If you just play zils with a repetitive pattern – then you limit your dancing to just marching to the rhythm . I found it was frustrating to verbalize in German the usual zil patterns of Right , Left , Right ( Rechts , Links , Rechts – yes , try it – it ’ s next to impossible to say these German words at a fast tempo !). Thus , I developed a method of illustrating how one can easily dance and play rhythms by “ playing to the rhythmic patterns in poetry .” Using nursery rhymes that most people grew up with – I taught dancers then and now how to connect with rhythmic passages they already know – just play and move to the familiar rhythmic patterns in poetry and songs .
Using nursery rhymes to teach musicality could work ; however , teaching in Germany , I found the German dancers were not familiar with English , French , or American nursery rhymes I usually referenced as a structural rubric . Try it ; it is impossible to say the poetry of one nursery rhyme while playing the poetry ’ s rhythmic pattern in another nursery rhyme . This difference between rhythmic patterns and performing a standard rhythm illustrates the learning obstacle a dancer finds when attempting to dance while playing the usual Right , Left , Right rhythmic pattern . It becomes even more problematic when you perform to 5 / 8 or 7 / 8 rhythms that often appear in Turkish music .
By humming a well-known tune for German dancers , I accidentally found the use of the same tune in different musical pieces , the basis of which comes from Beethoven ’ s 9th symphony as a rubric and structure for teaching . And thus , teaching dancers to coordinate dance and finger cymbal playing using nursery rhymes and popular songs as a rubric has become my signature instructional approach and part of my Ma * Shuqa Method .
Another one of my Ma * Shuqa Method signature teaching approaches is to teach what I believe to be the essence of belly dance movement as dancing from the core . This teaching focus and instructional method came to me as a result of an unusual dance venue . At one restaurant venue – I found a restaurant similar to a typical American diner with banquette seating and an L-shaped counter with seating . Well , I thought to myself – I can dance in the aisle . Then , I watched as they took cakes and pies from the top of a one-meter square area at the end of the counter and probably two meters off the floor . “ Here is where you will dance ,” they proudly said . And then helped me up to the top of this pedestal .
It was here that I learned as my “ steps became weight changes ,” as I danced in one spot , it changed my dancing as it also influenced how my body moved . With each weight change – I could smoothly move my core in undulations , figure 8 movements , and torso circles . Now , I teach dancers to create more torso power and undulations by putting those latex energy bands used as tools for exercise – around their knees as they dance . It is incredible how much more torso movement and hip details happen as a result of using this teaching device and pedagogy , to limit the size of dance steps and transfer movement into the core .
Daily Living and Physical Challenges Immersed in and living a dream life and enjoying the dance , the music , and teaching had its challenges . My everyday life consisted of waking at noon each day to venture out to enjoy my Frühstück – the first meal of my day at a favorite Turkish restaurant . As a regular customer , they would greet me and have my cup of Middle Eastern expresso made in the traditional copper Ibrix pot ready for me . Then , they would serve me the favorite family dishes . It is comforting to enjoy meals every day and be treated like a member of a family and community .
After my meal , I would enjoy window shopping and shopping at the bakery and cheese store for my end of day early morning meal of schinken , Kasse / cheese , Turkish or German bread , and tea at about 6 a . m . when I returned after working all night . What a rigorous schedule : in the early evening , I taught daily classes of both Raqs Sharqi and aerobics . My restaurant shows started at 11 p . m . and ended at 5 a . m . Those who teach and perform know that it is next to impossible to eat very much with this demanding work schedule .
Maintaining physical health and wellness was a daily challenge . Good news , bad news of staying well : Eat anything and everything to try and maintain weight . Given the extreme schedule of aerobic exercise and dance classes , and my six shows each night , it was difficult to sustain my weight . Good news – my figure was excellent , and my body was healthy at 30 years of age – but I needed to eat as many pastries , bread , and cheeses I could just to survive . Bad news – my costumes needed constant adjustment due to my weight loss . Before I changed my diet to include more calories my body needed – I caught a glimpse of my back , and I could see every vertebra because I was expending an extreme amount of calories dancing and exercising . Here ’ s
30 The Belly Dance Chronicles � October 2020