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Moria Chappell Taiwan Teacher Training

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Moria Chappell's Weeklong Teacher Training course for Taiwan. Sponsored by Aida Huang.

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Page 1: Moria Chappell Taiwan Teacher Training
Page 2: Moria Chappell Taiwan Teacher Training

© 2013 Moria Chappell LLC

All rights reserved.

Page 3: Moria Chappell Taiwan Teacher Training

The Art & Practice of Instructing The Art & Practice of Instructing

Tribal-Fusion Bellydance

Sponsored by Aida Huang

Excellence in Motion M ti

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Moria Chappell

Weeklong Teacher Training

Curriculum for a weeklong event focused on

training and inspiring Tribal-Fusion Bellydance

teachers who wish to hone their teaching skills in

this fierce and elegant artistic style.

“Excellence in Motion” combines tribal-fusion

movements with sensible advice on the art and

practice of tribal-fusion bellydance instruction.

Sponsored by Aida Huang

Taiwan 2014

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Excellence in Motion

Weeklong Teacher Training

Day One

Introduction

am Movement: Bootcamp 1

pm Form: Structuring a Class

Day Two

am Movement: Bootcamp 2

pm Content: Developing a Theme & Character

Day Three

am Movement: Slow & Strong

pm Form: Anatomy of Bellydance

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Day Four

am Movement: Serpentine

pm Content: Sacred Dance

Day Five

am Movement: Advanced Layering & Shimmy Techniques

pm Content: Chakra Bellydance

Day Six

am Movement: Choreography

pm Content: Archetypes in the Dancer

Day Seven

am Movement: Theatre & Staging

pm Form: Costuming & Make-up

Summary

Performance Finalé

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Day One

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Day One AM

Excellence in Motion Introduction

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New dancers are often attracted to form rather than to content. From a

metaphorical perspective, form is the glass and content is the wine.

As we study the outer nature of dance in respect to its structure and

movement, we will discuss the external requirements necessary for

performing. At the same time we will be studying the inner nature of

dance regarding the personal and spiritual requirements necessary for

performing, underlying qualities that a dancer needs to enhance to

strengthen her stage presence.

In her introductory remarks to “Excellence in Motion,” Moria will begin a

conversation with teachers to help surface the differences in these two

approaches to dance, and offer suggestions as to how a teacher can

demonstrate the need for both approaches to her students.

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Day One AM

Tribal Bellydance Bootcamp 1

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Tribal Bellydance Bootcamp 1 teaches the

drills and exercises necessary for intense

muscular-isolation, four different-shaped

shimmies, and the conditioning necessary to

develop glutes for crisp hip-work. Hip, head,

belly, chest and shoulder isolations will be

drilled as well as fluid transitions from move-to-

move, and traveling with isolation.

Fundamental spinning techniques will also be

covered such as spot turns, paddle turns and

sutinues. Combos, posture, fluid arms and

creative poses will be highlighted as Moria

demonstrates how a workshop can culminate

in a Tribal-Fusion choreography in Day 2.

As an instructor, you will learn to teach the

tribal techniques of stretching, toning, and

drilling in order for your students to gain the

muscular control that places them in

command of their body, as well as variations

on classical tribal combinations.

Tribal Bellydance Bootcamp 1 is designed for

teachers to instruct students at all levels.

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Lower Body Emphasis

One the first day, teachers learn the sharp and

staccato articulation necessary for

emphasizing movement and rhythm.

Together, we will drill twists, locks, drops,

squares, ummies and shimmies in order to

develop the muscles in the lower abs and

pelvic area to create crisp, strong hip

articulation.

Teachers will learn movement across the floor

and around the room, as well as drills to

increase flexibility and range of motion in the

hip while maintaining strong posture and arms.

Moria will also share unique new-tribal

combinations that we will piece together for a

brief choreography.

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Structuring a Class

Day One PM

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Structuring a Class is a study in the mechanics of

creating an exciting class during an allocated time

period that students will want to repeat. Moria will also

cover one-and-a-half hour time slots in minute-by-

minute sequences, as well as how to construct a viable

and dynamic 8-week course.

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As part of understanding the essential subjects

necessary for creating gifted dancers, Moria will cover

the important movements your dancers will need to

know in order to give a fantastic performance. Moving

beyond theory, Moria offers detailed advice and notes

with specific guidelines.

Of special interest will be a section on keeping a steady

influx of beginner students.

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Day Two

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Day Two AM

Tribal Bellydance Bootcamp 2

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Tribal Bellydance Bootcamp 2 teaches the drills and exercises

necessary for intense muscular-isolation, four different-shaped

shimmies, and the conditioning necessary to develop glutes for crisp

hip-work. Hip, head, belly, chest and shoulder isolations will be

drilled as well as fluid transitions from move-to-move, and traveling

with isolation. Fundamental spinning techniques will also be

covered such as spot turns, paddle turns and sutinues. Combos,

posture, fluid arms and creative poses will be highlighted as Moria

demonstrates how a workshop can culminate in a Tribal-Fusion

choreography.

As an instructor, you will learn to teach the tribal techniques of

stretching, toning, and drilling in order for your students to gain the

muscular control that places them in command of their body, as

well as variations on classical tribal combinations.

Tribal Bellydance Bootcamp 2 is designed to attract students of all

levels.

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Upper Body Emphasis

Day 2 will focus on round and smooth articulation

emphasizing shapes and fluidity. This portion of the

weeklong focuses on upper body extensions and

articulation. A variety of drills will sharpen and

intensify chest ticks and locks while maintaining

perfect arm and shoulder placement. Arms,

undulations and laybacks will also be drilled, as well

as the art of creating unusual shapes with the body.

Exquisitely slow and intense combinations will

culminate in a slow, serpentine choreography.

Level changes and floor work will also be

incorporated.

What to expect: The conditioning portion of the

class is designed as an intense, muscle building and

strengthening workout. We will incorporate yoga,

squats, sit-ups, and push-ups to develop the body

for increasing your capacity to lift and articulate.

Drills will be used in a repetitive manner to

emphasize posture and isolation in order to bring

the commands and combinations into the body for

muscle memory and refined strengthening.

It is recommended that teachers bring a yoga mat

and water bottle. It’s best for them to wear

comfortable, stretchy pants and a top, and also

kneepads if necessary.

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Page 26: Moria Chappell Taiwan Teacher Training

Day Two PM

Developing a Theme

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Developing a Theme suggests ways for teachers to help students design

a compelling performance piece from the first shimmy to the final bow.

Thematic considerations may include the performance’s musical score;

its dance style (for example Polynesian fusion versus Odissi fusion); the

palette of movements available for that style; colors, tones, and textures

for costuming; the development of thematically rich jewelry, the

possibility of using theme-enhancing props; and discuss when live

accompaniment can make a significant contribution to a theme.

Moria shares insights on dynamic elements that help support an

overarching theme — a theme suggested by the title of a festival or an

Intensive, a musical review, or a segment of a larger choreography.

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Day Three

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Day Three AM

Slow & Strong

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Slow & Strong uses multiple fusion combinations

to focus on steady and smooth transition

techniques for complete body fluidity. In this

portion of the instruction, teachers will learn the

power of smooth, slow movements through a

variety of shapes and poses.

Dancing slowly has its own principles and

ideology, which emphasizes extended muscle

contraction and flexibility to create big,

serpentine combinations poured through with an

intensity of flow. As we focus on the muscles

between the muscles, and through a variety of

shapes and poses inspired by Indian temple

dance while using backbends and level

changes, our class will culminate in a slow tribal-

fusion choreography.

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Anatomy of Bellydance

Day Three PM

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Anatomy of Bellydance helps teachers gain

confidence and become clear in their

movement vocabulary. This course provides the

information necessary for teachers to comfortably

communicate specific moves and shapes, and

describe their corresponding cultural influence.

Moria will discuss and demonstrate balance and

isolation, circles and infinity, head slides, chest

slides, hip slides, horizontal chest circles, hip

circles, umies, snake arms and undulations in

relation to Arabic Habibi culture. Maya, guci,

and bellyrolls will be discussed in relationship to

Arabic Maya (water) culture. Accents and

muscle control, ups, hip shimmies, hip crescents,

chest accents right, front, left, back, up, and

down will be discussed in relation to the Arabic

Zaghareet. (Zaghareet is a high-pitched ululation

made with tongue behind teeth or between the

lips; a luh-luh-luh made fast and high.)

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Beladi/drop kick, shoulder accents, shoulder shimmy, and finger waves

will be discussed in relationship to Arabic Beladi/Baladii/Beledi/Belady.

In addition to a specific move and style in bellydance, this is the most

pervasive Middle Eastern rhythm in modern bellydance.

Anatomy of Bellydance will also help teachers clearly understand the

various approaches to movement including moving from the skeleton

as well as from the muscles in the feet, knees, pelvis, spine, the belly

(four parts), rib cage, sternum, neck, shoulders, elbows, wrists, hands,

and fingers. Various movement families will be discussed including

slides, circles, undulations, 8’s, shimmies, and using one hip at a time.

These movements will also be translated into steps and turns.

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Day Four

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Day Four AM

Serpentine

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Serpentine is a study in the sultry and strong

movements that comprise slow tribal dancing.

In this portion of the instruction, teachers will

learn the flexibility and strength required to

make slow, fluid movements that drip from

combination to combination. Bellyrolls, half-

sided belly isolations, and reverse bellyrolls will

be featured as well as how to integrate these

subtle muscular isolations into movements that

read strongly on stage. Liquid arms and body

flow, facial and hand expression, as well as

maintaining a strong posture from the upper

back are emphasized.

Teachers will learn control and isolation while

dancing with the grace and strength required

for slow techniques. They will visualize receiving

movement through one part of their body while

keeping the audience’s attention as they send it

out to create expression from their face through

their fingertips.

Emphasis will be placed on laybacks, flexibility,

and floor-work. Kneepads are recommended.

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Day Four PM

Sacred Dance

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"I see dance as being used as

communication between body and soul to

express what is too deep to find in words."

~Ruth St. Denis

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Sacred Dance is the willingness to let go of dance as an outer practice

and use it as an opening into the inner world where movement unifies

the dancer with the great dance of creation. Called “dance as

prayer,” or “the moving mystery,” sacred dance is the housing holding

ancient and modern ecstatic practices such as the Native American

Ghost Dance, classical Indian Odissi Temple Dance, the Bushman’s

Trance Dance, European circle dances, and the spinning of the

Whirling Dervishes in union. It is from this crucible that these

movements arise and are able to be fused with contemporary

bellydance.

Moria will use yoga techniques, tribal-fusion bellydance, and the

gestures and postures of Odissi Temple Dance to demonstrate how the

timeless principles of sacred dance come alive and work their way into

expression in your temporal dance. As part of the sharing of these

mystery traditions, Moria will show how the navel contains the memory

of divine essence and also serves as the dynamic axis for all circular

motion, in dance as well as in the universe. The goal of these practices

is to encircle the inner landscape with sacred movement and thereby

draw the divine from within.

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Along with discussions on sacred

dance, Moria offers an

illustration-rich PowerPoint

presentation to help dancers

see how these movements have

traveled down to them through

the ages and how their dance is

a continuation of the first

dance.

Both versions of Sacred Dance

will culminate in a devotion-

oriented choreography that

can become part of a dancer’s

daily practice, or serve as an

introductory piece for a

spiritually-oriented stage

performance.

"To watch us dance is to hear

our hearts speak."

~Hopi saying

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Day Five

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Day Five AM

Advanced Layering & Shimmy Techniques

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Advanced Layering & Shimmy Techniques is designed to help you instruct

more experienced dancers who are looking to expand their movement

vocabulary and push their abilities to the max.

Topics include musicality in layering; playing different rhythms and

tempos within different sections of the body to create orchestrated

movement; layering shimmies with precision on virtually every part of the

body; and footwork and patterns as part of the layering extravaganza!

The layering aspect of the workshop is intended to build from Moria’s

Bellydance Bootcamp Fundamentals workshop. Advanced Layering &

Shimmy Techniques puts together the various drills and traveling-patterns

previously learned in order to build control and stamina in layering.

Advanced drills will show teachers how to maintain deliciously crisp

isolations while layering 2, 3, or 4 different components of the

fundamental moves.

Some of the more advanced elements of this workshop include using

turns, traveling, and layering movements to culminate in new, advanced

combinations that we will work into a tribal-fusion choreography.

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Hour One Lower Body Emphasis

Sharp and staccato articulation will emphasize movement and rhythm.

We will drill twists and pelvic locks in order to develop the muscles in the

lower abs and pelvic area to create crisp, strong hip articulation. You

will learn movement across the floor and around the room as well as a

variety of drills to increase flexibility and range of motion in the hips

while maintaining a strong posture and arms.

Hour Two Upper Body Emphasis

Round and smooth articulation will emphasize shape and fluidity with

upper body extensions and articulations. Drills will be repeated to

sharpen and intensify chest ticks and locks while maintaining perfect

arm and shoulder placement. Arms, undulations and laybacks will also

be drilled, as well as the art of creating unusual shapes with the body.

Hour Three Level Changes

Backbends, knee-slides, floor-spins and drops are the core movements

associated with floorwork. In addition to learning these basics, you will

also learn how to execute smooth transitions down to and up from the

floor.

Hour Four Slow & Intense

Exquisitely slow and intense combinations will culminate in a serpentine

choreography that incorporates level changes, floor patterns, and

deep movement.

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Day Five PM

Chakra Bellydance

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Chakra Bellydance is based on Hindu mythology and yogic study

which suggests that there are seven energy centers within the

body that can be stimulated via specific physical movements,

breath work, and visualizations. Using bellydance movements,

breath work, and color visuals, Moria will clearly lead teachers

along an energetic path that not only practices muscular

isolation as it pertains to bellydance, but also takes dancers a

step further to use these isolations to tap the chakra energy-

centers in order to promote increased energy, relaxation,

creativity, intuition, emotion, voice, and expression.

When using refined muscular techniques to delve into the

energetic centers of the body, bellydance can become the living

dance of a yogini.

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Page 63: Moria Chappell Taiwan Teacher Training

Day Six

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Day Six AM

Choreography

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Choreography is the art of designing sequences of movement in which

motion and form are specified. Moria has choreographed solos, duets,

and group collaborations, incorporating both Oriental and Tribal-Fusion

artists, to produce a tableaux of juxtapositions of light and dark, soft and

strong, fiery and temperate to pull each dancer to her edge and offer

what they embody most on the stage. Her choreographies are

eccentric and unusual.

Bringing this expertise to the classroom, Moria demonstrates how to

create choreographies that are memorable and exciting using classical

modalities for entering and exiting the stage, maintaining a dominant

position while on the stage, and creating drama by utilizing proven

techniques for drawing the eyes of the audience onto the shapes and

forms a dancer creates with the motion of her body.

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Day Six PM

Archetypes in the Dancer

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“My fate was sealed.

I couldn’t wait to learn to dance as the goddess did.”

~Martha Graham

Archetypes in the Dancer is a highly visual and interactive

presentation that explores the Great Mother Archetype and

demonstrates how she uses her mercurial partner-in-crime,

Trickster, to form this world.

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Teachers will learn why image-is-everything, and how, once activated,

these archetypes enhance your creativity, choreography, costuming,

and your ability to bridge the gap between you and your audience. By

learning the secret of how archetypes rise from inside your body and

transmit themselves non-verbally, you will also learn how to make an

audience automatically feel every chill and thrill activated by you.

“The function of the image-symbol in the psyche is always to produce a

compelling effect on consciousness.”

~Erich Neumann

Taught in a PowerPoint forum utilizing both discussion and movement,

Archetypes in the Dancer offers various ways to explore the psyche in

order to increase awareness and creativity.

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Day Seven

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Day Seven AM

Theatre & Staging

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Theatre and Staging focuses on the essential information

teachers need to share with their students about how to make

the most of every stage, and how to enhance the dramatic

qualities of any theatrical setting.

The course includes information on stage lighting, special

effects, and creative ways to use various types of stages

including industrial, outdoor, restaurant, or large venues to a

dancer’s best advantage.

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Day Seven PM

Costume Café

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Costume Café offers

unique and innovative

approaches to

costume design. For

the stage, the process

of becoming a

character, entering

another realm, and

understanding the

rules and function of

this realm can be

intimidating. In this

very candid and open

forum, Moria shares

with each teacher the

basics of costume

design, fit, and

function. Color-

combining, textures,

fixtures, durability, and

body types are all a

prime focus.

Spanning the darkest

to the brightest, these

techniques can be

applied to any fusion

motif.

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Tribal Fusion offers a huge range of costuming potential. In Costume

Café, teachers will learn the rules and then how to break them while

maintaining the spirit of Tribal Bellydance. They will also learn what

works and what doesn’t for the stage; costuming’s short cuts and

long cuts, how to turn the usual into the extra-ordinary, and how to

construct a masterpiece that is easy to take on and off. From initial

inspiration to sewing the first stitch, selecting the fabric to fitting-the-

mood, teachers will learn how and where to find the resources, as

well as the techniques and ideas necessary to begin, continue, or

rediscover their inner costume designer.

Teachers are asked to bring a pen and notebook and feel

encouraged to bring their own costuming conundrums for question-

and-answer.

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Day Seven PM

Make-up

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Make-up showcases Moria’s training as a high fashion and bridal

make-up artist to show teaches how to combine facial composition

and structuring, undertones and color-combination, contour and

color-correction with her passion for theatrical character make-up. In

Make-Up, teachers will learn the secrets of flawless stage make-up

including water proofing, smoky eyes, false-eyelash techniques, and

amped-up lip and cheekbone enhancement.

Moria will review her favorite products, colors, and application

techniques. She will also demonstrate the best use and applicability

of a myriad of make-up brushes, glitter types, and bindi glue.

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Teachers are welcome to bring their own

make-up. Moria welcomes questions about

what make-up you may have collected or

tried, as well as questions about how to

enhance your students’ personal features.

Learn master techniques that will make their

faces pop and give their stage

performances that finishing touch.

Make-up also includes information in hair

design and ornaments.

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Day Seven PM

Summary

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During the Summary portion of the weeklong

event, Moria will weave together the topics

covered over the past week and help shape

these disparate subjects into a functional,

cohesive union. Her review will include

emphasizing the most important aspects of

each class and how one subject lends itself to

another, thereby reinforcing the teachers’

memories and instilling confidence in their

ability to take the information from “Excellence

in Motion” and share it with their students.

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Finalé

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Moria will work with teachers to compose and

perform a fresh, exciting, and innovative

tribal-fusion choreography.

For the

Finalé…

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Thank you for the opportunity to train you as teachers.

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The Art & Practice of Instructing Tribal-Fusion Bellydance

Excellence in Motion

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Moria Chappell