Create A Functional Body: Train Like A Dancer! by Sandra Catena

CREATE A FUNCTIONAL BODY: TRAIN LIKE A DANCER!

BY: SANDRA CATENA

This book is dedicated to everyone who has ever trained in dance with me. You have all been my teachers.

This e-book was edited by Ellen DeRiso.

TABLE OF CONTENTS Page Foreword

By Dr. Jay Heller and AndrĂŠ Taylor

Introduction

i 1

Chapter 1

So You Want To Belly Dance And Get Fit...

Chapter 2

Belly Dance And Music

Chapter 3

Posture And Proper Body Alignment

Chapter 4

Warm-up

Chapter 5

Functional Training

Chapter 6

Isolations

Chapter 7

Veils, Zills and Performing On Stage

Conclusion

Testimonials

Acknowledgements

About the Author

FOREWORD Recently a veritable slew of books have been published which revolve around the study of greatness and talent. Specifically, can one be born talented, or is talent something that can be taught? If it can be taught, what kind of teacher, what type of lesson, how much time must we practice? In short, we learn from these books that no one is born talented, that talent is something that can be developed, that it takes practice of a deep, profound and neurologically active type, that the teacher must know how to ignite the passion, motivate the student, and recognize the type of practice necessary to achieve greatness. Sandra Catena knows this. She knows it innately and experientially. She is exactly the type of teacher one needs. The old saying, "those who can do and those who can't teach," is not applicable in any sense here. Sandra can and does and she can teach it too. While a student of Middle Eastern dance, Sandra also became a student of human movement and athletic performance. She has created a program, refined through years of teaching many thought to be otherwise unteachable (i.e. who would have thought of teaching belly dance to wheelchair bound women?), and who then could have dreamed of anyone being successful at it? It's a joy to watch Sandra perform as her infectious energy swirls over the room, gathers you up and takes you along for the ride. This book is part of the ride. Sit back, prepare to dance even as you sit and read. She's that good. Read it and you'll see. Dr. Jay Heller New York, New York

Train Like A Dancer: Truth Or Consequences Thereâ&#x20AC;&#x2122;s a fundamental truth about life. What we often take for granted are the very things we should give greater attention. Our movement, our flexibility and our ability to express ourselves through dance are examples of innate capabilities that many of us take for granted. We take it lightly, but we shouldnâ&#x20AC;&#x2122;t.

Sandra Catena knows this and has written an extraordinary book to help you understand the power your body holds and why you should treasure every bone, limb, and muscle by giving your body greater attention. I have often been amazed at what can be accomplished when I apply more discipline to my life. Although I have been quite disciplined on one hand, devoting years of study and extensive work on matters of the mind, I have often neglected a focus on matters of the body. Knowing Sandra Catena personally has ignited my commitment to being conscious of my body and using her “functional technique” to keep me on track. In my career as a leadership development author, consultant, and speaker I travel a great deal, not just around the country but around the world. I frequently find myself on stages in front of hundreds or thousands of people. When you have that many eyes trained on you, it’s good to know how to move with poise and confidence – and how to keep yourself conditioned so you can go the distance. Sandra has devoted her life to unlocking the secrets in our bodies. I met Sandra when she attended one of my seminars in New York on winning. When she walked into the room, you could tell she was “in touch” with her body. Everyone in my class that night instinctively knew someone special was in their midst. In fact, it was clear to me that Sandra was already a winner. As I got to know Sandra and learned more about her philosophy and her world-class experience I realized her sense of presence is no accident. It comes from decades of study, ongoing practice, and masterful concentration. She has traveled the world dancing, teaching, coaching, and enthusiastically guiding those who want to move with a sense of elegance and live with greater strength. It’s a demanding profession but I know of few people who demand as much from themselves as Sandra. Ironically, it is when someone becomes a true master and has focused on a subject for a long time that they are able to make it simple for others. That’s why I believe you’re going to love, Create A Functional Body: Train Like A Dancer.

This book is short, but there’s no shortage of incredible insight and tips to help you look, feel, and move better. I am amazed that no one has put their finger on this issue before, but if you truly develop an understanding of what a dancer knows about their bodies, and apply the principles, you can and will have a healthier and more fulfilling life. You should also know that the consequences of inadequate attention to your body, over time, is not pretty. I urge you to dive into this book, to embrace the concepts Sandra has so eloquently described and to put to work the ideas inside as part of your commitment to your personal growth and development. They call me an expert on winning and leadership and I can tell you that you will be both a winner and a leader when you make Create A Functional Body your personal guide. We only get one body. We must take care of it. It’s another one of those fundamental truths. André Taylor Author, You Can Still Win!

iii

INTRODUCTION Welcome to the world of dance fitness! My name is Sandra Catena and I’m going to teach you how to get fit by training like a dancer. I’ve been dancing since age three, when I studied ballet, tap and modern jazz. In September of 1975, when I was a seventeen-year-old high school senior, I took a Middle Eastern dance class (better known as belly dance), and my life was forever changed. It’s been nearly thirty-four years since my first belly dance class and I’m still dancing. In Arab countries, belly dancing is called raks sharki, which means dance of the east. It’s also known as Oriental Dance. Since 1980, I’ve performed the belly dance all over the world. Twenty-six years ago, I taught my first belly dance class. In 1999, teaching belly dance and producing dance concerts became a full-time business. I teach group classes, as well as private in-house and in-corporation dance training. Women of all backgrounds, ages, ethnicities, races, creeds, shapes and sizes train with me. Some of my students go on to perform professionally and others become skilled at an advanced level. Many attend my belly dance classes for exercise. In my specific belly dance program (which includes beginner, intermediate and advanced/professional classes), my students create functional bodies. In addition to learning the most sensuous dance in the world, my students stand tall in the posture of the professional dancer. They develop and use muscles they didn’t know they had, create excellent cardiovascular health, and become stronger and more flexible. Coordination and endurance levels improve. You can stand on your toes and reach overhead a little farther than you were able to before studying dance. Before you realize it, you’re lifting heavier things around your home or office without effort. There’s a common thread among students who study belly dance: most women are attracted to belly dance because it’s exotic and exciting. Yet, my students learn early on that belly dancing is a challenging workout. In all the years I’ve been training dancers, I’ve witnessed my students excel in dance. Some went on to perform professionally in theaters and

nightclubs in New York City and throughout the world. Some of these gals later married and had children. I’m thrilled to say that I’ve trained these women in belly dance and fitness throughout their pregnancy. My students experienced easier labor and childbirth. One of the most gorgeous dancers to emerge from my studios was Claire. For years Claire was my assistant teacher. She performed solos and group pieces in every show I produced. When Claire became pregnant with her first child, she performed with me in several dance concerts through her third month. Claire didn’t miss a belly dance class throughout her pregnancy, and was in superior physical condition. When her son was born, she had an easy labor and delivery and quicker recovery period. Therefore, Claire was able to better enjoy her time with her newborn baby. On the evening of August 3, 2009, I arrived home after a busy day of teaching. When I opened my e-mail to find a birth announcement from my student Bruna, with a photo of her brand new baby boy, I was elated. Bruna is another student who danced with me during her pregnancy. Several years ago, I taught at a senior center in Upper Manhattan where I created a dance and fitness program for men and women over age sixty-five. My oldest student at the center was eighty-eight years old. I wanted every one of my senior students to get into the best functional shape possible. Now, you may be asking what functional means. A functional body can perform all that’s necessary to live an active life. A person with a functional body can walk; climb stairs; reach overhead; do forward and lateral bends; twist the torso; get in and out of a bed, chair or car without exertion. When a person reaches his/her sixties and older, that person treasures being able to function independently. To help my seniors develop functional bodies, I opened class with everyone standing and holding onto the back of a chair. From that position, I taught standing stretches followed by weight bearing exercises (using their own body weight). Those seniors did squats, lateral bends and twists, shoulder presses, core exercises to strengthen the abdominal muscles, and coordination exercises. After thirty minutes of stretches and exercises, we belly danced. I had almost as many men in that class as women.

One of the centerâ&#x20AC;&#x2122;s directors sat in on the first class I taught. Although she was quiet during class, she was verbal afterward. She worried that I was exercising the seniors too vigorously. After explaining why and how I created this program to the director, she seemed more open to my program. The benefits seniors received from class came quickly. Their posture improved and they became stronger and more flexible. After a month of training, the entire class wanted more weekly lessons because they felt better! The director, too, could not have been happier with the results the seniors achieved from functional training. For several years, I taught belly dance at The Hospital for Joint Diseases (HJD) in Manhattan. The women in these classes had multiple sclerosis, muscular dystrophy, cerebral palsy, spinal cord injuries, osteoporosis, and rheumatoid arthritis. Most students were in wheelchairs, while some were ambulatory. When I created a dance program at HJD, I used the same basic fundamentals of dance that I used in all of my classes. The first thing I taught students at HJD was proper body alignment. My HJD students had rounded shoulders from sitting in a wheelchair or using a walker or cane. Most had shoulder, neck and back pain from this posture. Once they sat tall, pain was released. By creating good posture, these women gained a better range of movement in their neck, shoulders, and back. I taught upper body and core strengthening exercises, as well as isolated ribcage movements; my studentsâ&#x20AC;&#x2122; oblique muscles, along with the transverse abdominis (the deepest abdominal muscle), became stronger. Because these students were in wheelchairs, or walked with canes and walkers, I taught them upper body isolations. They became more active as their endurance levels improved. Women in that class said that they felt feminine and sensual, some for the first time ever. After training in belly dance with me for six months, two of my HJD students (one in a wheelchair) performed in several belly dance concerts I produced. For five months, I also taught women recovering from breast cancer. These women had endured mastectomies, reconstructive surgery, and chemotherapy. The recovery period was painful and arduous, with side effects

from chemotherapy. After learning about reconstructive breast surgery, I created a program for them based on the foundation of belly dance. When a woman has reconstructive breast surgery, sometimes doctors use the rectus abdominis muscle group (better known as the “six pack”) to create a new breast mound. In these cases, most women are bent forward for months after surgery. They must now rely on their oblique muscles for torso flexion. After teaching these women basic dance posture and specific abdominal exercises, they created good posture, functional abdominal muscles, and had better range of movement in their torso and upper body. I’ve been fortunate to teach dance to different populations. I’m sharing these experiences with you to let you know that it’s never too late to dance and exercise! After working as a personal trainer in a Manhattan gym, I created a fitness program called Belly Dance Boot Camp: Train Like A Dancer. My program incorporates the three components of fitness: flexibility, cardiovascular and strength training. I brought Belly Dance Boot Camp: Train Like a Dancer to the dance studio and to my private clients. My students and clients changed their bodies in ways they never imagined on this program. Every time I taught Belly Dance Boot Camp: Train Like a Dancer I’d conduct a total body workout, then work on specific belly dance isolations. This workout program was always fresh because I’d teach different isolations in each session. As my clients became skilled in isolated movement, I’d layer the isolations for more of a challenge. My students enjoyed creating their dream body while learning the sexiest dance in the world. This e-book will teach you stretches and functional exercises, and give you a short synopsis on dance and music from the Middle East. Create A Functional Body: Train Like A Dancer will teach you how to create proper posture and perform belly dance isolations. If you aren’t currently exercising, feel free to use this as your exercise routine, with the approval of your physician. In addition to women reading this e-book and performing movements taught here, I

welcome men to create great posture, stretch and do functional training (Chapters 3, 4 and 5). These exercises are for everyone. This e-book is short and sweet. It gets right to the point. It’s easy to follow and fun to use. It is my intention to bring joyful movement to all who train with me. Belly dance has enabled me to help many change their lives in a positive way. During the dance, it’s inevitable that one’s spirit is lifted while creating a useful body that makes life pleasurable. Join me in getting fit the fun, sexy way! Sandra Catena Middle Eastern Dance Master and Author August 20, 2009

CHAPTER 1 SO YOU WANT TO BELLY DANCE AND GET FIT… WHO CAN BELLY DANCE? Anyone and everyone! You only need to continue reading with an open mind.

WHAT TO WEAR WHILE DANCING AND EXERCISING… Wear comfortable clothing that you can move in, such as unitards, leotards and footless tights or jazz pants, shorts, sweats with form fitting t-shirts or midriff tops. Dance skirts are optional. We dance in bare feet.

WHERE ARE YOU AT RIGHT NOW? No one should know your body better than you. Not your husband, not your lover, not your doctor – you’re the boss. Become pro-active in your body’s functions. Nurture and love your body and allow it to be the best it can be. Start by observing where you are now. What is your present level of fitness? Do you suffer from chronic pain or muscle spasms? Is your immune system strong? Do you have an energetic or lethargic constitution? Are you calm most times? Are you high-strung? One way of becoming intimate with your body is through awareness.

KNOW YOURSELF Let’s do an exercise together. Schedule a quiet time when you’re alone and free of interruption. Lie on your bed or floor. Dim the lights and create a safe haven. Close your eyes and focus on your breath, inhaling through your nose. As you exhale, allow your navel to fall toward your spine. Breathe evenly throughout this exercise. Now travel down your body and become aware of your feet, toes, instep and arch. Note without judgment how your feet feel. Are your feet relaxed? Is

there discomfort in the feet? Become aware of feelings and sensations in your feet. When you’ve scanned your feet completely, move up the body. Scan the ankles, calves and shins, knees, thighs, pelvis, buttocks, small of the back. Move to the middle of the back, then the upper back and shoulder blades. Now come around to the front of the body. Scan the lower abdomen. Move up to the solar plexus then the chest. Go to the collarbone, then shoulders. Scan the neck. Travel down the arms starting with the triceps, then biceps, forearms, wrists, and hands. Scan the back of the head, starting with the base of the head, rising up to the crown. How do your ears feel? Scan your face (chin, cheeks, mouth, nose, eyes, and forehead), and lastly the scalp and hair. What areas of your body feel good? What areas hold tension or discomfort? Ask yourself how you can allow your body to become the best it could be. For example, if you have neck pain, is it due to lifted shoulders from stress? If you have chronic pain in a certain area of your body that you’ve lived with for a period of time, by all means consult a physician. Do this exercise daily for a week.

FEED THE BODY You’re going into training and need energy to fuel your body. Let’s use your car as an example. If you put the wrong gas in your car it won’t function at its utmost. If you never change the oil, you’ll burn out the car’s engine. When you don’t take your car for regular tune-ups, it’ll break down before its lifespan. The same is true with our bodies. Food can make you feel good or bad. Food can create optimal health or illness. If you’re feeding your body with foods lacking nutrients, your body is deprived of vitamins and minerals. When you eat junk food, your body still craves vitamins and minerals it’s not getting, therefore, you’ll desire more food. Should you wean yourself off sugar and processed foods, you may not feel well at first because the body is detoxing. However, after several weeks of junk food abstinence, you’ll feel better and think more clearly.

Feed your body whole foods: fruits, vegetables, dark leafy greens, whole grains, beans, legumes, raw nuts, fish, poultry and lean meats. Protein builds lean muscle mass. Complex carbohydrates, such as brown rice and beans, provide energy. Fruits cleanse the body, vegetables build the body, and both are full of vitamins. Quality foods allow our bodies to operate at their highest capacity. When you eat wholesome foods, your body will take care of you for a long time. Hydrating the body is of utmost importance to a dancer. Drink eight to ten glasses of water daily. Replace caffeine drinks with herbal teas. Avoid alcohol consumption.

FOOD AND CULTURE Being raised in an Italian household, I developed a healthy appetite for food at a young age. Food was plentiful; if twenty people attended dinner, thirty people could eat to their heart’s content. Abundance of food and constant eating went hand-in-hand in my childhood home. “Eat some more!” “Mangia! You can diet tomorrow!” These were things I heard as a kid. When I was younger, I could eat all I wanted because I burned it off performing two to three belly dance shows a night, six nights a week. When I wasn’t burning off the calories I consumed, extra pounds appeared on my hips and thighs. Many times, I ate to suppress emotions. There have been times in my life when out-of-control eating backfired on me. For twenty years, I supplemented my dance career by working, on and off, in offices as a secretary. When I was in my mid-thirties I worked at a law firm for a senior partner. The job was stressful, the environment scurrilous, the boss abusive, and I was as unhappy as one could possibly be in a job. In addition, I quit smoking cigarettes and went on an eating frenzy of fast foods, chocolate, cookies and cake. Five months later, my energy was zapped. I experienced mood swings and was miserable. When I went to the doctor for my annual physical exam, I was thirty pounds overweight. Seeing numbers I had never seen before when I

stepped on the scale shocked me into realizing how out-of-control my eating had become. The realization of how upset I was at that time in my life, working in a poisonous environment, was like ice water poured over my head. A series of blood tests was taken to learn where the fatigue was coming from. All tests came back negative. I’d never experienced such symptoms and knew something wasn’t right with my body. When I expressed my concern to the doctor, he said I was, “Healthy as a horse” and “Strong as a bull’. This physician then told me to snap out of feeling tired! The doctor never gave me a solution to my health issues. He simply refused to acknowledge that I felt poorly.

MAKING CHANGES I took full responsibility for my downward spiral, and needed to reassess my life. Since I was in a no-win situation at my job, I decided to leave. I went into that job as a dancer needing financial supplement, but wound up rarely taking a dance class or performing. Misery filled my workday and eating replaced dancing. Job stress caused me to medicate myself with bad food. Sugar highs caused my energy to skyrocket, then plummet. After cleaning out my desk at work, I went home and cleaned out my kitchen cabinets, went food shopping and filled my fridge with fruits, vegetables, and fish. I was determined to move forward in a positive way and get my life back. The next day, I went to Dr. Jay Heller, my chiropractor, for an adjustment. While waiting for Jay, his receptionist at the time, Allison, told me of a nutritionist who treated her for an ongoing medical condition. After a year of regular doctor’s visits and ingesting prescription medication that drained her wallet and lowered her immune system, this nutritionist healed Allison from that medical condition through nutrition and vitamin therapy. Within three weeks, Allison was on her way to optimal health. How fast did I run to this vitamin therapist? I think I left skid marks out Jay’s door! When I met with the nutritionist, I had no idea of the new road I was to walk down. Wheat, dairy, sugar, caffeine and soda were eliminated from my diet. Whole foods and vitamins made up my new eating menu. My first reaction to no

wheat/no dairy was, “I’m Italian. We live on wheat and dairy!” And sugar. I’ve got a sweet tooth! The nutritionist, also an Italian-American, calmly looked me in the eye and gently responded, “think of yourself as a Japanese, Turk or North African.” How many times have I limited myself because of familiarity? How many years did I cling to habits that didn’t work? How long would I stay in a comfort zone that caused me harm? I’m first-generation Italian-American on my mother’s side of the family. Italians eat greens (broccoli rabe, spinach, escarole, collard greens, Swiss chard, dandelions) and cook with herbs (garlic, basil and parsley are most popular). Raw salads accompany lunch and dinner entrées. We eat beans cooked from scratch. Meat and cheese are compliments to a meal. Fruit is dessert. The Mediterranean diet is one of the healthiest and most delicious in the world. And Italians are hospitable people. When one is a guest in our home, our generosity and warmth is genuine. However, when food consumption becomes excessive, we run into problems. Half a loaf of Italian pope bread or semolina bread replaces a slice. Three servings of pasta replace one. Meat served to one person could feed two. We consume cake, cookies, and chocolate in addition to fruits for dessert. Pastries eaten on holidays could put a diabetic into a coma. I’m sure first-generation Americans from every continent in the world can relate to food overindulgence in the United States. In addition, fast foods are available at every corner. We walk down aisles of supermarkets where most foods are processed and ready to eat upon opening. We work hard and are tired after leaving our jobs. We’re hungry and need to eat. There’s a reason we grab sugary treats that give us immediate energy. After a day of commuting and working long hours, the last thing we want to do is spend more time preparing and cooking food, eating, then cleaning up. We find ourselves in a vicious circle. Before we know it, we’re run down and exhausted.

HEALING

Within a month of giving myself proper nutrition, my energy returned. My hair shone, my eyes and skin were clear. PMS I had suffered from Day One became a thing of the past. Ten weeks later, I had lost those thirty pounds. I’m not a nutritionist, however, can attest to two things: (1) I was overweight, lethargic and unhealthy when I overindulged in sugar and fast food, and (2) When I ate whole foods, I was filled with vitality and my body stayed at a healthy weight.

BODY IMAGE I know what it’s like to be thin and what it’s like to not be thin. I’ve had a yo-yo body for most of my adult life. Know that wherever you’re at in life is a result of your thoughts and actions. Positive changes can be made the second you change your mind.

WEIGHT AND AGE In our culture, weight and age are issues, especially for women. Women interested in taking belly dance classes call me and say things like, “Sandra, I’m overweight, can I still belly dance?” “I’m too skinny. I’ve got nothing to shake!” “I’m in my sixties, am I too old for belly dancing?” My answer to the above is, “You’re perfect the way you are. Come to class.” Never allow insecurities about your body or age deter you from joining a dance class. Size and weight have nothing to do with becoming a skilled dancer. It’s not always the beautiful, slim, younger dancers who are crowd pleasers. Sometimes it’s the ordinary, not so thin, not very young women who rock the house. I’ve seen women in their sixties and seventies steal a show. If you judge someone by her appearance many times you’ll be the one who gets a surprise.

TRAIN WITH THE RIGHT TEACHER This e-book is an introduction to how one can build a strong body as well as learn the basic isolations of belly dance. If you want to become a serious

dancer, find a qualified belly dance teacher in your area and train with her. A qualified belly dance teacher has an extensive dance background, and has achieved mastership in posture, isolated body movements, steps and choreography. She knows how to teach all of the above to her students at beginner, intermediate and advanced/professional levels. This teacher also has expertise in performing on many stages, be they theater, nightclubs, or studio settings. My friend Isabel was bitten by the belly dance bug in 1996 when a play I wrote and performed in, A Belly Dancer’s Story, played for fourteen weeks in Manhattan’s East Village. Isabel was a supportive and encouraging friend, came to my play and decided that she wanted to belly dance. During the run of my play, I was so busy performing that I wasn’t teaching belly dance classes. Isabel began studying belly dance with another teacher, yet, was never taught proper posture, a correct warm-up, timing or rhythm. Immediately after studying belly dance, Isabel experienced back pain, which got progressively worse. She thought that was how dancers felt. It wasn’t until she studied belly dance with me that back pain left her body because she created great posture. Isabel developed a powerful core and became a stunning dancer. She is one of many students I’ve taught who initially had poor dance training. One can reverse bad dance habits with much effort, however, why go there?

POSTURE IS IMPERATIVE IN DANCE The first thing I teach my students is proper body alignment. Proper posture allows dancers to obtain maximum capacity of movement, which is mandatory for belly dancers because we isolate seven parts of our bodies during a full belly dance performance. Belly dance has allowed me to create excellent posture that I take from the dance studio to the outside world. Proper posture rid my body of lower back pain. Some of my students suffered from neck and back pain before studying dance with me. They didn’t know what caused their pain; most times, it came from poor posture. After taking a few dance classes –

sometimes after several weeks or months of dance classes – back pain was gone.

BELLY DANCING FOR YOUR HEAD AS WELL AS YOUR BODY Whatever’s going on in my life on any particular day, belly dancing always lifts my spirits. If I’m upset about something, dance is a stress reliever. Many a student has walked into my dance class and told me she was having a bad day. After class that same student comes back to me to say that she’s just fine after dancing. The sheer physical exertion of the dance combined with Arabic music take one to a higher place.

CHAPTER 2 BELLY DANCE AND MUSIC WHERE DID BELLY DANCE COME FROM? One theory is that belly dance originated from regional folk dancing performed at family and social functions in the Middle East and North Africa. Folk dancing is known as balady dance and originated in rural villages in Egypt by the fellahin (peasants). Balady means country or dance of the people. After Islam became prevalent throughout Arabia, households and social events became segregated. During these segregated affairs, women would dance with and for each other. Dance was an integral part of formal and informal celebrations. There was no performance, just female friends and family members dancing together in a joyous celebration of life. When a pregnant woman from one of these rural villages was about to deliver a baby, women from her family and neighborhood would support her during labor. Women encouraged the mother-to-be to undulate her abdominal muscles for an easier delivery. The fertility dances included undulating movements of the belly along with abdominal contractions. Most ancient fertility dances focus on the abdomen. The belly was a symbol of the bearer of life. Iâ&#x20AC;&#x2122;ve performed at many Arab nightclubs, Middle Eastern weddings and parties where the entire family (ranging from the great grandmother to the greatgranddaughter) was in attendance. Everyone dances. Iâ&#x20AC;&#x2122;m always mesmerized by the grace and dance skill of the elder women and am enchanted by the little girls who shimmy their shoulders and hips and roll their bellies. Dancing is an integral form of expression during celebrations for Middle Eastern people. Another theory of how belly dancing spread throughout North Africa traces back over one thousand years to the migration of a caste from India, who left their homeland and settled throughout Egypt and other parts of North Africa. These peoples traveled throughout the Middle East and Europe and later became known as gypsies. Several belly dance movements and isolations are

distinctly Indian, such as the head slide and serpentine arm and hand movements. Another influence was the Ottoman Empire, which came into power in the mid-1500s. Ottoman Turks conquered the Middle East, North Africa and parts of Europe such as Greece, Albania, Bulgaria, the former Yugoslavia and the south of Russia. Islam, along with Oriental music and dance, was brought to these countries. Although belly dancing is not Greek, many Greek restaurants and nightclubs feature it, and this is a throwback to the culture Greece inherited from the Ottoman Empire. Traces of Turkish music and dance are now part of the culture of the countries that were once under Ottoman rule. The distinguishing difference between Middle Eastern dance and European dance is that Middle Eastern dancers are trained to isolate movement in the head, shoulders, arms, hands, rib cage, abdomen and hips. European folk dance is linear – limited to the legs and feet as they perform step dances while their bodies remain rigid. Dances from Latin America have movement in the hips with some shoulder moves, over foot patterns. Indian dancers use isolated movements, however, not as extensively as do Middle Eastern dancers.

MUSIC OF THE ORIENT Middle Eastern music is sensual music. Rhythms of the darbouka and sounds of the nai take me into Bedouin deserts. Plucky sounds of the oud and quivering melodies of the quanun are sounds unlike others I’d heard. Arabic music was so different from the rock and disco music I listened to as a kid in the 1970s, yet, I couldn’t get enough and listened to it day and night. Back then, there were very few Arabic albums available to the American public. Today, thanks to world music and the popularity of belly dancing, one can purchase Middle Eastern music on the internet.

INSTRUMENTS USED FOR BELLY DANCE Let me introduce you to instruments used in Middle Eastern music: The oud is a wooden lute that appeared as early as the seventh century AD in Egypt and Persia. Oud means “wood” and the earliest ouds were carved from a solid piece of wood. The oud is a short-necked, half pear shaped instrument that produces a plucky sound. It’s held like a guitar and played with a finger pick. There are six pairs of strings on an oud. The oud is considered the king of Arabic musical instruments and is the principal instrument of the Arab world. With the Islamic expansion, the oud reached many diverse lands and cultures such as Spain, Russia and China. The quanun is another string instrument that produces a plucky sound with a delicate timbre. This instrument is played as it rests horizontally on the knees. The quanun is shaped like a trapezium and has a wooden sounding chest. It is played with two plectra worn like rings on the index fingers. The sound produced is gentler than that of the oud. The nai is an ancient reed flute, which has six holes above and one below. The sound is obtained through the top opening. The nai can produce sweet, low tones or a shrill timbre. The Arabic drum is called darbouka or doumbek. It’s an hourglass shaped drum played with the hands. The body of the darbouka is made of terracotta or metal, and it’s covered with either an animal skin (fish or goat) or artificial skin. Artificial skin is not sensitive to weather changes the way animal skin is, therefore, it’s common to see artificial skin covering a darbouka. This drum is struck alternately in the center of the skin to produce a doum sound or on the drum’s edge producing a tek sound. The darbouka is the most important Arabic percussion instrument and is played in Arabic classical, modern and folk music. Some of the Arabic rhythms produced by the darbouka are balady, masmoudi, chifti-telli, ayoub, kashlimar, malfouf and 6/8. The riq is a frame drum that usually accompanies a darbouka. The frame is made of wood with skin stretched over both ends. All Arabic rhythms played on a darbouka can be played on a riq.

Finger cymbals, also called zills, are round brass cymbals from two to two-and-one-half inches in diameter. Finger cymbals are worn on the middle finger and thumb of each hand and played by the belly dancer while sheâ&#x20AC;&#x2122;s performing.

CHAPTER 3 POSTURE AND PROPER BODY ALIGNMENT STAND TALL AND GORGEOUS! Eleven years ago, I was at a Middle Eastern nightclub in Manhattan that featured live music and belly dancing. I got a table near the band to get a good view of the upcoming show and was especially looking forward to the belly dance performance. What happened next was this: A belly dancer entered the stage in an elaborate costume, yet she had poor posture and arm placement. Due to the dancer’s lack of proper body alignment, she was unable to isolate her body well. There was no skill or passion in her dancing. When I got home later that night, I thought about how that belly dancer needed to break her bad habits before she would be able to create new ones, to become a good dancer. She probably wasn’t even aware that poor posture was holding her back from excelling in this art form. At that time, I’d been teaching belly dance for well over a decade and after witnessing many shows like the one above, decided to create a dance class that would allow one to become a skilled dancer in a relatively short period of time. I wanted to teach every woman how to dance powerfully, with elegance and the best isolations. I wanted to teach a class that would build a dancer from the inside out so that when she got on stage to perform, she’d be memorable for her dance excellence. Upon returning to my apartment that night, I created a class that would (1) teach proper posture; (2) stretch every major muscle group in the body; (3) follow with functional, weight bearing exercises; (4) teach isolations of the head, shoulders, arms, hands, ribcage, abdomen and hips; (5) dance basic steps across the floor, and (6) have fun! I called this new class Belly Dance Technique and Movement. The next thing I needed to do was find a dance space. Every day I’d go over my new dance class at home. I put together a series of stretches followed by functional weight bearing exercises using body

weight to strengthen all major muscle groups. Postural exercises were implemented and practiced. After just a couple of weeks, I became stronger and more flexible. My body was leaner. In time, I knew the right dance studio would present itself to me. One month after my Belly Dance Technique and Movement class was born, one of my students handed me the brochure of a new dance studio and said, “You should teach dance there.” The next day I walked into that dance studio, without knowing a soul, and presented my Belly Dance Technique and Movement class to the manager. I was hired on the spot and taught my first class that week. Almost immediately, my classes were filled to capacity. We were soon turning people away at the door because we couldn’t fit another body into the room. Women from all walks of life came to my classes and most of my students were non-dancers. Students shared stories of how pain in their back was gone now that they were training in dance with me. Every woman commented on feeling taller. One of my students was measured and said that at age forty-four, she was an inch taller! My Belly Dance Technique and Movement classes were changing women’s posture for the better and my students were becoming skilled dancers. Let me share with you several postures that can be harmful to the body. The hunchback is the most common way people hold themselves incorrectly. That’s when the shoulders and upper back round forward, the chest is sunken and the stomach protrudes. Stress usually occurs in the neck and throughout the back. Next is the swayback. In the swayback posture, the back and shoulders lean in the opposite direction of the hunchback, and stress is placed on the lower back. Then there’s the anterior pelvic tilt or the “stick-out butt”. This is when the pelvis is pulled back rather than forward causing the butt to be jacked out. The anterior pelvic tilt can cause excruciating pain in the low spine. Sometimes my clients have combinations of the above postures. One student initially came to me with a swayback and a stick-out butt. She’d been walking around this way for years and suffered from back pain and muscle spasms in her back. As she incorporated the new posture, her neck and back

pain eventually disappeared. Before this student studied in dance with me, she trained extensively with a personal trainer, yet she looked and felt better after taking my Belly Dance Technique and Movement classes on a regular basis. Let’s create great posture now! I teach a simple technique to obtain this dance posture, and it’s called the 1-2-3 Posture Method.

1-2-3 Posture Method Stand in front of a full sized mirror with soft knees. (1)

Curl your pelvis forward. As your pelvis moves forward, your low spine lengthens and your tailbone points to the floor.

(2)

Pull your navel to your spine and lift from your sternum.

(3)

Drop the shoulders down away from your ears.

By curling the pelvis forward and lifting from the sternum, we create space between the hips and rib cage. This length enables freer hip and rib cage isolations. By dropping the shoulders down from the ears, we create length between the shoulders and ears. This allows easy movement for shoulder and head isolations. New students come to me every day with poor posture. Yet these very students create beautiful posture after applying this simple 1-2-3 Posture Method. Some of my students quickly replace old posture with new posture. Other students take months to break poor posture. Whenever a student is resistant in creating new posture, I ask that student why she’s holding on to incorrect posture rather than replacing it with proper body alignment. Sometimes my asking that question is enough for the student to release old habits. For example, a hunchback can be due to shyness or low self-esteem. In a round shoulder position, the chest muscles are contracted, protecting the heart area. Many people in this posture tell me they feel safe there. However, instead of being safe in the round shoulder posture, one tells the world, “I’m sad, tired, sick, insecure, frightened”. When one walks down the street in this posture that person shouts victim with her body language. Instead of obtaining safety in a

round shoulder position, one is vulnerable. Women with great posture exude confidence. When one has a hunchback, that person has tight chest muscles, and weak abdominal and back muscles. This person unknowingly created a muscle imbalance in her body by standing in a round shoulder position. As soon as one stands tall, one’s chest muscles open to a natural position, and the abdominal and back muscles become engaged. The deepest muscles in the abs, called the transverse abdominis, are engaged when you stand tall. Today, everyone wants a strong core. The easiest way to create a strong core is to stand up straight. At first, it may feel uncomfortable to stand tall because you’re forcing those tight chest muscles and weak abdominal and back muscles to lengthen. With practice, your posture will get better and you’ll feel so good you won’t want to revert to the old stance. I had a student who worked as a children’s tutor for a very rich family. The kids received little attention from their parents, so their nannies and tutors became their surrogate parents. My student got along well with the boys, but their mother resented the kids’ affection for their tutor. My student said that the mother was so difficult, that after a few days she found herself in a protective round shoulder posture. Her body melted into that stance and it wasn’t until her contract ended that she broke free from that hunchback and stood tall again. How many times in our lives have we been in unpleasant situations with people? Perhaps it was an abusive boss, off-the-wall neighbor, jealous coworker, fair-weather friend, mismatched lover or that crazy aunt at a family picnic. We sometimes protect ourselves by folding our arms in front of our bodies or rounding our shoulders forward. We just want to be away from maniacal people, so we go away by sinking into ourselves. In Tony Alessandra’s book titled, Charisma, Seven Keys to Developing the Magnetism that leads to Success, he talks about the importance of posture in making a positive physical appearance. He writes, Posture is important, too. Influential people convey confidence and enthusiasm by carrying themselves, as Grad writes, “proudly

but not pompously.” This means standing tall with head and shoulders back, but with muscles relaxed. If you’ve spent years with your shoulder rounded forward or your weight on one hip, it’ll take some practice to straighten yourself out. But it’s worth it. Not only do you look better if your posture is good, you feel better, too.

In dance class, once correct posture is created, one dances easily and the body is positioned to move to the maximum capacity. This is where true freedom occurs. Several years ago, a belly dance teacher approached me after watching my students and me perform in concert. She asked me to share my secret with her. I asked what she was talking about. She told me that, try as she might, her students didn’t have good posture when they performed, while my students had excellent posture. I told her there is no secret, I teach the 1-2-3 Posture Method, which I shared with her. Once you create proper posture you won’t go back. The new body feels and looks too good!

SAFETY AND FUN – NO ONE GETS HURT IN MY CLASS! I’m proud to say that no one’s ever gotten injured training with me in dance. Safety is my number one priority. I implement the 1-2-3 Posture Method in every class I teach. This method is easy, works best in creating dance posture and my students look and feel better. Exercising while in proper body alignment lessens one’s chances of injury. Proper posture is the core factor in allowing one to excel in dance movement and isolation.

CHAPTER 4 THE WARM-UP STRETCH YOUR BODY! I open every belly dance class with a head-to-toe warm-up. Every major muscle group is stretched. Here are just a few stretches I use in my dance classes. Weâ&#x20AC;&#x2122;ll start by stretching the lower body. Please note that the hamstrings are muscles in the back of the thighs, the quadriceps are muscles in front of the thighs, the adductors are muscles in the inner thighs and the abductors are muscles in the outer thighs. The gastrocnemius muscles are the calf muscles.

Hamstring Stretch: Lie on your back in a supine posture. Bend both knees and place both feet on the floor. Now, stretch your right leg up so that your foot is parallel to the ceiling. Keep the knee straight during this stretch. Now pull the right leg as close to your chest as possible. Hold the stretch for eight seconds. Release the right leg down and repeat left. Do eight sets. Adductors Stretch: Lie on your back in a supine posture. Bend both knees and place both feet on the floor. Stretch your right leg up until your foot is parallel to the ceiling. Keep your knee straight. Now bring the right leg out to the right as far as it will go while keeping your lower back on the floor. Hold the stretch for eight seconds. Bring the right leg center and back to its original starting posture. Repeat left. Do eight sets. Abductors Stretch: Lie on your back in a supine posture. Both legs are long against the floor. Stretch your right leg up until your foot is parallel to the ceiling. Keep your knee straight. Now bring the right leg across your body to the left side. Hold the stretch for eight seconds. Then bring the right leg back to center then back on the floor. Repeat with the left leg. Do eight sets. Quadriceps Stretch: Lay on your left side. Bend your top (right) leg. If you can reach your foot, grab the foot, and, keeping the knees together, pull the

foot to your butt. Hold the stretch for eight seconds. Repeat eight times on both legs. Gastrocnemius Stretch: Stand up and face a wall or the back of chair. Place your hands on either the wall or top of chair. Step your right foot up to the wall or close to the back legs of the chair. Step your left foot back about two to three feet. Be sure the toes of both feet are pointing forward. Keep your left leg straight. Now bend your right knee. Youâ&#x20AC;&#x2122;ll feel a mild discomfort or burning sensation in the calf muscle of the left leg as you stretch. For a deeper stretch, bend the right knee further. Hold the stretch for eight seconds. Repeat on other leg. Do eight sets. Most dancers have tight calf muscles because most of us dance on the balls of our feet. Many New Yorkers have tight calf muscles because we live in a walking city and most of us walk several miles a day. I walk three to four miles each day and need to stretch my calf muscles daily. This exercise is an important stretch for every dancer.

Letâ&#x20AC;&#x2122;s stretch the back muscles (erector spinae).

Erector Spinae Stretch: Sit on the floor. Bend your knees and place both feet on the floor. Legs are open to hip width. Reach your arms up overhead and glide forward until your chest is as close to the floor as possible. Hold the stretch for eight seconds. Roll up and repeat eight times.

Stretch the front of the shoulders and chest (anterior deltoids and pectoralis major).

Anterior Deltoid and Pectoralis Major Stretch: Stand up and bring your arms into a T posture. Both arms are long and pulling in an outward stretch. Keep the arms parallel to the floor. Now pull the arms back as far as you can and feel the stretch in the chest and front of the shoulders. Hold the stretch for eight seconds. Now release. Repeat stretch eight times.

CHAPTER 5 FUNCTIONAL TRAINING USE YOUR BODY WEIGHT We just stretched specific muscle groups. Now, we’re going to strengthen those muscle groups. At the end of most exercises, I say, “Do four sets of twenty-five repetitions.” Let me explain what repetitions means. Repetitions are the number of exercises you execute at a time. If you’re doing open toe squats, do twentyfive open toe squats in a row. Rest for one minute, then perform twenty-five more open toe squats. Take another minute to rest, the do another twenty-five open toe squats. Rest again, then do the last twenty-five repetitions. When I say do four sets of twenty-five repetitions that means one set of repetitions consists of twenty-five open toe squats. You always rest one minute before proceeding onto the second, third and fourth set. Or… You can do one set of twenty-five repetitions of every exercise listed below, then follow by three more sets of twenty-five repetitions of all exercises listed, in the order that they’re listed.

Open Toe Squats: Stand tall with your hands on your hips. Open your legs past hip width. Point both toes out. Now squat as low as you can without bending your torso forward. When you can’t squat any lower come back up. As you do so, squeeze the butt and inner and outer thighs. This is an excellent lower body exercise. It will tone the legs (especially the inner thighs) and butt. Do four sets of twenty-five repetitions.

Prone Holds: Get into a push-up position. Pull your navel to your spine. Be sure your shoulders are down, away from your ears. Breathe evenly while in this posture. Hold the posture as long as you can. When you need to let go,

lower yourself to the floor. Prone holds strengthen the shoulders, triceps, chest and core. Repeat eight times.

Hyper-extensions: Lie on the floor in a prone posture (on your stomach). Rest your forehead on the floor and drop your shoulders away from your ears. Your arms are long against your torso. Take a deep breath, and, on the exhale, lift the entire torso off the floor as high as you can, then release back down to the floor. Hyper-extensions strengthen the back muscles, specifically the erector spinae. Do four sets of twenty-five repetitions.

Transverse Abdominis Exercise: Get on your hands and knees. Be sure your back is flat (not arched or hunched), and keep the back still throughout this exercise. Take a deep breath. As you exhale, pull the navel to the spine and hold it there for eight seconds. Release the belly. This exercise will strengthen the deepest abdominal muscles, called the transverse abdominis. Do four sets of twenty-five repetitions.

Boxers Crunches: Lie in a supine posture. Drop your shoulders away from your ears. Bring both hands under your butt. Take a deep breath and on the exhale, bring both legs up until your feet are parallel to the ceiling, and release back down until youâ&#x20AC;&#x2122;re one inch above the floor. Boxers crunches strengthen the abs, specifically the rectus abdominis. Do four sets of twenty-five repetitions.

Oblique Twists: Stand tall with your feet hip width apart. Bring both hands gently behind your neck with both elbows opened out. Twist the body right then left. You will strengthen your oblique muscles and whittle your waist when you do this exercise regularly. Do four sets of twenty-five repetitions.

Kicks: (1) Stand tall with your hands on your hips. Extend your right leg forward and point your toe. Squeeze the inner and outer thigh muscles. Now,

keeping that squeeze, do twenty-five kicks (one to two feet off the ground). Repeat on left leg. Do four sets of twenty-five repetitions. (2) Now, extend your right leg out to the right and point your toe. Squeeze the inner and outer thigh muscles. Keeping that squeeze, do twenty-five kicks to the right. The kicks should be no higher than a foot off the floor. Repeat on the left leg. Do four sets of twenty-five repetitions. (3) Lastly, bring your right leg behind you. Squeeze the butt and perform twenty-five kicks not higher than a foot off the floor. Repeat on the left leg. Do four sets of twenty-five repetitions. These kicks will tone the entire leg.

Start by doing these exercises three times a week, every other day. If you donâ&#x20AC;&#x2122;t exercise regularly, start by doing one set of repetitions of all exercises above. Within two to three weeks, youâ&#x20AC;&#x2122;ll notice your body becoming stronger. At this point, add another set of repetitions then another. One can do these exercises six times a week. This is a basic program of functional weight bearing exercises.

CHAPTER 6 ISOLATIONS ISOLATIONS ARE WHAT MAKE BELLY DANCE SPECIAL Isolated movements distinguish belly dancing from other types of ethnic dance, as described in Chapter 2. In Middle Eastern dance we isolate the arms, hands, head, shoulders, rib cage, abdomen, and hips. While performing isolated movements we stabilize the body and only move one body part. For example, when we do serpent arms or a rib cage circle or a hip twist, the body is still except for the arms or rib cage or hips. This requires practice. The stronger your core, the easier it is to execute an isolation.

ARMS Great dancers have great arm placement. Here are some of the most popular arm placements used in belly dance:

SECOND POSITION Arms are opened out from the body an inch below shoulder level and are parallel to the floor. Arms are long and shoulders are dropped down from the ears. Fingers are long and relaxed.

THIRD POSITION Place your arms in second position. Lift your right arm straight up. Thatâ&#x20AC;&#x2122;s Third Position. Now reverse the arm posture.

ARABIC FIFTH Bring arms overhead and place the palms of the hands together in prayer position. Arms frame the head. Shoulders are dropped down away from the ears.

NOTE: When you practice arm postures youâ&#x20AC;&#x2122;ll develop strong shoulder and arm muscles.

HANDS Hand movements are the finishing touch to arm movements. Nothing is more beautiful than excellent hand movements.

UNDULATING HANDS (1)

Palms of the hands are parallel to each other and a few inches apart.

(2)

Press the hands toward each other. Lead from the opposite side of the knuckles, then contract and undulate in the opposite direction. Fingers are long and supple. Do four sets of eight repetitions.

HAND CIRCLES (1)

Circle at the wrists. Make round, complete circles.

(2)

Reverse movement in opposite direction. Do four sets of eight repetitions.

HEAD Your head is your tower of power, therefore, be sure that you are in proper body alignment before you start to perform head movements. Be aware of your shoulder placement. Release the shoulders down before doing head movements.

ORIENTAL HEAD SLIDE (1)

Arms are in Arabic fifth position. Be sure shoulders are dropped down away from the ears and that there is length between your shoulders and your ears.

(2)

Slide the head to the right by bringing the ear to the arm. Your chin moves parallel to the floor. Now slide the head to your left ear.

Pretend there is a piece of chalk attached to your chin and you are drawing a straight line along the floor. Do four sets of eight repetitions.

ZAR (1)

Feet are shoulder width apart and arms are in second position. It is important to have excellent posture to do this move correctly and without injury to your body.

(2)

Bring chin to chest and roll your left ear to your left shoulder. Now roll in a half-moon to right shoulder. Do four sets of eight repetitions.

FULL ZAR (1)

Feet are shoulder width apart and arms are in second position. Be sure that your shoulders are dropped down away from your ears. It is important to have excellent posture to do this move correctly and without injury to your body.

(2)

Bring your chin to your chest and roll to the right shoulder, then around in a full circle. Ear comes parallel to left shoulder and around forward completing a full circle. Do four sets of eight repetitions.

SHOULDERS Shoulder movements can be sinuous or accented or shimmied.

SHOULDER CIRCLES (1)

Arms are along your sides and are dead weight. Starting with the right shoulder, bring shoulder forward then circle up and around. As you complete the right shoulder circle, begin to circle the left shoulder. Circle shoulders alternately then simultaneously. Do four sets of eight repetitions.

EGYPTIAN SHOULDER DROP

(1)

Lift the right shoulder up to the right ear.

(2)

Drop shoulder away from ear. The accent is down. Emphasis is on the drop. Repeat left. Do four sets of eight repetitions.

SHOULDER SHIMMY (1)

Arms are in second position. Arms are long and all energy flows through the fingertips.

(2)

Bring your right shoulder forward, then back to center. Next bring your left shoulder forward and then back to center. Do this movement slowly. Move your shoulder to its maximum capacity of movement.

(3)

Move your right then left shoulder. Repeat slowly at first then build up to a fast shimmy. This fast shimmy movement may take a while to build, however, when you practice slow shoulder movements you create muscle memory and strengthen the shoulder muscles. Shoulder movement gets better and better with daily practice. Do four sets of eight repetitions.

RIBCAGE When we move our ribcage it is imperative that we are in proper spinal alignment. Use your navel as a dividing line. Below the navel you are earthbound and feet are planted firmly on the ground. Pelvis is forward and the tailbone points down. Squeeze the gluteus maximus muscles. There is length between your hipbone and the rib cage as you lift from the sternum. The ribcage consists of bones that enclose the chest cavity and surrounds and protects your organs. In belly dance we move the ribcage right to left, up and down, forward and contract. We circle the rib cage upward and forward.

RIBCAGE SLIDE (1)

Pull the pelvis forward, then squeeze the gluteus maximus muscles to ensure stability below the navel. Slide the entire ribcage to the right and repeat left. Do four sets of eight repetitions.

RIBCAGE LIFT (1)

Start with your hands on your hips. Shoulders are dropped down from the ears. Squeeze the gluteus maximus muscles to ensure hip stability.

(2)

Lift the ribcage up from the middle of the sternum. When ribcage is stretched as far up as possible, release the ribcage down. Repeat this exercise. Do four sets of eight repetitions.

RIBCAGE FORWARD AND CONTRACT (1)

Place hands on hips then drop shoulders down from ears.

(2)

Stabilize your hips by squeezing the gluteus maximus muscles.

(3)

Move the ribcage forward (leading with the solar plexus). Slowly pull back to a contraction. Do four sets of eight repetitions.

RIBCAGE UPWARD CIRCLE (1)

Relax shoulders and place hands on hips.

(2)

Slide ribcage to the right. When youâ&#x20AC;&#x2122;re as far right as possible, circle up then left then down in a full circle. Repeat the upward circle eight times. Now reverse the circle. Do four sets of eight repetitions (right and left ribcage circles).

ABDOMEN The belly represents fertility. These movements are where it all began in belly dance!

UNDULATION Before you begin to perform an undulation, be sure the spine is long and pelvis tucked. (1)

Lift the ribcage up from the middle of the sternum.

(2)

When the ribcage is lifted to the maximum capacity of movement, allow the belly to roll down to the pubic bone. Do four sets of eight repetitions.

BELLY FLUTTER (1)

Inhale and fill the lungs with air until your stomach is distended.

(2)

As you exhale, pull the navel to the spine. Do four sets of eight repetitions.

Do the Belly Flutter slowly at first. While doing these movements youâ&#x20AC;&#x2122;re working the transverse abdominis, the deepest abdominal muscle. Practice this movement slowly at first. After youâ&#x20AC;&#x2122;ve done the movement many times, increase the speed. You can make this movement tiny or large.

HIPS Hips are the easiest body part to isolate for most people. Remember to bend the knees when executing all hip movements. Here are a few of the many hip movements in belly dance.

HIP LIFT (1)

Stand with weight on the right foot. Bring your left foot onto the ball of the foot. Both knees are slightly bent.

(2)

Keep your right knee bent and straighten your left knee as the left hip lifts up. Repeat this movement on the left side. Do four sets of eight repetitions.

HIP TWIST (1)

Weight is on both feet. Arms are in second position. Be sure your posture is long and in alignment.

(2)

Twist the hips from front to back. First the right hip twists front while the left hip twists back, then the left hip twists front as the right hip twists back. Do four sets of eight repetitions.

SMALL HIP CIRCLE (1)

Weight is distributed evenly on both feet and both knees are slightly bent. Arms are in second position. Legs are together.

(2)

Push hips to the right, around to the front, then left and finally, circle back. Hip circles should be smooth and movement even. Repeat in opposite direction. Do four sets of eight repetitions.

HIP DROP (1)

Stand with weight on the right foot. Bring your left foot onto the ball of the foot. Both knees are slightly bent.

(2)

Keep your right knee bent and straighten your left knee. Lift your left hip then drop it. The accent is on the drop. Repeat on right side. Do four sets of eight repetitions.

HIP SHIMMY (1)

Feet are planted firmly on the ground. Knees are bent. Straighten your right knee and as you do so, the right hip moves toward the right wall. Repeat left. Do this movement slowly at first. Now pick up the timing and go quicker. In this posture move the hips very fast until the butt is shaking.*

*NOTE: At first you may experience “stalling” while performing a hip shimmy. I use the word stalling because this is a movement that requires much practice. I have yet to meet a student who doesn’t want to shake her hips wildly immediately. However, when you first learn a hip shimmy, you need to build up to this movement. With practice, you’ll get a good shimmy going in due time!

CHAPTER 7 VEILS, ZILLS AND PERFORMING VEILS Veil dancing is an integral part of Oriental dance in the United States. In a cabaret performance, the dancer usually enters the stage with her veil wrapped or draped over her costume. Sometimes, in addition to the veil on her body, a dancer will use a second veil in her hands (an open veil) and will dance onto the stage with the veil billowing around her. Other times the dancer will only use an open veil. Veil dancing was made popular in Egypt in the 1940s by the famous belly dancer Samia Gamal. Gamal’s Russian choreographer incorporated veil work in her choreography to correct Gamal’s poor posture. Prior to Gamal, the veil was not used extensively during the Egyptian cabaret performance. An Egyptian dancer usually enters the stage with a cape-like drape over her costume or a veil in her hands. The cape or veil is discarded shortly after the dancer enters the stage. Veil dancing is considered distasteful to many Egyptian dancers. The concept of veil dancing to them is comparable to stripping. The more intricate incorporation of veil dancing in Oriental dance performances would be used most frequently by American and European belly dancers. The founders of modern dance, Isadora Duncan and Ruth St. Denis, both danced with veils. Isadora Duncan was inspired by ancient Greek culture and dance while Ruth St. Denis was inspired by ancient Egyptian and Indian culture and dance. Both dancers, known as the mothers of modern dance, wore flowing garments in all of their performances. I find it interesting that what we call modern dance was inspired by the ancient, eastern dances. This is just one example of Middle Eastern dance being the mother of all dance forms. It’s certainly one of the oldest dances known to man.

WHAT KIND OF VEIL TO PURCHASE

For classroom dancing, purchase a veil made of chiffon material that is three yards long and 45” wide. Choose your favorite color. Use a silk veil when you perform on stage.

HOW TO DANCE WITH AN OPEN VEIL Place the veil over your shoulders and be sure that it’s even on both sides. Bring your arms long down the body. Where your hands fall at (alongside your hips) is the place you’ll put the veil in your fingers. The veil is held between your forefinger and middle finger when you dance with an open veil. It’s crucial to extend your arms and hands while dancing with an open veil. Resist the urge to clench your veil in your fists or drop your elbows or arms to the floor. The more familiar you are with your veil, the more natural your dancing will be, and that comes with practice. At first, veil dancing is challenging because (a) the veil can be slippery; (b) when your arms are not extended to the maximum capacity, it’s easy to slip on your veil; and (c) one needs to develop upper body strength to dance with a veil properly. Again, be aware of your arm placement, especially when you first begin dancing with a veil. You want to create good dance habits. When you dance with an open veil, you strengthen your shoulder muscles (especially the medial deltoids) and arm muscles. Dancing with an open veil is a great way to develop upper body strength. When you first start dancing with an open veil, you may find it difficult to hold your arms in second position for a long time. That’s because the arm and shoulder muscles are weak. When you continue dancing with your arms in second position, the shoulders and arms get stronger and more functional, and will appear more toned.

ZILLS Finger cymbals or zills are instruments belly dancers play while they dance. These cymbals are worn on the thumb and middle finger of each hand, but are played with an open hand, not just the two fingers wearing the zills. The forefinger and ring finger of both the right and left hands rest lightly on the finger

cymbal worn on the middle finger. When you hit the finger cymbals together, it’s a clean, quick hit and the hand immediately returns to an open position. Basic zill rhythms consist of singles and doubles. Singles rhythms consist of playing right-left-right over and over. Doubles rhythms consist of playing rightleft-right-left-right-left over and over.

PERFORMING When I started belly dancing, I had an overwhelming desire to dance all the time. Dance became an integral part of my daily life. Whether I was taking dance classes, seminars, workshops or practicing in front of my mirror, I needed to dance. I was relentless and that relentlessness came from desire. Desire became necessity and necessity became a way of life. I danced because I had to. Belly dance began as a fun distraction, then turned into a serious hobby, and finally became an integral part of my existence. Dance is my livelihood today and has been for decades. When I began belly dancing as a kid attending a rough New Jersey high school, knowing that I’d dance at night got me through the school day. When I started working full-time immediately after my high school graduation, knowing I had a dance class to attend that evening got me through the monotonous day at the office. After four years of intensive study and practice, an opportunity to belly dance at a nightclub presented itself to me out of what seemed to be the clear blue, and jump-started my professional dance career. Since 1980 I’ve been belly dancing professionally. Once I got a taste of performing in nightclubs to live Arabic music or onstage in theaters, I couldn’t get enough. From age twenty-one on, I’ve been performing the belly dance. Today, I train belly dancers to perform on stage. I’ve produced and choreographed thirty-three belly dance concerts since June of 2000, and my students have performed in many of these shows. Should you decide to perform in a belly dance show, be sure that you’ve mastered the isolated movements that belly dancers perfect. When isolations are perfected, one can tell a hip lift from a hip drop and a shoulder circle from a shoulder shimmy. When isolations are not

technically clean, the movements all look the same. When you present your art on stage, give the audience the best you’ve got. When you perform on stage, dance all basic steps effortlessly. You should be able to add isolations over basic steps. If you’re performing a solo, you need to be schooled in creating choreography from entry through finale. Your veil work and zill playing should be just as clean as your isolations. Be sure the entire presentation of your show is top notch. After you’ve got the moves down, showmanship will make you stand out as a performer. Everyone loves a great showman – as long as she’s got skill backing her! Egyptian belly dancers are delicious to watch during a performance. They’re endearing, warm, naturally sexy, playful, happy and confident. You cannot take your eyes off of them. My favorite belly dancer of all time was the late Lebanese dancer, Nadia Gamal. Nadia’s technique was impeccable. She played zills and danced veil work with mastery. Her choreography was exciting and she presented her dance skill in every phase of her performance. Nadia Gamal was the ultimate belly dancer. When it’s your turn to perform on stage, have fun during the performance. Be passionate during the dance. Love what you’re doing. You can’t hide love – when you’ve got it inside of you, it presents itself during the dance. And the more you’ve got, the more it shows. It comes back to you one hundredfold!

CONCLUSION It was my intention to publish this e-book on my birthday this year as a thank you to my students and friends who’ve supported me in dance for three decades. Well, it didn’t work out that way. On May 30, 2009, my student and friend Sara and I were scheduled to belly dance at a festival in New York. I was experiencing heavy bleeding and told Sara that I didn’t know how I’d perform in that condition. Being the original tough guy, I did perform and found that I couldn’t move well during the dance. It was terrifying. When I left the festival, I began to hemorrhage. At 2:30 a.m., paramedics rushed me to the hospital. Little did I know I was in a life or death situation. The priest gave me Last Rites. The Chaplain prayed with me. Friends contacted their churches and went on prayer vigils. A student and friend, a Muslim, prayed with me in the language of her homeland. My friend Reno flew in from Vegas to be with me. Nurses went wild over Reno’s charm and masculinity. I told them Reno is an esteemed martial artist and they swooned further – this is the effect he has on most women. Visitors came and the phone rang morning through night. At one point, Reno unplugged the phone so I could sleep. Doctors found a small fibroid just two inches long and one inch wide in my uterus. That fibroid was causing the hemorrhaging and kept me in the hospital for a week. I needed six blood transfusions and four bags of estrogen to stop the bleeding. “Oops, missed your vein again,” said one nurse. “Your vein just burst. Now I need to find another. Are you on steroids?” asked a clueless doctor. The tops of my hands and inner arms were covered with black-purple contusions, needle marks and scabs from being jabbed with needles and IVs. Unfortunately, we don’t always receive quality health care. Whether you’re poor, working class, middle class or even upper middle class, you’re in the same caste system of health care. Furthermore, being in a New York City hospital is akin to

being on a subway. There’s constant noise, bright fluorescent lights, loud roommates with even louder visitors, and more than a few nurses who neglect patients. Hospital food is similar to moist cardboard. How does one heal in such an institution? After doctors stopped the hemorrhaging, they tried to sell me invasive, expensive and unnecessary surgery – a hysterectomy. In addition, a hysterectomy required a three or four day hospital stay and six-week recovery period, unlike the less invasive ambulatory surgery. “You need to tell me right now why, at age fifty, you want to keep your uterus!” demanded one particularly obnoxious physician. It didn’t matter to this physician that we’d already discussed the great success rate with myomectomy surgery. She and other doctors continued to pressure me into signing up for the hysterectomy. Statistics show that fifty to sixty percent of hysterectomies performed on American women are unnecessary! Medicine is big business. Some women go through peri-menopause symptom free. Others, like myself, face challenges. One thing was certain: the fibroid needed to be removed. Some doctors wanted to wait three months before they performed surgery. Others suggested surgery in a few weeks. At one point, doctors felt emergency surgery was necessary. My emotions surfaced while in that hospital. I faced my darkest hours there. I cried, I swore, I analyzed every option until my head spun. Then I got clear. Upon returning home, I rested and ate whole foods. My blood count was normal again at 35. I researched where fibroids come from, surgical options in removing fibroids and alternative medicine and nutrition. The least radical surgical method was a myomectomy and ablation. I spoke with other doctors, medical specialists, women who’ve had myomectomies and ablation, as well as those who’ve had hysterectomies. I became so immersed in research that I put everything else aside for this medical emergency. I needed to sift through this information and make a choice, quickly.

I chose to have a myomectomy and ablation. It was difficult to get doctors to agree on these two procedures. I felt as though I was fighting a saber-toothed tiger with my bare hands every time I spoke with a doctor in booking the less invasive procedures. Myomectomy and ablation have a 92% success rate, and that’s a very high success rate. Most fibroids shrink once a woman is in menopause. New fibroids do not grow in the uterus of a menopausal woman. When my hormone levels were checked in the hospital, doctors told me I was peri-menopausal, however, close to menopause. If the fibroid was removed via myomectomy, there was little to no chance of that fibroid growing back. Even while in the hospital under the worst duress, my blood pressure and vitals were good. I’ve no risk factors. Being fit got me through this nightmare. During my hospital stay, one thousand times I thought, “Thank goodness I have a strong core.” That strong core allowed me to, at my weakest, take care of myself. While in the hospital, one of the doctors said, “Sandra, your records indicate that you were born in 1958. You can’t possibly be fifty.” “I’ll be fifty-one this month,” I said. Doctors who examined me told me that I was more youthful and healthier than eighty percent of people my age. On June 26, 2009, one day after my birthday, I had a myomectomy and ablation. Less than one month before, I lost half the blood in my body. It takes up to eight weeks to recuperate from that kind of blood loss. I knew my recouperatory period would take a bit longer due to these factors. When I was able to teach dance again, I received a heart-warming welcome from my students. You can’t fake that kind of feeling. The hugs, kisses and kind words from everyone brought tears to my eyes. I cannot emphasize enough that creating a healthy body and mind is necessary because one must be prepared for anything in this life. I’m sharing my story with you because I want everyone reading this e-book to know that being fit can save your life one day, when you least expect it to. Another thing that I cannot stress enough is that we all have access to research via the internet,

public library and reaching out to folks who openly extend their help to us. I was blessed to have met people along the way who gave me their time in sharing their expertise and personal experiences. It is my sincere desire to bring dance fitness to every woman. All women should know about belly dance because itâ&#x20AC;&#x2122;s ours. We as women revel in our female essence when we perform this dance. After reading this e-book, you have an understanding of how to stretch, exercise and isolate the body. You can recreate your posture. Your body can become stronger and more flexible. Your cardio can improve. When you dance the isolations to Arabic music, you can have a good time. If youâ&#x20AC;&#x2122;ve been infected with belly dance fever, be prepared to travel a road of endless learning. Enjoy the journey!

TESTIMONIALS Sandra is a teacher who leads her committed students to achieve a high standard of excellence in belly dance practice. She takes the heart of Middle Eastern dance seriously and her approach, based on over thirty years of experience, is simultaneously demanding, encouraging and fun. She has the heart of a dancer and the teaching technique of a maestro. Pam Flynn, Owner of Shakti Yoga, Staten Island, New York Sandra Catena’s belly dance classes are disciplined, invigorating and her knowledge of the body is astounding. I find the usage of her technique to be of value to anyone from any walk of life, either athletic or the average citizen. The fact that Sandra is still dancing at the top of her game at age fifty-one is mind-boggling. Sandra has a strength and athleticism that belies any age. Reno Moralez, Chief Grandmaster of Shotakan Karate and Shinjitsu Jissen Karate As a former dancer, fitness instructor and pilates enthusiast, I found Sandra's workout to be exhilaratingly enjoyable and deceptively challenging. The upper body workout rivals anything I've done in a weights session or toning class, and the fun that I had while taking class made the hour go by very quickly. Sandra is an effective instructor, and I highly recommend her class to everyone. Camille Diamond Director of Membership and Community Relations 14th Street Y, New York, New York As a young child, particularly during my kindergarten, first- and second-grade years, three things vividly stand out to this day: my love for the New York Yankees, meticulously arranging my baseball cards, and cringing at the sound of my sister's zills. Who would've thought that some three decades later, Sandra would still be using those zills and entertaining and teaching people how to belly dance. My sister's book jogs many personal memories for me, yet adds a wonderful twist on how belly dancing can and has impacted so many lives. It's a terrific read with a mixture of homespun, down-to-earth personal tales and the spiritual, healing benefits of belly dance. This was such a vivid read that I actually had flashbacks of zills clanking in my head. Joseph Catena Writer, U.S. Boxing News When I went to Sandra’s belly dance class for the first time, I was not in peak form. It was a rough period in my personal and professional life. Meeting Sandra and all my new dancer friends were the two most positive things that changed my life in 2008. Sandra looks at every detail in your posture. She’s a perfectionist with a chiropractor’s eyes and is an example of great posture as well! Sandra has an amazing spirit, a huge heart and is a real fighter. I fell in love with belly dance and become a dance addict, taking three classes a week.

On stage, Sandra is a magnet to her public – she has incredible charisma, energy and beauty that any woman dreams of. To me, this represents TRUE femininity. Sandra is an active woman and gets more and more sensual over time. How about that? So if you feel down or simply need to work your body on a regular basis, follow the lead of Sandra. She will take care of you. Thanks to my great teacher again! Marie Caroline Martin When I first went to one of Sandra’s belly dance classes nine years ago, I had no idea how much it would change my life. I’d always liked to stay fit but was bored of the gym. I wanted to take a class where I could learn something. Little did I know belly dance would become a passion. Sandra’s style of teaching and performing is enthusiastic, energetic and passionate, and Sandra’s love of her art shines through. However, her classes aren’t for the faint of heart. Belly dance requires stamina, strength and dedication. But it also requires sensitivity, sensuality and passion; all are qualities that Sandra has in abundance. Put this together and you have a celebration of the female spirit. Belly dance encompasses everything that is great about being a woman. And you feel it. Sandra’s classes help you come to understand yourself better. You have greater respect for yourself and other women around you. I didn’t realize it at first, but by becoming a belly dancer, my confidence grew. My joy of taking classes and then performing helped me in other areas of my life. I could stand up in a room of executives, hold my head up high and not feel shy or intimidated. I left the shy, retiring girl behind. Now, I am a mother of two who works full time. I can’t perform or make classes like I used to, but if I have a spare minute or two, I practice my moves and it is a joy! Even my two boys smile and laugh when I dance at home. And I count Sandra as a great friend and aunt to my children. Claire Wayman After dancing with Sandra Catena for over five years, I have become a better dancer than I ever imagined. Along the way, I gained more confidence in myself, along with better posture, and knowledge of my own body’s capabilities. Learning to dance with Sandra made me feel more feminine, but in a very particular way. Sometimes when people say “feminine”, they mean delicate and fragile, but in Sandra’s classes, feminine means strong and fierce. I love it! By training with Sandra, I gained the ability, confidence, and desire to dance and teach professionally, I feel tremendously fortunate to have found belly dance and found Sandra as my instructor. Dr. Jennifer Garrison Belly dance is a total workout combined with learning a form of dance, discipline and muscular control. Although everyone who doesn’t know Middle Eastern dance thinks of it only in terms of women dressed in veils whirling for the entertainment of the Sultan, there is a tradition of male dancing as well. Most of the moves in Middle Eastern dance can be done by men, too. My experience is that you can firm your body faster and with less pain by a rigorous belly dance regime than by a weight training regimen. It’s a lot more fun to learn a dance routine, rehearse it and get it down pat than it is to lift weights and keep count of your sets and repetitions. I’m not graceful enough to perform a Middle Eastern dance routine in public – I wish I was – but the confidence in working to master the art carries over into other parts of my life. And besides which, it’s fun! I only wish I’d found Sandra and begun studying with her while I was younger. Roy Jaruk

I have taken Sandra’s belly dance classes and from the very first one was impressed by how professional Sandra is and how much she imparts to her class. Yes, you learn the movements and the importance of posture but most importantly her mantra, “I am a belly dancer,” instills a wonderful inner confidence that carries beyond the dance floor. Eileen Martin It was quite by accident that I found Sandra Catena’s belly dance class a few years ago. It was probably one of the best things that happened to me. Not only am I in much better physical shape, I am a more confident middle-aged woman. Sandra is an amazing dance master and teacher. Sandra’s classes are excellent and challenging. It is to Sandra’s credit that any neck, back and shoulder pain I suffered with in the past has miraculously disappeared. My posture has never been better. I feel like a 5’2” giant. Thanks, Sandra! Lisa Cuevas I look forward to Sandra Catena’s dance class every Monday morning. I love the moves, the music, and that luxurious stretching at the beginning of every class. I find myself checking my posture whenever I walk by a mirror, to make sure I am not slouching, and hearing Sandra’s voice telling me to pull myself up, tuck myself in, open up my shoulders, and walk like a dancer is always in my head now. Celia Vimont Dance with Sandra Catena is such a special experience. I began studying with her when I was in mourning. The loss of my husband had made me feel numb, and I struggled with the smallest things, like getting dressed to go out. Sandra’s class is beautifully organized so that beginners start learning right away, organically. Sandra’s special attention to body alignment eased the movements, and many women, including me, found that their posture improved tremendously. I felt my body and heart beginning to open, and then I fell in love with the music, the delightful atmosphere in the class and the self-expression that Sandra engendered in us all. I know my husband was smiling down at me saying, “go girl, go!” Belly dancing is revolutionary! Karen Lewis I have known Sandra Catena for over fifteen years and have watched her dance on many occasions. I have also had the opportunity to take her classes, as well as a belly dance clinic. I enjoyed taking Sandra’s belly dance classes. I learned so much. Her ability to teach is amazing and her technique is unique. Her shows are extremely enjoyable not only watching her students show off their stuff but I always look forward to watching Sandra dance; it takes my breath away. She is amazing. Ophelia Romero When I began taking classes with Sandra, I had no background in dance, only a desire to try new things. Taking classes with Sandra changed my life on many different levels. My posture improved, my sense of rhythm improved, and overall, I felt my body operating as a unit rather than as individual parts. Sandra is a patient and skilled instructor; she works with you so you reach your potential in her class. She is also an inspiration in that she does not just teach belly dance classes, rather, she is very dedicated to the art of the dance and the culture that surrounds it. Her classes are a fantastic workout without being routine or generic. One of the things I miss most about living in New York City is taking Sandra’s classes.

Kate Pogany I met Sandra Catena five years ago through one of the programs that the Hospital for Joint Diseases had. I’d been crippled since birth and was wheelchair bound. I’d always loved to dance, so when the program offered belly dance in a seated position, I signed up right away. Sandra taught us how to elongate our spines and showed the women in class how to isolate inner muscles, to sit up straighter and stronger in a fun environment. She also invited all who wanted to showcase their talent in her shows. I was privileged to perform in two of them. What I like about Sandra’s teaching was that even if you were in a wheelchair she’d push you to do your very best. Selvije Mulaj I’m not big on exercising, so I had to find something fun and exciting to do. I wanted to try belly dance, so when a friend invited me to Sandra Catena’s class, I was very excited. Sandra’s classes are not only fun, but she teaches you proper dance techniques that not only help you with dancing, but help you outside of class as well. I used to have poor posture and would stand hunched over because I’m tall. After taking belly dance classes with Sandra I now have a stronger core and stand up straight. Sandra produces several dance shows during the year and to watch her dance is mesmerizing. To see Sandra do hip circles and shimmies in a beautifully choreographed routine lets us beginners know that maybe one day we too can dance across a stage and make it look effortless. Rhonda Beaman I first started belly dancing in 2007. I do not know what prompted me to go to the class in the first place, but I am so happy that I did. I love it, I love it, I love it! It’s not just something that’s fun to do. It’s hard work and perseverance, because the dance does not come easy to us – having a different tempo and using parts of the body that we would ordinarily not use. At least not in the same way. There are a lot of isolations that can be quite hard to master. That being said, when the penny finally drops and you get it, it’s such a great feeling that you have accomplished “The Impossible.” The dance keeps me fit and feeling great and the class itself is very user-friendly. Sandra Catena is an excellent teacher, friendly, helpful but firm. There is no judgment just complete interest and love of the dance. I will continue to belly dance for as long as my legs will carry me and I would highly recommend all women to try it – you might love it! Larraine Flemming Sandra Catena’s belly dance class has changed my life. It is so enjoyable. She’s very observant of her students. Thanks to Sandra’s constant attention to my posture, it has improved dramatically and I am now aware of it in all my other activities. Sandra always keeps the class interesting. She has such a dynamic and personal style of teaching where she does what she feels and it all very naturally translates to her students. I always leave Sandra’s class feeling new and improved and sexy and beautiful. Daniela Mamoun Sandra Catena has been my belly dance teacher for the last four years. She is a very talented and skillful teacher, a dance master. She has the ability to transform her students into beautiful dancers. Her classes are fun, yet very challenging. Sandra encourages each of her students to dance their hearts out, while maintaining proper

body alignment and technique. Her classes are hard work, yet I can assuredly say, that at the end of the session, you are mentally exhilarated as well as physically spent, and you can’t wait to come back for more. Linda Fiore As someone who has studied and performed belly dance for many years, I get so much out of Sandra’s classes. My own dance choreography has improved because of Sandra’s focus on posture and polish. She demonstrates to her students the difference between being a good belly dancer and a great belly dancer. Performing with Sandra Catena is an exciting experience for me in many ways. She has given me opportunities to dance solo with my own choreography as well as perform in a group on stage. Her classes are fun and she is very supportive. Watching Sandra dance is intense. She brings poise and drama to the dance. There is always an element of surprise to her moves, which is both compelling and inspiring. Sara Cook When I first began studying belly dance with Sandra Catena, I felt much more relaxed and my back was at ease. I lost several inches around my waist and began to take the time to dress up a bit more when I went to work. I dress up in more colorful dresses and playful tops with pants now. Taking belly dance classes was one of the catalysts to this happy transformation. When I first discovered Sandra, I was honestly not considering any type of outside exercise, especially a dance class. Yet, Sandra made me feel welcome and comfortable in all of her classes. Even though today I am labeled “disabled” I have no problem taking a dance class. Belly dance classes were significant in leading me to finding a healthier life style. I even performed in Sandra’s shows. I loved the variety and comfortable atmosphere of all her shows and took it as a great honor that Sandra allowed me to sing in her productions. Malia Blake I have been training with Sandra Catena for nearly ten years; this is by far the longest period in which I have ever sustained an interest in and commitment to any creative endeavor or exercise program. Sandra’s classes and routines really are for everyone: a unique and fun blend of physical training, a good cardio workout, and of course, belly dance. Physically, the training has strengthened my body, enhanced my muscle tone and flexibility, improved my posture and body alignment and made me more fit and energetic overall. I have also benefited socially and emotionally by gaining a greater sense of wellbeing and a boost in confidence, by experiencing stress release, joy through movement and music, camaraderie with other dancers, and the personal satisfaction of performing in public. Ellen DeRiso

ACKNOWLEDGEMENTS Special thanks goes to Ellen DeRiso, my long-time student and friend, for taking the time to edit this e-book just two months before her wedding! Ellen is a talented and commanding dancer, with an insider’s knowledge of belly dance due to nearly a decade of dance training. Her editing, combined with her deep understanding of the dance, was invaluable to me. Much thanks goes to Annette Leahy for putting Create A Functional Body: Train Like A Dancer! on my web site. It took a long time for me to find a good web master. Annette’s been there for me, and I’m happy that she takes great care of my web site. My heartfelt thanks goes out to my dearest friend, Reno Moralez, who was there for me at my hour of need, and stayed with me until all was well. I don’t know what I would have done without Reno’s friendship, advocacy, humor and strength. Reno is the ultimate warrior and gentlemen, as well as the most evolved person I know. Writers are vulnerable in sharing their work with anyone before completion of their project. Yet, there were times when I needed an ear, as well as a fresh and open mind to let me know if I was on the right track. I shared this e-book with special friends when I wanted to know if I was clear in communicating my art to the reader. Thanks to those who helped me along the way. Being a dancer is a calling – there’s no doubt about that. One must be resilient and tenacious in this business. For years, I made my living performing the belly dance. Those of us who are dancers experience rich feelings of satisfaction when we perform. It’s a high that only another performer can understand. I never dreamed anything in this world would top performing. Yet today, teaching dance is more satisfying than performing, and I experienced this when I created Big Apple Belly Dance ten years ago and began teaching dance on a daily basis. Big thanks to all who have studied belly dance with me. I’ve had the time of my life sharing this journey with all of you.

Sandra Catena Middle Eastern Dance Master, Playwright and Author Sandra Catena is a Middle Eastern dance master, and presently teaches classes and workshops in New York City. Sandra is the author of The African Belly Dance, a belly dance murder mystery. The African Belly Dance is the only book of its genre in the world, and is Sandra’s first novel in a belly dance murder mystery series. The main character in The African Belly Dance is Santina Cole, an Italian-American belly dancer from Newark, New Jersey. Sandra is presently at work writing her second novel in the Santina Cole series. Create A Functional Body: Train Like A Dancer! is Sandra’s first e-book on dance and fitness. Sandra recently created her newest program, Sensuous…Again for all women. Sensuous…Again is a sensory workshop based on belly dance movements, visualization and meditation, as well as free-style dance. Sandra Catena started her dance training at age three in ballet and tap, then modern jazz. In 1975, Sandra took her first belly dance class and became hooked on this ancient art. Sandra studied Middle Eastern dance with Ibrahim (“Bobby”) Farrah and Elena Lentini (New York). By 1980, Sandra was performing in Manhattan’s Arabic nightclubs and theaters. From 1990 through 1992, Sandra performed in Spain, West Africa and Canada. Sandra has been a pioneer in Middle Eastern dance, bringing her craft to Manhattan’s off-Broadway stage in A Belly Dancer’s Story (October 12, 1996 through February 4, 1997). Sandra wrote A Belly Dancer’s Story, a play about her experiences belly dancing in Arabic nightclubs. Sandra produced, choreographed and performed in A Belly Dancer’s Story for six weeks to sold-out houses. Producers attended a performance of A Belly Dancer’s Story to see, what the hype was all about and fell in love with the play. Davin Productions produced A Belly Dancer’s Story for an additional eight weeks. There has not been a play like A Belly Dancer’s Story before or after its production. After achieving success as a playwright in 1996, Sandra continued to bring Middle Eastern dance concerts to New York City stages, and has produced thirty-three belly dance productions since June of 2000. Sandra teaches postural alignment, technique in movement and isolation, and Egyptian style choreography. Her Belly Dance Technique and Movement classes brought belly dance to the masses. Sandra initially created this class to make good belly dancers great belly dancers, however, non-dancers started training with her and found themselves hooked on belly dance. Since 1984, Sandra taught Middle Eastern dance at City University of New York, Fordham University, New York University, Sarah Lawrence College, The Hospital for Joint Diseases, Asphalt Green, Broome Corner Studio, Dance Theater Workshop, Discovery Center, Djoniba’s Drum and Dance Center, Fazil’s Dance Studio, Joyous Life Energy Center, Revolution Studios, Rod Rodgers Dance Studios, The Seminar Center, The Discovery Center, Shakti Yoga, th The 14 Street Y, Long Island City School of Ballet, among many other studios, in New York City. If you’d like to sponsor Sandra for a workshop in your area and purchase her novel, The African Belly Dance, contact Sandra at sandra@bigapplebellydance.org. Check out Sandra’s web site www.bigapplebellydance.org. Sandra welcomes questions from her readers. Feel free to contact Sandra at her e-mail address.