Shimmer

Dancing for the General Public as a paid professional dancer- is it for me?

This article has been published in the Oct 2009 issue of Nafoura magazine. As requested, we will not be running it here until Dec 1st 2009. If you need access in the meantime, please drop us a line at shimmerstudio@ananzi.co.za. or check out the magazine at http://www.nafoura.com

Rule No 1: Smile
Rule No 2: SMILE
Rule No 3: SMILE!

You may have noticed a pattern forming. One of the most important things to remember when dancing for a paying audience is that you are providing entertainment. It doesn’t matter how fabulous a dancer you are, if you perform your routine with a dour face and lacklustre attitude, your audience will lose interest within minutes. When they are paying you, and going to be talking to friends and colleague’s about your troupe, that’s the last thing you want.

When dancing out, complexity and “fanciness” give way to happy, audience- engaging work. Rather a fun and simple number then a marvellous yet dull and [to the audience member] never-ending routine. Remember, South African audiences are often not completly “belly-educated”, and will not appreciate the difference between fish-tail circles and normal ones. Keep your show fast-paced, light and professional, and leave technicality for inter-and intra-studio concerts where your audience will appreciate it.

The format most used by South African dancers is: 1] Dramatic entrance 2] A few set numbers 3] Audience work [either dancing through the audience, or picking up people to dance with]

The Drama:

Here you want a short, mind-blowing entrance piece. Mostly, this will be using candles and fire, or another “impressive” apparatus. Make a statement, and make it short- drama can only be sustained for a certain period before it gets repetitive. Keep this section centralised [for preference on the stage or dance floor] so everyone can see.

The Glitz:

Bearing in mind the short-shrift that Middle Eastern dancers get occasionally, it is always nice to show that you can do something other then wobble. For multi-dancer shows, a choreographed piece can be ideal. If it is a long show, throwing in a solo or two, or a duet etc, can break the pattern and sustain interests. If you want to use another apparatus [veils, zills and cane are perfect for this section], now is the time to do it. As above, make sure everyone has a chance of seeing you.

The Ending:

Local audiences like a bit of informal work at the end. In most circumstances, you will be expected to dance through the audience and pull up “volunteers” to dance a quick few moves with. For some corporate events, however, this can be inappropriate, and for these simply dancing through and around the audience is the best bet.

When approaching people to pick up, be confident and forceful, or you’ll invite the cold shoulder. By the same token, if someone really isn’t keen, smile, make light of it and move on. For this sort of dancing, children are a god-send: scoop up a couple of little girls and get them going with a few simple moves. Its fun, they’re cute and often more confident [and thus easy to get up] then adults and it emphasises the family side of the dance form. Be careful to not go solely for men, as it can create a skewed impression. Make certain to pick up women as well, even if they are a bit more work. If someone seems keen but a little shy, tell them to pick someone else to bring with them. If it is a person-centric function like a bridal shower or birthday, grab the man/woman of the hour first and then let them choose who to 'pick' on next. Remember that most people will be a little embarrassed, and so thank them with a small curtsey and an encouragement to the watchers to applaud before you move on to the next person.

Just because this is the light-hearted bit of your routine, you don’t have to suffer fools too gladly. If someone won’t take the hint to sit down again, it is probably best to give them a quick curtsey and move on. Otherwise, introduce another audience member to the mix, and then beat your retreat. If someone keeps getting closer, and backing off hasn’t worked, more direct measures are called for. Stick out your hand- it looks like a hand position and will keep them at arm’s length. You can even scold them, provided you keep your tone light and your good humour intact. You don’t have to take poor treatment just because you’re an entertainer and not a guest.

Don’t end with a whimper:

Having put in all that effort, don’t simply sidle out the back door when your time is up. Go back to centre and take a bow- after 20 mins non-stop dancing, the least you can ask for is a round of applause!

Apparatus requiring precautions:

For the more hairy apparatus, like fire, sword and dagger, remember you are the professional. Investigate your venue when you arrive. Watch out for hanging drapes, wind direction and strings of fairy lights which may interfere with your performance. If it could be dangerous, don’t do it even if it was requested. Explain calmly and sensibly to the co-ordinator why it would be too dangerous, and replace it with something else attractive. Never endanger yourself or your audience for the sake of looking impressive or satisfying a whinging client.

Protocol and Etiquette:

Acting professional is three-quarters of being professional. Keep calm, confident and unflustered. Never smoke or drink alcohol at the performance venue, nor swear in front of the co-ordinator or audience. At a corporate event or restaurant, beat a hasty retreat after you have danced- lingering to "have a drink“ with the guests makes you look unprofessional at best and available at worst. Family functions, hen parties etc are a little different, but don't outstay your welcome.Finish, retrieve your CD and props, and leave, particularly if you are dancing at an “away” show, in a different country or province, or far-off venue.

By the same token, don’t be late. Aim to be there 15 min at least before the time you are wanted. If there is a group of you, meet up together beforehand- arriving in drips and drabs doesn’t look half as good as presenting a united front. In multi-dancer shows, appoint a “leader” and support her. She should have your music, and act as spokesperson- no function co-ordinator is going to be impressed by a bunch of babbling schoolgirls. Direct any queries you have to her, and let her take them to the organiser.

For multiple dancer shows, try not to bring any hangers-on, or else leave them at the car or with your “baggage”. Bringing a gaggle of friends or husbands to a corporate function or private party looks bad and is intrusive. If you are dancing solo, you may wish to take someone along with you as a chaperone. School them on how to behave- preferably as quietly and unobtrusively as they can, and be sure they dress at least to an appropriate level for the function. Formal waer is better. Don’t involve them in the show organisation unless you desperately need a hand- you are the dancer, and the professional. Like any good prop, ask them politely to stay out the way until needed!

Never hang on and fondle a person in public. You may know that they are your husband/boyfriend/best friend, but they don’t have it tattooed on their forehead for all to see, and you don’t want to form the impression that just anyone can walk up and get a smoochie from the dancer. If they need that much reassurance, don’t bring them!

Before the show you should consider covering up your costume with a cloak, veil or other [preferably ‘in character’] garment. It is easily removable without disarranging your costume [imagine how crass it will look if you have to stop and …um, ‘haul’ your cleavage back into place in front of your agent or the birthday girl], and helps add to the mystery and suspense for your audience. Not being caught wandering around in costume also helps emphasise your respectability and professionalism, and can save you a good deal of the dreaded inappropriate questions [“Are you a stripper?” ] by emphasising that the costume is just that- a costume, for the stage only. You should also cover up afterwards. Another thing you need to remember is that when you are there in a professional capacity you should talk shop. Don't tell people your life history, rather keep all your conversations related to the dance- your teacher, classes, performance venues etc. It makes you appear like you actually know enough about what you are doing to talk intelligently about it, and shows you to be experienced- plus it might bring you some extra business later!

Appearance:

Looking the part can make all the difference between appearing professional and coming over as an amateur. Make sure your costume is in good condition, clean and good-smelling [paraffin, in particular, is an off-putting smell which can linger if not dealt with]. Also ensure it is suitable for your venue and audience. Don’t take your sexy, skimpy new outfit to the church’s craft fair, or roll up in a beaded cabaret costume if you are participating in a ‘traditional’ Cultural day. Don’t neglect hair and make-up either. So many dancers arrive with their ordinary make-up, and whilst this is great for day-time at work, it is undramatic and “dull” to someone expecting Middle Eastern mystique. Even if you have to come from work, it doesn’t take to long to slap on a bit more kohl, a touch of bright colour and a few body jewels. Think Elizabeth Taylor as Cleopatra, and you’re on the right track! More suitable makeup may even help you in your performance- it is much easier to think yourself into the role if you look the part. "Susan [or Shanara] the great, goddess of tribe Shimmer" will probably find it a lot easier to give a great performance then plain old Susan Jones from Bapsfontein who has 2 whining kiddies [one of them over 40!] and a mortgage payment to deal with when they get home! Remember also, that whilst experimentation is great and can help you gain your own individual and remarkable style, audience members may be expecting a certain ‘look’ from you [usually the ‘Hollywood’ idea of a belly dancer] , and if you disappoint them too greatly you may put them off your performance before you even begin.

Thanks to Cassandra of 'Middle Eastern Dance' for the inspiration for some of the topics covered here

Um… No.

No matter how professional you are, if you treat your fellow dancers and yourself poorly, you will earn a reputation you don’t want. So:

You and your instructor.

Remember that you would have had a far harder time getting as good as you are without hours of sweat and grind with the person who started you off. Don’t be ashamed of it! Everybody starts somewhere, and most of us do it with a teacher. Acknowledge her and her influence. There is nothing sadder then encountering a dancer you know was trained in Braakiesdorp, Braakiesfontein telling everyone about her years of study in Bahrain. Just because they’re local doesn’t mean they are useless! We have many skilled and highly trained instructors in S.A, and our own distinctive style. Be proud!

As an advanced student, make certain you know your instructor or troupe leader’s policy with shows, and respect it. Likewise, if something’s bothering you, let her know and get it sorted out. Ask what the policy is on 1] shows directly from the studio, 2] shows where you are asked to dance directly by a client who previously booked you through the studio, 3] shows you get yourself but use other dancers from your studio for, and 4] individual shows you get yourself. Personally, I ask only for honesty, and I am sure most other teachers would appreciate it too- having been offered a show independently is nothing you need to hide and your fellow dancers and instructor may even be able to help you out if you get stuck with anything.

You and your class

Dancing out as a group is much more fun then being solo all the time, and nobody is so good they can do without ever practising or learning again. Try to get on with your fellow dancers, or, if you really can’t stand someone, at least be polite. Try not to gang up on people, or argue amongst your group, as two people’s arguments can cause upset for everybody, and it really isn’t worth it. If you feel you have a legitimate grievance, rather be open about it. If you don’t feel you can approach the person yourself, ask your instructor, dance captain or troupe leader to step in and help you resolve it. Leave blood-feuds in the 16th century, where they belong. A clean and healthy atmosphere means everyone can enjoy their dancing, instead of worrying about whose toes are being trod on. Remember everyone has bad days. By the same token, you are also entitled to the odd bad day- just try and not make it a habit. If your classmates can’t understand that the hairdresser gave you a bad cut, your boyfriend dumped you and you got your favourite shirt caught in the blender this morning, then the least they can do is leave you alone ‘till next week without expecting to get a medal for doing so.

If you dance a group show with a less experienced girl, try to remember she is a novice and lend a hand. Never rip off a fellow dancer in front of a client, but don’t nurse the ill either- take her aside and calmly and politely let her know what she has done that is unprofessional, and suggest how to remedy it. Don’t preach! In a large group, let the appointed leader know your grievance and let her handle it. If the dancer is rude or sulky back, leave it and let your instructor know. You at least have done your part. Being rude or nasty to someone who probably genuinely doesn’t know better is unproductive and not your job, nor is getting involved in silly slanging matches.

A word to the wise: Never, EVER, let a client or agent see dissension in the ranks. Even if you all hate each other and are going to tear each other to pieces in the dressing room, be polite [or at least quiet] in front of the people you are dancing for. This is their evening to have fun. Don’t spoil it with your squabbling, or make them feel uncomfortable.

You and your studio

Particularly if you are an advanced dancer or an instructor, you are very probably looked up to and admired. Appreciate it and revel in it- also make sure you deserve it. Be polite and encouraging, and don’t be arrogant. Remember, you were a beginner once too, and someone out there probably still has the videotape of your first performance! Try to take pride in your studio, and don’t degrade it or your instructor [even if that’s you!] in front of anyone. It will only make you look bad.

You and other dancers and studios.

Don’t badmouth other dancers or studios- you never know when it will come back to bite you. By all means promote yourself and your studio, but being derogatory about others makes you look small and will earn you a bad reputation quicker then you think. You never know who may be listening. Should you encounter “the other”, be polite. If another dancer you were watching was good, tell her. If she is impolite back, well, there’s a great demonstration as to why you don’t want to be known for rudeness. There is a sad lack of team spirit amongst many bellydancers. Lets try and fix it, instead of adding to it. Don't knowingly steal shows from another studio, either- if they asked for your help when they had too many shows for the dancers available, refer the client back to them [even if they come to you direct] and tell them to ask for you by name. That way you all win- the other studio is likely to use you again, there is more shows all round, you get the show and the client gets who they want. Back-stabbing will ensure you sole rights to the one show, but cuts you of from a potential supportgroup, as well as making you look untrustworthy. And by all that is shiny and sparkley, don't undercut their prices delitberatly. All it does is foster a bad wag and poor working environment for everyone. See below for more on this topic.

You and your image

Have a thought to your image when planning a new dance or act. Do you really want to be known as the dancer with the cheap and sleazy floor routine? There’s stretching the boundary, and there’s being inappropriate. Always remember that your audience will be forming an opinion of you each time you dance. Also remember that your choices can have a knock-on effect on others. If you are a student, you may drag your teacher and fellow dancers down with you. If you are an instructor, you risk throwing every student and troupe-member you have into a poor light. There’s also the image of bellydance in S.A to consider. Take absolute pride in yourself- you are worth it!

You and your fee

A lot of dancers out there undercut prices to get extra shows. Most of these dancers aren’t particularly accomplished. Sadly, there will always be clients who’ll take cheapness over quality. However, you are a well-trained dancer. Is it really worth lowering your standards and taking a ridiculously low fee? It may work short-term, but it can be very damaging for the dance community as a whole. People get the idea that we all come cheap- and it leads to an unfavourable impression that bellydance could well do without. No other artist is willing to work for nothing, and we shouldn’t be any different. Be careful of pricing too high too, as this will also create an unfavourable impression.

In other words, try to be well-mannered [even when it is hard!]. Being petty, spiteful or rude may be satisfying at the time, but it won’t hurt the reputation of the person you are talking about half as much as it will your own. Being above it all may be really difficult, but in the end it will make for a better impression and a good street-rep. It may be tempting to lower your standards for the sake of a few more shows, but will it really be worth it in the end?