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Excellence in Motion M ti of Instructing The Art & Practice The Art & Practice of Instructing Tribal-Fusion Bellydance
Sponsored by Aida Huang
Moria Chappell Weeklong Teacher Training
Sponsored by Aida Huang
Taiwan 2014 Curriculum for a weeklong event focused on training and inspiring Tribal-Fusion Bellydance teachers who wish to hone their teaching skills in this fierce and elegant artistic style. “Excellence in Motion� combines tribal-fusion movements with sensible advice on the art and practice of tribal-fusion bellydance instruction.
Excellence in Motion Weeklong Teacher Training
Day One Introduction am Movement: Bootcamp 1 pm Form: Structuring a Class
Day Two am Movement: Bootcamp 2 pm Content: Developing a Theme & Character
Day Three am Movement: Slow & Strong pm Form: Anatomy of Bellydance
Day Four am Movement: Serpentine pm Content: Sacred Dance
Day Five
am Movement: Advanced Layering & Shimmy Techniques pm Content: Chakra Bellydance
Day Six
am Movement: Choreography pm Content: Archetypes in the Dancer
Day Seven
am Movement: Theatre & Staging pm Form: Costuming & Make-up Summary
Performance FinalĂŠ
Day One
Excellence in Motion Introduction Day One AM
New dancers are often attracted to form rather than to content. From a metaphorical perspective, form is the glass and content is the wine. As we study the outer nature of dance in respect to its structure and movement, we will discuss the external requirements necessary for performing. At the same time we will be studying the inner nature of dance regarding the personal and spiritual requirements necessary for performing, underlying qualities that a dancer needs to enhance to strengthen her stage presence. In her introductory remarks to “Excellence in Motion,� Moria will begin a conversation with teachers to help surface the differences in these two approaches to dance, and offer suggestions as to how a teacher can demonstrate the need for both approaches to her students.
Tribal Bellydance Bootcamp 1 Day One AM
Tribal Bellydance Bootcamp 1 teaches the drills and exercises necessary for intense muscular-isolation, four different-shaped shimmies, and the conditioning necessary to develop glutes for crisp hip-work. Hip, head, belly, chest and shoulder isolations will be drilled as well as fluid transitions from move-tomove, and traveling with isolation. Fundamental spinning techniques will also be covered such as spot turns, paddle turns and sutinues. Combos, posture, fluid arms and creative poses will be highlighted as Moria demonstrates how a workshop can culminate in a Tribal-Fusion choreography in Day 2. As an instructor, you will learn to teach the tribal techniques of stretching, toning, and drilling in order for your students to gain the muscular control that places them in command of their body, as well as variations on classical tribal combinations. Tribal Bellydance Bootcamp 1 is designed for teachers to instruct students at all levels.
Lower Body Emphasis One the first day, teachers learn the sharp and staccato articulation necessary for emphasizing movement and rhythm. Together, we will drill twists, locks, drops, squares, ummies and shimmies in order to develop the muscles in the lower abs and pelvic area to create crisp, strong hip articulation. Teachers will learn movement across the floor and around the room, as well as drills to increase flexibility and range of motion in the hip while maintaining strong posture and arms. Moria will also share unique new-tribal combinations that we will piece together for a brief choreography.
Structuring a Class Day One PM
Structuring a Class is a study in the mechanics of creating an exciting class during an allocated time period that students will want to repeat. Moria will also cover one-and-a-half hour time slots in minute-byminute sequences, as well as how to construct a viable and dynamic 8-week course.
As part of understanding the essential subjects necessary for creating gifted dancers, Moria will cover the important movements your dancers will need to know in order to give a fantastic performance. Moving beyond theory, Moria offers detailed advice and notes with specific guidelines. Of special interest will be a section on keeping a steady influx of beginner students.
Day Two
Tribal Bellydance Bootcamp 2 Day Two AM
Tribal Bellydance Bootcamp 2 teaches the drills and exercises necessary for intense muscular-isolation, four different-shaped shimmies, and the conditioning necessary to develop glutes for crisp hip-work. Hip, head, belly, chest and shoulder isolations will be drilled as well as fluid transitions from move-to-move, and traveling with isolation. Fundamental spinning techniques will also be covered such as spot turns, paddle turns and sutinues. Combos, posture, fluid arms and creative poses will be highlighted as Moria demonstrates how a workshop can culminate in a Tribal-Fusion choreography. As an instructor, you will learn to teach the tribal techniques of stretching, toning, and drilling in order for your students to gain the muscular control that places them in command of their body, as well as variations on classical tribal combinations. Tribal Bellydance Bootcamp 2 is designed to attract students of all levels.
Upper Body Emphasis Day 2 will focus on round and smooth articulation emphasizing shapes and fluidity. This portion of the weeklong focuses on upper body extensions and articulation. A variety of drills will sharpen and intensify chest ticks and locks while maintaining perfect arm and shoulder placement. Arms, undulations and laybacks will also be drilled, as well as the art of creating unusual shapes with the body. Exquisitely slow and intense combinations will culminate in a slow, serpentine choreography. Level changes and floor work will also be incorporated. What to expect: The conditioning portion of the class is designed as an intense, muscle building and strengthening workout. We will incorporate yoga, squats, sit-ups, and push-ups to develop the body for increasing your capacity to lift and articulate. Drills will be used in a repetitive manner to emphasize posture and isolation in order to bring the commands and combinations into the body for muscle memory and refined strengthening. It is recommended that teachers bring a yoga mat and water bottle. It’s best for them to wear comfortable, stretchy pants and a top, and also kneepads if necessary.
Developing a Theme Day Two PM
Developing a Theme suggests ways for teachers to help students design a compelling performance piece from the first shimmy to the final bow. Thematic considerations may include the performance’s musical score; its dance style (for example Polynesian fusion versus Odissi fusion); the palette of movements available for that style; colors, tones, and textures for costuming; the development of thematically rich jewelry, the possibility of using theme-enhancing props; and discuss when live accompaniment can make a significant contribution to a theme. Moria shares insights on dynamic elements that help support an overarching theme — a theme suggested by the title of a festival or an Intensive, a musical review, or a segment of a larger choreography.
Day Three
Slow & Strong Day Three AM
Slow & Strong uses multiple fusion combinations to focus on steady and smooth transition techniques for complete body fluidity. In this portion of the instruction, teachers will learn the power of smooth, slow movements through a variety of shapes and poses.
Dancing slowly has its own principles and ideology, which emphasizes extended muscle contraction and flexibility to create big, serpentine combinations poured through with an intensity of flow. As we focus on the muscles between the muscles, and through a variety of shapes and poses inspired by Indian temple dance while using backbends and level changes, our class will culminate in a slow tribalfusion choreography.
Anatomy of Bellydance Day Three PM
Anatomy of Bellydance helps teachers gain confidence and become clear in their movement vocabulary. This course provides the information necessary for teachers to comfortably communicate specific moves and shapes, and describe their corresponding cultural influence. Moria will discuss and demonstrate balance and isolation, circles and infinity, head slides, chest slides, hip slides, horizontal chest circles, hip circles, umies, snake arms and undulations in relation to Arabic Habibi culture. Maya, guci, and bellyrolls will be discussed in relationship to Arabic Maya (water) culture. Accents and muscle control, ups, hip shimmies, hip crescents, chest accents right, front, left, back, up, and down will be discussed in relation to the Arabic Zaghareet. (Zaghareet is a high-pitched ululation made with tongue behind teeth or between the lips; a luh-luh-luh made fast and high.)
Beladi/drop kick, shoulder accents, shoulder shimmy, and finger waves will be discussed in relationship to Arabic Beladi/Baladii/Beledi/Belady. In addition to a specific move and style in bellydance, this is the most pervasive Middle Eastern rhythm in modern bellydance.
Anatomy of Bellydance will also help teachers clearly understand the various approaches to movement including moving from the skeleton as well as from the muscles in the feet, knees, pelvis, spine, the belly (four parts), rib cage, sternum, neck, shoulders, elbows, wrists, hands, and fingers. Various movement families will be discussed including slides, circles, undulations, 8’s, shimmies, and using one hip at a time. These movements will also be translated into steps and turns.
Day Four
Serpentine Day Four AM
Serpentine is a study in the sultry and strong movements that comprise slow tribal dancing. In this portion of the instruction, teachers will learn the flexibility and strength required to make slow, fluid movements that drip from combination to combination. Bellyrolls, halfsided belly isolations, and reverse bellyrolls will be featured as well as how to integrate these subtle muscular isolations into movements that read strongly on stage. Liquid arms and body flow, facial and hand expression, as well as maintaining a strong posture from the upper back are emphasized.
Teachers will learn control and isolation while dancing with the grace and strength required for slow techniques. They will visualize receiving movement through one part of their body while keeping the audience’s attention as they send it out to create expression from their face through their fingertips.
Emphasis will be placed on laybacks, flexibility, and floor-work. Kneepads are recommended.
Sacred Dance Day Four PM
"I see dance as being used as communication between body and soul to express what is too deep to find in words." ~Ruth St. Denis
Sacred Dance is the willingness to let go of dance as an outer practice and use it as an opening into the inner world where movement unifies the dancer with the great dance of creation. Called “dance as prayer,” or “the moving mystery,” sacred dance is the housing holding ancient and modern ecstatic practices such as the Native American Ghost Dance, classical Indian Odissi Temple Dance, the Bushman’s Trance Dance, European circle dances, and the spinning of the Whirling Dervishes in union. It is from this crucible that these movements arise and are able to be fused with contemporary bellydance.
Moria will use yoga techniques, tribal-fusion bellydance, and the gestures and postures of Odissi Temple Dance to demonstrate how the timeless principles of sacred dance come alive and work their way into expression in your temporal dance. As part of the sharing of these mystery traditions, Moria will show how the navel contains the memory of divine essence and also serves as the dynamic axis for all circular motion, in dance as well as in the universe. The goal of these practices is to encircle the inner landscape with sacred movement and thereby draw the divine from within.
Along with discussions on sacred dance, Moria offers an illustration-rich PowerPoint presentation to help dancers see how these movements have traveled down to them through the ages and how their dance is a continuation of the first dance.
Both versions of Sacred Dance will culminate in a devotionoriented choreography that can become part of a dancer’s daily practice, or serve as an introductory piece for a spiritually-oriented stage performance.
"To watch us dance is to hear our hearts speak." ~Hopi saying
Day Five
Advanced Layering & Shimmy Techniques Day Five AM
Advanced Layering & Shimmy Techniques is designed to help you instruct more experienced dancers who are looking to expand their movement vocabulary and push their abilities to the max. Topics include musicality in layering; playing different rhythms and tempos within different sections of the body to create orchestrated movement; layering shimmies with precision on virtually every part of the body; and footwork and patterns as part of the layering extravaganza! The layering aspect of the workshop is intended to build from Moria’s Bellydance Bootcamp Fundamentals workshop. Advanced Layering & Shimmy Techniques puts together the various drills and traveling-patterns previously learned in order to build control and stamina in layering. Advanced drills will show teachers how to maintain deliciously crisp isolations while layering 2, 3, or 4 different components of the fundamental moves. Some of the more advanced elements of this workshop include using turns, traveling, and layering movements to culminate in new, advanced combinations that we will work into a tribal-fusion choreography.
Hour One
Lower Body Emphasis
Sharp and staccato articulation will emphasize movement and rhythm. We will drill twists and pelvic locks in order to develop the muscles in the lower abs and pelvic area to create crisp, strong hip articulation. You will learn movement across the floor and around the room as well as a variety of drills to increase flexibility and range of motion in the hips while maintaining a strong posture and arms.
Hour Two
Upper Body Emphasis
Round and smooth articulation will emphasize shape and fluidity with upper body extensions and articulations. Drills will be repeated to sharpen and intensify chest ticks and locks while maintaining perfect arm and shoulder placement. Arms, undulations and laybacks will also be drilled, as well as the art of creating unusual shapes with the body.
Hour Three
Level Changes
Backbends, knee-slides, floor-spins and drops are the core movements associated with floorwork. In addition to learning these basics, you will also learn how to execute smooth transitions down to and up from the floor.
Hour Four
Slow & Intense
Exquisitely slow and intense combinations will culminate in a serpentine choreography that incorporates level changes, floor patterns, and deep movement.
Chakra Bellydance Day Five PM
Chakra Bellydance is based on Hindu mythology and yogic study which suggests that there are seven energy centers within the body that can be stimulated via specific physical movements, breath work, and visualizations. Using bellydance movements, breath work, and color visuals, Moria will clearly lead teachers along an energetic path that not only practices muscular isolation as it pertains to bellydance, but also takes dancers a step further to use these isolations to tap the chakra energycenters in order to promote increased energy, relaxation, creativity, intuition, emotion, voice, and expression.
When using refined muscular techniques to delve into the energetic centers of the body, bellydance can become the living dance of a yogini.
Day Six
Choreography Day Six AM
Choreography is the art of designing sequences of movement in which motion and form are specified. Moria has choreographed solos, duets, and group collaborations, incorporating both Oriental and Tribal-Fusion artists, to produce a tableaux of juxtapositions of light and dark, soft and strong, fiery and temperate to pull each dancer to her edge and offer what they embody most on the stage. Her choreographies are eccentric and unusual.
Bringing this expertise to the classroom, Moria demonstrates how to create choreographies that are memorable and exciting using classical modalities for entering and exiting the stage, maintaining a dominant position while on the stage, and creating drama by utilizing proven techniques for drawing the eyes of the audience onto the shapes and forms a dancer creates with the motion of her body.
Archetypes in the Dancer Day Six PM
“My fate was sealed. I couldn’t wait to learn to dance as the goddess did.” ~Martha Graham
Archetypes in the Dancer is a highly visual and interactive presentation that explores the Great Mother Archetype and demonstrates how she uses her mercurial partner-in-crime, Trickster, to form this world.
Teachers will learn why image-is-everything, and how, once activated, these archetypes enhance your creativity, choreography, costuming, and your ability to bridge the gap between you and your audience. By learning the secret of how archetypes rise from inside your body and transmit themselves non-verbally, you will also learn how to make an audience automatically feel every chill and thrill activated by you.
“The function of the image-symbol in the psyche is always to produce a compelling effect on consciousness.� ~Erich Neumann
Taught in a PowerPoint forum utilizing both discussion and movement, Archetypes in the Dancer offers various ways to explore the psyche in order to increase awareness and creativity.
Day Seven
Theatre & Staging Day Seven AM
Theatre and Staging focuses on the essential information teachers need to share with their students about how to make the most of every stage, and how to enhance the dramatic qualities of any theatrical setting.
The course includes information on stage lighting, special effects, and creative ways to use various types of stages including industrial, outdoor, restaurant, or large venues to a dancer’s best advantage.
Costume CafĂŠ Day Seven PM
Costume CafĂŠ offers unique and innovative approaches to costume design. For the stage, the process of becoming a character, entering another realm, and understanding the rules and function of this realm can be intimidating. In this very candid and open forum, Moria shares with each teacher the basics of costume design, fit, and function. Colorcombining, textures, fixtures, durability, and body types are all a prime focus. Spanning the darkest to the brightest, these techniques can be applied to any fusion motif.
Tribal Fusion offers a huge range of costuming potential. In Costume CafÊ, teachers will learn the rules and then how to break them while maintaining the spirit of Tribal Bellydance. They will also learn what works and what doesn’t for the stage; costuming’s short cuts and long cuts, how to turn the usual into the extra-ordinary, and how to construct a masterpiece that is easy to take on and off. From initial inspiration to sewing the first stitch, selecting the fabric to fitting-themood, teachers will learn how and where to find the resources, as well as the techniques and ideas necessary to begin, continue, or rediscover their inner costume designer.
Teachers are asked to bring a pen and notebook and feel encouraged to bring their own costuming conundrums for questionand-answer.
Make-up Day Seven PM
Make-up showcases Moria’s training as a high fashion and bridal make-up artist to show teaches how to combine facial composition and structuring, undertones and color-combination, contour and color-correction with her passion for theatrical character make-up. In Make-Up, teachers will learn the secrets of flawless stage make-up including water proofing, smoky eyes, false-eyelash techniques, and amped-up lip and cheekbone enhancement. Moria will review her favorite products, colors, and application techniques. She will also demonstrate the best use and applicability of a myriad of make-up brushes, glitter types, and bindi glue.
Teachers are welcome to bring their own make-up. Moria welcomes questions about what make-up you may have collected or tried, as well as questions about how to enhance your students’ personal features. Learn master techniques that will make their faces pop and give their stage performances that finishing touch. Make-up also includes information in hair design and ornaments.
Summary Day Seven PM
During the Summary portion of the weeklong event, Moria will weave together the topics covered over the past week and help shape these disparate subjects into a functional, cohesive union. Her review will include emphasizing the most important aspects of each class and how one subject lends itself to another, thereby reinforcing the teachers’ memories and instilling confidence in their ability to take the information from “Excellence in Motion� and share it with their students.
FinalĂŠ
For the FinalÊ‌
Moria will work with teachers to compose and perform a fresh, exciting, and innovative tribal-fusion choreography.
Thank you for the opportunity to train you as teachers.
Excellence in Motion The Art & Practice of Instructing Tribal-Fusion Bellydance
Moria Chappell