The most frequent omission is day of the week.
Most event goers need to know this in order to decide if it's something they can attend. This includes street number, which is also frequently omitted.
Belly dancing improves body image and satisfaction
This information is sometimes left out entirely which leaves the impression that the event is free. If it is free, state that clearly; if it's donations, state that also. State if tickets are available in advance and how to order, if they are available at the door, and so on. An event-goer may need more information than what limited space in a newspaper can provide. Designate one person and one person only as a press contact and include that person's contact information.
Include a high-resolution photo. There may not be space to run it in the end, but it's better for an editor to have the photo in hand than have to reach out and ask, which creates an extra step in an often hectic deadline schedule. The photo should have a caption that identifies the people in it, or name or artist or group. If there are children, please be sure to get parents' or guardians' permission first.
This may seem like common sense, but on occasion people do submit photos without taking this important step. Have multiple people sending the same information or calling on behalf of the event. This can be very confusing, especially on deadline, and for editors or editorial support staff who may have literally hundreds of notices to process.
Also it makes it unclear whom to contact for more information. Send multiple "follow-up" emails forwarding the original press release. This can also create confusion and make it harder for the person who is processing all the emails - which again can run in the hundreds. If you don't hear within hours, make a quick, brief follow-up call. Send just a flyer and ask that this run as advertisement. Display advertising is a paid service and most newspapers can't devote space for a free flier except under certain circumstances.
Send a link to a page or website, and ask the editor to look up the information from the link. This creates an extra step including having to filter graphics or other elements from the link. Send excerpts from an article in another newspaper. A newspaper article is copyrighted, and doing this is asking the editor to appropriate copyrighted material to which their paper may not have rights. Also, that newspaper may be unaffiliated so it's also asking the newspaper to give props to its competitor. Give an interview to a competing paper and then ask your local editor for an article as well.
Again, the news business is a business, as well as a competitive enterprise. Newspaper editors want to present fresh, original stories to their readers as much as possible. If you give a story to a major metropolitan paper and then ask your hometown paper to do the same, this is treating that paper as a second-class news source. Newspaper editors especially get upset if they have been faithfully printing calendar briefs and other notices for a long time only to pick up a competing paper and see the group or person has given that paper a substantial feature.
Send a press release and then send a "revised" version. Once it's in the editor's hand, the process of getting ready for layout and deadline begins and it's not necessarily a simple task to go back and make corrections or revisions. Of course if there is an error such as date or time, it's best to alert the editor right away - better to correct information than not. But carefully checking over the press release can help avoid this step in a very narrow press time frame.
Forget to buy a copy, put a link to an online feature on your website or Facebook page, or promote it to all your friends and families. The newspaper has given space to you and your event; do the newspaper a good turn by, well, by spreading the news! Jacqui's mother is one of Kanina's students - be sure to read our interview with her! I discovered belly dance while in college at the University of Miami 14 years ago.
I stumbled upon a class in the wellness center and fell in love instantly. The exquisiteness of rhythms and melodies seemed to transport me to some ancient land and my body danced as if it were remembering a lost language it once spoke. I remember walking out of those classes and feeling my hips and heart so wide open and I knew I was onto something special. I was thrilled to hear my Mom started belly dancing!
I knew the benefits of belly dance would work their magic into her life, and sure enough they have. When she came to my retreat in Costa Rica it was such a gift to share one of my passions with her and hear her talking about the music of Oum Kalthoum! The roots of all belly dance styles are firmly embedded in the folkloric dance traditions of the Middle-East, Mediterranean, and North Africa.
Uza and Nahara graciously sat down and answered some of our questions about the history and style of the dances they will be teaching. What exactly is Iraqi "raqs el kawliya"? How does it compare with other Middle-Eastern folkloric dances? Traditionally "Kawliya" dance is closely associated with Southern Iraq and the "Hecha" dance style. However, nowadays the dance also includes vocabulary from other folk dances and musical styles of Iraq such as Choobi, Hewa, Basrawi Khashaba , and Amarah.
The Salimpour School Belly Dance Compendium Vol. 1
There is a lot of foot work and a tendency to push and propel to and from the ground. Head slides and hairwork also also typical, but the dance doesn't come from the head, but rather travels from the feet up. Daggers Khanjar and finger cymbals Chumpara are also used as props from time to time. Like everywhere else in the world, Iraqi fashions change over time. You might see a traditional or modern jalabiya, or even tight or loose fitting evening dresses, which can be plain or embellished.
Though dresses are most common, in contemporary settings you will also see pants or jeans. Gold jewelry from India is also a favorite of the Kawliya performers in Iraq. The famous Iraqi dancer Malayeen sometimes even wears a raqs sharqi style two-piece similar to the modern Egyptian costumes. Ultimately, what a dancer wears has mostly to do with performance setting and their own personal style. First, some history to get you oriented:. The dominant language spoken in North Africa today is Arabic but the Amazigh language Tamazight is often spoken at home and used in traditional music.
What sort of technique does it require? In the workshop I will be teaching the Chaabi style of mainly Morocco, but time permitting I will also show some Tunisian and Algerian popular movements. Many of the movements of belly dance have developed from these roots folk dances of North Africa. However, with time the dancer gets an "ear" for the rhythm and then of course it works its way into their heart and hips.
The term belly dance probably arose because of North African dance. Later the term danse du ventre was translated as "belly dance" here in the West; however, belly dance here is more of a hip-centered dance than an abdominal dance of the Ouled Nail, which are a Berber Amazigh tribe. In addition to belly dance, Anjelica is a flamenco dancer and actress. Photos in this article are by Denise Grant. Ela Rogers is a belly dance artist, choreographer, and instructor, internationally known for her unique and dramatic musical interpretations, experimental fusion, her graceful and powerful technique, and her talents in the fine arts and costume design.
I was initially bitten by the belly dance bug after seeing Tribal Fusion style belly dance. Being a novice to belly dance, I was unaware that there were different styles! I instantly connected to Tribal Style, after bearing witness to the jaw-dropping confidence, exquisite muscular control and articulation of the body, the earthy and what I thought was an almost rebellious image juxtaposed with the classic Egyptian and cabaret dancers.
I could barely contain myself and wished to begin training right away, but soon discovered that there were no Tribal Style teachers in my area. I felt it was imperative to just enroll myself in the nearest classical belly dance class, which was Egyptian style. Once enrolled, I soon realized the importance of learning the basic history and movements of this ancient dance, how it felt on my body, and where the components originated.
Studying with the delectable Elena El Amar was just what my soul needed at that point in my life. She is an amazing teacher and woman, who dances within what seemed to be a magical white light, her heart and eyes just illuminated with passion, emotion, and playfulness that embodies the Egyptian-style dance that she dearly loves. To this day, those are the qualities that still influence my dance. One can always build atop a strong foundation. Well, thank you! Having backgrounds in classical ballet, jazz, modern dance, and martial arts surely gave me a platform for cultural dance.
I had to become resourceful to seek out any forms of instruction. Being honest, I also had some set-backs. The top two that took the cake were a sprained back and a pretty serious abdominal strain that finally resulted in a six-month leave from dance. After physical therapy and chiropractic care, I slowly restored my body, and was coached in anatomy, strengthening, and injury prevention along the way. I must say that I learned so much from my injuries, ultimately becoming more acquainted with my body and habits of my dancing. Upon returning to dance, I set out on long car rides to take workshops from as many Tribal and Tribal Fusion-style belly dance teachers as possible and I asked many questions.
Your video camera is one of your best teachers! To me, it was important to absorb it all , to discover for myself, how I envisioned perfecting my own dancing. So we must dig and delve unceasingly. What is your teaching style and approach? What are your primary goals for your students? My approach in teaching is to invite my students to experience my movement material on their bodies in a safe environment, to have them relax, and then have them find emotion within themselves and to embody it in their own movement.
This is what I found to be equally exciting and challenging when learning dance. From there, you begin to perceive yourself in subtle nuances, further leading towards your feelings of identity.
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There is an emotional and spiritual side of dance within the mover, along with the anatomical side.