illusion. In most poses, if you can actually SEE your own hip you're probably hunching & creating a double chin! You're just angling your head and lowering your eyes *as if* to look at the hip. Normally I'd say you do this when the music is a little lower in energy, more contemplative, when you're pulling your focus inward.

It's a nice contrast. So you might *glance* toward your hip playfully (look at audience member, glance at hip, look at audience member, glance at hip).

Or you might hold your focus inward during a slower bit of the music, then gradually, as the energy of the music builds, take your gaze outward into the audience in general and then, as you begin to travel, connect with individuals.

The only time I'd gaze over, around, or through the audience would be onstage, when the stage lights prevent me from actually seeing them. Or from seeing them all -- sometimes you can see the front couple of rows and its' tempting to only send your energy out that far, but you have to project to the back of the room even though you can't see any people there!

I was taught the same thing as Jasani and Lauren. When you want to focus on a specific area of your body executing a movement, you sort of turn the head and cast the eyes in that general direction without necessarily looking straight at it. It draws the audiences attention to that area. Naturally, you wouldn't want to be doing that throughout your entire performance.

Sometimes you look up and make eye contact, briefly (I have seen dancers stare at someone and it's very disconcerting), with a smile; sometimes the music makes you focus inward, maybe even closing the eyes for a moment; sometimes you look more towards the back of the room; sometimes you may even get playful and focus on the person you're playing with for a while, although you need to be sure they're receptive to it.

As you become more confident on stage, you relax and your personality takes over. You begin to follow your instincts regarding how to follow the music and interact with the audience at any given moment. The best way to learn is just to watch a lot of different experienced dancers in action.

I agree that making eye contact, at least intermittently, is usually a very important way to "share the feeling" with your audience (including that thing of pretending to smile intimately at them from a theater stage when you can't see them). However there are some times where the mood is introspective and it works well not to look at the audience. Particularly I recall a performance I saw by Elena Lentini, when she NEVER looked at the audience from the time she came on until the time she walked out, and it felt like we were all a bunch of "voyeurs" witnessing someone's private emotions, and this was VERY powerful.
So maybe it's all a matter of intent. You have to ask yourself, am I choosing not to look at the audience for a good reason, or am I failing to look at them when it really would convey the intended mood more effectively if I did?
If choosing not to look at the audience, it's important to still focus the gaze outward or upward most of the time, and when you do look down, you need to do it just with your eyes and not your head.
I do think floor work is a time for caution about eye contact with people in the audience. It can look too provocative.
Rosette

I definitely think it's good to make eye contact, but no, of course you don't want stare creepily at someone. ;-) Of course, it's also really sad to watch a dancer whose body from the neck down dances beautifully, but who, from the neck up, merely appears to be angry at her feet.

I make a lot of eye contact but as others have mentioned, it's part of the personality--of me as a dancer and of the dance. I may make eye contact, then smile and/or use my eyes then to direct their eyes to something I want them to look at. Sometimes I use my eyes and facial expressions playfully to draw audience members in or to let an interested/intrigued audience member know that I see and appreciate that THEY appreciate what I'm doing and that I'm about to do a little something special "just for them" (even if it was a move I'd have probably done anyway)--it creates a rapport between me and the audience that makes it more fun and intimate for me as well as for them.

That said, I do sometimes look down or inward or close my eyes briefly in, say, a particularly emotional moment in the music, or, as I mentioned, use my own gaze to direct the audience members' gazes. I let the changes in the music and what I'm feeling in in the music guide what I'm doing when, rather than having a plan.

It's also worth noting that what I'm referring to here is what I do when I dance Egyptian style raqs sharki. Tribal gals often do the more "serious face" thing. And when I'm doing folkloric, my facial expression/interaction level will match the folkloric character of the dance (i.e. Melaya Leff is very theatrical and all about the character and how I interact with the audience.)

For me, it all depends on the "feeling" I'm trying to portray, I guess. I definitely make eye contact with audience members when I'm trying to get them to understand and feel what I'm feeling, but there are times when not looking at the audience is necessary to project whatever I'm trying to get across onstage.

Yes, when I'm performing tribal fusion, there's a more "serious" look on my face sometimes, but that all depends on what music I'm dancing to. Sometimes I have a big ole grin!..g.: When I was a part of a tribal improv group, we danced to "Rock the Casbah" and I grinned the whole time! Love that song!..g.:

a little of both..........i like to engage people in restaurants with a little eye contact, and when i get it, a smile to put them at ease (ESPECIALLY the ladies, who oft times STILL thing they shouldn't look, or that we're provocative.......it's never failed to put them at ease), on stage, if the piece warrents it, i occasionally will, 'go inside', but always 'wake-up' to include the audience in a more emotive piece, usually looking directly out and around if it's dark, so they'r included

Originally Posted by sumayasaahir

Eye contact for sure.

If they are my friends, I like to wink to let them know I see them out there, if they are crazy like my friend Jackie, Ill blow her a kiss for clapping and whisteling so much ;)

Me too!

Originally Posted by aamel_MirahAmmal

Tribal gals often do the more "serious face" thing.

I agree, and feel the urge to add: While many dancers seem to follow some inherent rule about serious looks in tribal, it's their personal stylistic choice, and not a defining feature. Too many dancers have the misconception that tribal calls for a serious expression, which is often traced to the early days of ATS. BUT - especially old-school tribal can be, and in fact, should be cheerful; the Fat Chance DVDs mention that the dancers must not forget to smile (if that's consistent w/ the music and general mood, of course) and that they must never forget to perform *for their audience*. Of course when one dances in a group, the way one's expressions play out is a bit different from a solo performance: when I watch for cues in a group improv piece, it's rather difficult to look at the audience all across the room at the same time. But, an alert audience will still detect that I flash a big smile when I successfully catch a particularly cool cue.

Sorry, but that's a pet peeve of mine ;-) Please forgive my hot botton reaction when it comes to "tribal equals black clothes and frowns".

I don't do tribal, but as an audience member I enjoy and expect something a little different when watching a tribal performance. Some audience interaction can be nice, but, for me, it's more fun to see the interaction between the women dancing. There's a comraderie and joy that can be very infectious for the g.p., who don't have to know a thing about dancing to "get it", because they very clearly do feel it. But then, too, fellow dancers can appreciate the practice in working together it takes for the non verbal communication to come across amiably and smoothly.

Originally Posted by aamel_MirahAmmal

I may make eye contact, then smile and/or use my eyes then to direct their eyes to something I want them to look at. Sometimes I use my eyes and facial expressions playfully to draw audience members in or to let an interested/intrigued audience member know that I see and appreciate that THEY appreciate what I'm doing and that I'm about to do a little something special "just for them" (even if it was a move I'd have probably done anyway)--it creates a rapport between me and the audience that makes it more fun and intimate for me as well as for them.

That said, I do sometimes look down or inward or close my eyes briefly in, say, a particularly emotional moment in the music, or, as I mentioned, use my own gaze to direct the audience members' gazes. I let the changes in the music and what I'm feeling in in the music guide what I'm doing when, rather than having a plan.

This is all SO well-stated. Exactly what I do.

Originally Posted by vilia

The best way to learn is just to watch a lot of different experienced dancers in action.

Great point. This should be part of the answer to every Bhuz question from now on!! Watching live dancers at every opportunity (not just student dancers at haflas, but going to see pros!!!) is the best way to learn most things about dance, costuming, musical interpretation and stage skills. Supplemented by watching lots of video performances.

Originally Posted by vilia

I don't do tribal, but as an audience member I enjoy and expect something a little different when watching a tribal performance. Some audience interaction can be nice, but, for me, it's more fun to see the interaction between the women dancing. There's a comraderie and joy that can be very infectious for the g.p., who don't have to know a thing about dancing to "get it", because they very clearly do feel it. But then, too, fellow dancers can appreciate the practice in working together it takes for the non verbal communication to come across amiably and smoothly.

Ah, it's lovely to read that somebody else has the same reaction to dancers having fun with each other on stage! And, from my experience dancing with my peeps, that description reflects the mood on stage very well.

"... between the women dancing ..." - it's not just a girls' thing, you should see my male dance partner, who takes great pleasure in throwing me little curve balls on stage, which makes me laugh. Things like doing level changes when he knows that I really don't like 'em much; or handing over the lead to me when I least expect it and such. Most of the time, I have to keep both eyes on his mischief, or I'd be in trouble ;-)

Originally Posted by steffib

Sorry, but that's a pet peeve of mine ;-) Please forgive my hot botton reaction when it comes to "tribal equals black clothes and frowns".

Please know I was not saying that I think all tribal dance equal black clothes and frowns--not in the least--nor does all AmCab mean cheesey grins the whole time etc. All I was trying to say was that dancers may have work in different styles that may influence what their most common (not to say their only or always) asthetic would be, and not to say that all dancers of that style would use the same facial aesthetic. I merely used "tribal serious", "melaya flirty" as possible examples of quick, referential examples, not intended to stereotype specific women. Believe me, I know some tribal gals with lovely smiles...and some who do a mix of dramatic and smiley etc. ..g.: ...So...are we good?

Oh, nonononono, I thought what you wrote was insightful and very well-formulated, I just wanted to add to make sure. Sorry if I wasn't clear (it's too cold to be coherent). My bad!

With cabaret style, I try to do as others have said--make eye contact and then look at the part of my body I want to draw the audience's attention to.

My first instructor taught me that it helps to give the audience "permission" to look at your body and not at your eyes, by drawing their attention to what your hip (or whatever) is doing. If you make prolonged eye contact, without then looking at your hip (etc.), then most people are going to be polite and make eye contact back, instead of watching what they should be watching. So, I try to do a combination of both.

When I do tribal improv, however, I am far too busy watching for the cues to be making eyes at the audience. *g*

Originally Posted by vilia

I don't do tribal, but as an audience member I enjoy and expect something a little different when watching a tribal performance. Some audience interaction can be nice, but, for me, it's more fun to see the interaction between the women dancing. There's a comraderie and joy that can be very infectious for the g.p., who don't have to know a thing about dancing to "get it", because they very clearly do feel it.

And the implication is only Tribal has this feel? Our old (non-Tribal) troupe (RIP) had a lot of interaction between dancers - at times it was choreographed right in with the hip lifts! But basically as we were at ease with each other and knew our material our pleasure could overflow to casual playfulness. I'd love to claim it as my own idea - but I first saw it in modern/jazz performances.

Originally Posted by Lauren_

But yes, directing your own gaze toward your movement is also powerful. However, it's an illusion. In most poses, if you can actually SEE your own hip you're probably hunching & creating a double chin! You're just angling your head and lowering your eyes *as if* to look at the hip.

Yes, and the same for making eye contact with the audience. You can't when on stage with full lights - nor if you are dancing without contact/glasses. Yet, in both those situations I have audience members comment on how I had made contact with them!

I'd say for most performances, most of the time look at your audience (but move the gaze from person to person - or blob to blob if you're half blind like me) and occasionally direct your gaze to your body.

As an example of something quite different, one of Aida Nour's choreographies had us enter with eyes down and dance for about a minute before the whole troupe looked straight at the audience. I was told it was like a punch.

Please forgive my hot botton reaction when it comes to "tribal equals black clothes and frowns".

No, that's Gothic.

*runs away before Tempest gets here*

one of Aida Nour's choreographies had us enter with eyes down and dance for about a minute before the whole troupe looked straight at the audience. I was told it was like a punch.

Hmm. *steals*

Originally Posted by kashmir

And the implication is only Tribal has this feel? Our old (non-Tribal) troupe (RIP) had a lot of interaction between dancers - at times it was choreographed right in with the hip lifts! But basically as we were at ease with each other and knew our material our pleasure could overflow to casual playfulness. I'd love to claim it as my own idea - but I first saw it in modern/jazz performances.

No, that wasn't meant to be the implication, although I was mentioning tribal because that was what was being addressed, and also wanted to make the point about group improv, which I think is unique to tribal (or at least began with that style).

I imagine, though, that when you're together as a troupe for a long time, that intuitive connection can just as easily come across, even if all the dance steps are choreographed. I, too, have been a part of troupe dances where I've enjoyed the fellowship both on and off stage.

Originally Posted by gothique

Hi,

I'm curious.
When you're dancing.....what do you look at?

Are you supposed to 'connect' with the audience by looking at them?
Or, do you look at them without 'seeing' them (hope this makes sense).

I've seen some dancers look at the audience, and others seem to look across everyone, and have their eyes down in some moments (while doing umi, or undulations), like their in their own world, just them and the music.

If both are correct....how do you know when to do either one?

I have so many questions about dancing!
Thank you for this forum!!!!

PS, I've heard actors are told not to look into the camera, because it startles the audience?

It depends on the audience. If they are into it and bouncing around I totally look at them and interact--I even talk to them if it's in a restaurant setting (not while I'm on stage like in a showcase type setting, unless it's really informal like at a coffeehouse or something).

If people seem nervous to look or they just don't seem into the dancing I just focus my gaze on an imaginary sort of person. It's hard to explain. I imagine I'm dancing for just a huge faceless crowd. I actually get really nervous in those kinds of situations. I prefer raucous, obnoxious audiences!

Originally Posted by aamel_MirahAmmal

I make a lot of eye contact but as others have mentioned, it's part of the personality--of me as a dancer and of the dance. I may make eye contact, then smile and/or use my eyes then to direct their eyes to something I want them to look at. Sometimes I use my eyes and facial expressions playfully to draw audience members in or to let an interested/intrigued audience member know that I see and appreciate that THEY appreciate what I'm doing and that I'm about to do a little something special "just for them" (even if it was a move I'd have probably done anyway)--it creates a rapport between me and the audience that makes it more fun and intimate for me as well as for them.

That said, I do sometimes look down or inward or close my eyes briefly in, say, a particularly emotional moment in the music, or, as I mentioned, use my own gaze to direct the audience members' gazes. I let the changes in the music and what I'm feeling in in the music guide what I'm doing when, rather than having a plan.

I agree with Lauren, this is wonderfully stated, and is similar to my approach.

If I am in a stage environment where I can't see anything, I use the approach I learned from Kimahri in a stage presence workshop, and imagine the faces of friends, family, or even celebrities (You hoooooo, James Marsters, is that you come to see me dance? )

I like to tell my students about the 4 sacred directions of focus..thanks to Amaya... the inward gaze (self..hands, hips, whatever) the earth (downward directed focus, pulling energy up from the floor) the heavens (upturned face, exposed and vulnerable to the audience) and the audience itself. The amount of time spent on any one focal point is determined by the music and the emotions it engenders in the dancer.