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Moria Chappell's Weeklong Teacher Training course for Taiwan. Sponsored by Aida Huang.
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© 2013 Moria Chappell LLC
All rights reserved.
The Art & Practice of Instructing The Art & Practice of Instructing
Tribal-Fusion Bellydance
Sponsored by Aida Huang
Excellence in Motion M ti
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
Excellence in Motion
Weeklong Teacher Training
Day One
Introduction
am Movement: Bootcamp 1
pm Form: Structuring a Class
Day Two
am Movement: Bootcamp 2
pm Content: Developing a Theme & Character
Day Three
am Movement: Slow & Strong
pm Form: Anatomy of Bellydance
Day Four
am Movement: Serpentine
pm Content: Sacred Dance
Day Five
am Movement: Advanced Layering & Shimmy Techniques
pm Content: Chakra Bellydance
Day Six
am Movement: Choreography
pm Content: Archetypes in the Dancer
Day Seven
am Movement: Theatre & Staging
pm Form: Costuming & Make-up
Summary
Performance Finalé
Day One
Day One AM
Excellence in Motion Introduction
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.
Day One AM
Tribal Bellydance Bootcamp 1
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.
Lower Body Emphasis
One the first day, teachers learn the sharp and
staccato articulation necessary for
emphasizing movement and rhythm.
Together, we will drill twists, locks, drops,
squares, ummies and shimmies in order to
develop the muscles in the lower abs and
pelvic area to create crisp, strong hip
articulation.
Teachers will learn movement across the floor
and around the room, as well as drills to
increase flexibility and range of motion in the
hip while maintaining strong posture and arms.
Moria will also share unique new-tribal
combinations that we will piece together for a
brief choreography.
Structuring a Class
Day One PM
Structuring a Class is a study in the mechanics of
creating an exciting class during an allocated time
period that students will want to repeat. Moria will also
cover one-and-a-half hour time slots in minute-by-
minute sequences, as well as how to construct a viable
and dynamic 8-week course.
As part of understanding the essential subjects
necessary for creating gifted dancers, Moria will cover
the important movements your dancers will need to
know in order to give a fantastic performance. Moving
beyond theory, Moria offers detailed advice and notes
with specific guidelines.
Of special interest will be a section on keeping a steady
influx of beginner students.
Day Two
Day Two AM
Tribal Bellydance Bootcamp 2
Tribal Bellydance Bootcamp 2 teaches the drills and exercises
necessary for intense muscular-isolation, four different-shaped
shimmies, and the conditioning necessary to develop glutes for crisp
hip-work. Hip, head, belly, chest and shoulder isolations will be
drilled as well as fluid transitions from move-to-move, and traveling
with isolation. Fundamental spinning techniques will also be
covered such as spot turns, paddle turns and sutinues. Combos,
posture, fluid arms and creative poses will be highlighted as Moria
demonstrates how a workshop can culminate in a Tribal-Fusion
choreography.
As an instructor, you will learn to teach the tribal techniques of
stretching, toning, and drilling in order for your students to gain the
muscular control that places them in command of their body, as
well as variations on classical tribal combinations.
Tribal Bellydance Bootcamp 2 is designed to attract students of all
levels.
Upper Body Emphasis
Day 2 will focus on round and smooth articulation
emphasizing shapes and fluidity. This portion of the
weeklong focuses on upper body extensions and
articulation. A variety of drills will sharpen and
intensify chest ticks and locks while maintaining
perfect arm and shoulder placement. Arms,
undulations and laybacks will also be drilled, as well
as the art of creating unusual shapes with the body.
Exquisitely slow and intense combinations will
culminate in a slow, serpentine choreography.
Level changes and floor work will also be
incorporated.
What to expect: The conditioning portion of the
class is designed as an intense, muscle building and
strengthening workout. We will incorporate yoga,
squats, sit-ups, and push-ups to develop the body
for increasing your capacity to lift and articulate.
Drills will be used in a repetitive manner to
emphasize posture and isolation in order to bring
the commands and combinations into the body for
muscle memory and refined strengthening.
It is recommended that teachers bring a yoga mat
and water bottle. It’s best for them to wear
comfortable, stretchy pants and a top, and also
kneepads if necessary.
Day Two PM
Developing a Theme
Developing a Theme suggests ways for teachers to help students design
a compelling performance piece from the first shimmy to the final bow.
Thematic considerations may include the performance’s musical score;
its dance style (for example Polynesian fusion versus Odissi fusion); the
palette of movements available for that style; colors, tones, and textures
for costuming; the development of thematically rich jewelry, the
possibility of using theme-enhancing props; and discuss when live
accompaniment can make a significant contribution to a theme.
Moria shares insights on dynamic elements that help support an
overarching theme — a theme suggested by the title of a festival or an
Intensive, a musical review, or a segment of a larger choreography.
Day Three
Day Three AM
Slow & Strong
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.
Anatomy of Bellydance
Day Three PM
Anatomy of Bellydance helps teachers gain
confidence and become clear in their
movement vocabulary. This course provides the
information necessary for teachers to comfortably
communicate specific moves and shapes, and
describe their corresponding cultural influence.
Moria will discuss and demonstrate balance and
isolation, circles and infinity, head slides, chest
slides, hip slides, horizontal chest circles, hip
circles, umies, snake arms and undulations in
relation to Arabic Habibi culture. Maya, guci,
and bellyrolls will be discussed in relationship to
Arabic Maya (water) culture. Accents and
muscle control, ups, hip shimmies, hip crescents,
chest accents right, front, left, back, up, and
down will be discussed in relation to the Arabic
Zaghareet. (Zaghareet is a high-pitched ululation
made with tongue behind teeth or between the
lips; a luh-luh-luh made fast and high.)
Beladi/drop kick, shoulder accents, shoulder shimmy, and finger waves
will be discussed in relationship to Arabic Beladi/Baladii/Beledi/Belady.
In addition to a specific move and style in bellydance, this is the most
pervasive Middle Eastern rhythm in modern bellydance.
Anatomy of Bellydance will also help teachers clearly understand the
various approaches to movement including moving from the skeleton
as well as from the muscles in the feet, knees, pelvis, spine, the belly
(four parts), rib cage, sternum, neck, shoulders, elbows, wrists, hands,
and fingers. Various movement families will be discussed including
slides, circles, undulations, 8’s, shimmies, and using one hip at a time.
These movements will also be translated into steps and turns.
Day Four
Day Four AM
Serpentine
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.
Day Four PM
Sacred Dance
"I see dance as being used as
communication between body and soul to
express what is too deep to find in words."
~Ruth St. Denis
Sacred Dance is the willingness to let go of dance as an outer practice
and use it as an opening into the inner world where movement unifies
the dancer with the great dance of creation. Called “dance as
prayer,” or “the moving mystery,” sacred dance is the housing holding
ancient and modern ecstatic practices such as the Native American
Ghost Dance, classical Indian Odissi Temple Dance, the Bushman’s
Trance Dance, European circle dances, and the spinning of the
Whirling Dervishes in union. It is from this crucible that these
movements arise and are able to be fused with contemporary
bellydance.
Moria will use yoga techniques, tribal-fusion bellydance, and the
gestures and postures of Odissi Temple Dance to demonstrate how the
timeless principles of sacred dance come alive and work their way into
expression in your temporal dance. As part of the sharing of these
mystery traditions, Moria will show how the navel contains the memory
of divine essence and also serves as the dynamic axis for all circular
motion, in dance as well as in the universe. The goal of these practices
is to encircle the inner landscape with sacred movement and thereby
draw the divine from within.
Along with discussions on sacred
dance, Moria offers an
illustration-rich PowerPoint
presentation to help dancers
see how these movements have
traveled down to them through
the ages and how their dance is
a continuation of the first
dance.
Both versions of Sacred Dance
will culminate in a 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
Day Five
Day Five AM
Advanced Layering & Shimmy Techniques
Advanced Layering & Shimmy Techniques is designed to help you instruct
more experienced dancers who are looking to expand their movement
vocabulary and push their abilities to the max.
Topics include musicality in layering; playing different rhythms and
tempos within different sections of the body to create orchestrated
movement; layering shimmies with precision on virtually every part of the
body; and footwork and patterns as part of the layering extravaganza!
The layering aspect of the workshop is intended to build from Moria’s
Bellydance Bootcamp Fundamentals workshop. Advanced Layering &
Shimmy Techniques puts together the various drills and traveling-patterns
previously learned in order to build control and stamina in layering.
Advanced drills will show teachers how to maintain deliciously crisp
isolations while layering 2, 3, or 4 different components of the
fundamental moves.
Some of the more advanced elements of this workshop include using
turns, traveling, and layering movements to culminate in new, advanced
combinations that we will work into a tribal-fusion choreography.
Hour One Lower Body Emphasis
Sharp and staccato articulation will emphasize movement and rhythm.
We will drill twists and pelvic locks in order to develop the muscles in the
lower abs and pelvic area to create crisp, strong hip articulation. You
will learn movement across the floor and around the room as well as a
variety of drills to increase flexibility and range of motion in the hips
while maintaining a strong posture and arms.
Hour Two Upper Body Emphasis
Round and smooth articulation will emphasize shape and fluidity with
upper body extensions and articulations. Drills will be repeated to
sharpen and intensify chest ticks and locks while maintaining perfect
arm and shoulder placement. Arms, undulations and laybacks will also
be drilled, as well as the art of creating unusual shapes with the body.
Hour Three Level Changes
Backbends, knee-slides, floor-spins and drops are the core movements
associated with floorwork. In addition to learning these basics, you will
also learn how to execute smooth transitions down to and up from the
floor.
Hour Four Slow & Intense
Exquisitely slow and intense combinations will culminate in a serpentine
choreography that incorporates level changes, floor patterns, and
deep movement.
Day Five PM
Chakra Bellydance
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.
Day Six
Day Six AM
Choreography
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.
Day Six PM
Archetypes in the Dancer
“My fate was sealed.
I couldn’t wait to learn to dance as the goddess did.”
~Martha Graham
Archetypes in the Dancer is a highly visual and interactive
presentation that explores the Great Mother Archetype and
demonstrates how she uses her mercurial partner-in-crime,
Trickster, to form this world.
Teachers will learn why image-is-everything, and how, once activated,
these archetypes enhance your creativity, choreography, costuming,
and your ability to bridge the gap between you and your audience. By
learning the secret of how archetypes rise from inside your body and
transmit themselves non-verbally, you will also learn how to make an
audience automatically feel every chill and thrill activated by you.
“The function of the image-symbol in the psyche is always to produce a
compelling effect on consciousness.”
~Erich Neumann
Taught in a PowerPoint forum utilizing both discussion and movement,
Archetypes in the Dancer offers various ways to explore the psyche in
order to increase awareness and creativity.
Day Seven
Day Seven AM
Theatre & Staging
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.
Day Seven PM
Costume Café
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.
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.
Day Seven PM
Make-up
Make-up showcases Moria’s training as a high fashion and bridal
make-up artist to show teaches how to combine facial composition
and structuring, undertones and color-combination, contour and
color-correction with her passion for theatrical character make-up. In
Make-Up, teachers will learn the secrets of flawless stage make-up
including water proofing, smoky eyes, false-eyelash techniques, and
amped-up lip and cheekbone enhancement.
Moria will review her favorite products, colors, and application
techniques. She will also demonstrate the best use and applicability
of a myriad of make-up brushes, glitter types, and bindi glue.
Teachers are welcome to bring their own
make-up. Moria welcomes questions about
what make-up you may have collected or
tried, as well as questions about how to
enhance your students’ personal features.
Learn master techniques that will make their
faces pop and give their stage
performances that finishing touch.
Make-up also includes information in hair
design and ornaments.
Day Seven PM
Summary
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.
Finalé
Moria will work with teachers to compose and
perform a fresh, exciting, and innovative
tribal-fusion choreography.
For the
Finalé…
Thank you for the opportunity to train you as teachers.
The Art & Practice of Instructing Tribal-Fusion Bellydance
Excellence in Motion
Moria Chappell