Well the Belly Dance Spectacular is only 9 days away...and counting!
Although we've done this show annually for several years now, I still get nervous and excited about doing it....and there is such a buzz afterwards that it is all worth it! This time has been a little different and has meant more rehearsal time as I not only have Miramar in the show, but also Shuvani. The girls have all been fantastic and very professional in their approach, but it has meant more work for me. Because the two troupes are very experienced, confident and capable women , they are great at organising themselves and getting on with costumes etc with little help from me, but as artistic director I have to give constructive criticism, encouragement and guidance, and as director of the show I have to hold the vision of the whole production and how it needs to work. Suits a control freak like me down to the ground!! And as Miramar are now down to 6 (Jackie has had to bow out of the show due to an old back problem), I have to take part in more of their dances. I'm very happy to do that, but the unfortunate consequence is that my knees and also one ankle is starting to complain. One student asked if it was the dancing that had caused problems but I realised when I looked back that as a child I used to constantly fall over onto my knees and twist my ankles on a regular basis. I was a farmers daughter and tomboy to boot, plus very adventurous and bold, so I was often found climbing over, and under things, swinging on things and generally having a very physical and dangerous time! My parents were very strict about safety, but I didn't always understand why, so of course I just carried on if I thought I could get away with it....and now I am reaping the results!! I don't regret being a bit of a wild child but it means that I have a few scars and weak spots, and they are now making themselves known! So, I mana ged to twist my ankle and knee a couple of weeks agao, and it seems that there is still a problem, so the lively drum-solo-type dance I had in mind to do for the show is probably off the menu. I must admit to not feeling too inspired by the idea anyway, but am instead looking for a good piece of music to instead dance a Sufi/Whirling kind of thingy, which could be slower and less technical. I know it all sounds a bit last minute, but I am the mother of invention and love to improvise so am confident it will be good enough on the day- providing the body holds up!
Would love to write more, but the strict little slave driver voice in the head is telling me I have work to do....gotta go!
Friday, 2 March 2012
Tuesday, 14 February 2012
How we stage our belly dance show.
At the moment, most of my admin hours are being taken up with the Belly Dance Spectacular, which we are staging on 11th March.
I decided a few years back that it would be good to challenge the troupe (Miramar) by giving them a taste of performing professionally on a proper stage with lighting. I've always had a great love of the theatre, and had long dreamed of putting belly dance on the stage, so it seemed like a good idea! As the costs of hiring professional theatres was out of our means we decided to do it to raise funds for charity, which usually gets us a preferential rate of hire, and makes the whole thing more do-able. The first show was so successful that we have been doing them yearly ever since!
We have tried different formulas over the years but have broadly stuck to a format of two or three troupes with solo spots and sometimes a comedy number, and all in all this seems a good combination. Doing a complete show with one troupe would be quite hard work, so collaborating with others makes it more enjoyable, less stressful and very interesting, as you then get a bigger variety of styles, choreographies, and costumes. And most troupes don't get the chance to perform on a stage. We all get used to just performing one or two numbers at a hafla, with basic lighting and no platform or stage, and simple sound systems, which is very informal, so it's both exciting and challenging to have to think about entrances and exits, colour combinations, formations, lighting and sound- it's a big learning curve, but very enjoyable!
Preparations seem to take around six months- but as we meet about once a month (and more closer to the show), this feels a good pace.
So we usually invite two other troupes to join us, so there is anything from 20-30 dancers involved in the project. I ask each troupe to prepare 5 seperate and different dances, and the teacher can have a solo spot. The dances can be either the whole troupe or varying combinations, like duos, trios, and smaller groups- doing this does take some of the stress out of performing and avoids too many quick changes. And then I ask each troupe to join us in a big finale. I must admit to being inspired by the Belly Dance Superstars, and thought, if they can do it, why can't we? So the finale music is usually divided up into four sections- one for each troupe, and a short section at the end for the whole cast to join in with. Then I get together with the other troupe leaders/teachers, and we work on the end section together and create a short choreography. Then each troupe goes off to work on their own section and the end piece. Then about a month before the show we get together (preferably on the actual stage, if possible) to have a try out. This gives us a chance to tidy up the entrances and exits, and sections where one troupe comes in and another exits, or moves to one side. On the day of the show, we book the theatre from the morning so we all get to practise our dances and also a finale practise together. As we have the show on a Sunday afternoon, we then have a bit of time to get lunch and get ready before kick-off at 2.30pm
Most troupes have different costumes for each seperate dance, and Miramar have got quite inventive at recycling things in different combinations, but we always have a colour scheme for the finale, when all troupes wear the same colour- which makes it especially dramatic.This year we are going for gold!!
In the past Miramar have done a comedy number- usually incorporating our panto camel Yasmine Le Bump,but last year we have a guest troupe come in and do that, which gave us a bit of breathing space, and gave another troupe a bit of the limelight! We also usually get some friends into the camel to go and collect money at the interval, as kids really love her!
About a month or so beforehand I get all the details of the dances and sit down to work out the programme. This usually takes a fair bit of time as there are lots of considerations, and I try to achieve a balance. I try to space things out so people have enough time to change between dances ( ideally two or more dances, but it can be done in one!), and then I look at the style and feel of a dance to a certain where it might best be placed. Sometimes teachers make a special request because of costume or hair changes and I try to cater for that. I also look at the costume colours and style, as well as any props or complicated entrances or exits. I also try to space out the solos and duos to give the other dancers a bit of breathing space. I also ask the teachers if they have any special lighting requests and consult with the lighting guys beforehand to arrange this.
In previous years we have had 'blue state' blackouts between acts which looks more tidy and professional (so no hanging around for lots of applause and bowing!!), but try to have the next troupe in the wings ready to go straight on. We have also always had a stage manager to liaise with the tech guys (lighting and sound) as well as keeping control of the performers - checking they are ready and in position and not making a noise! We usually also have an assistant SM who will come and give the performers a call just before they are on, and help with costume changes, run errands etc.The stage manager is also in charge of setting and preparing props.
We have also had a compere for the shows, and she has kicked off the show and ended it too, but it has been very useful to have her on hand to step in if there are any embarrassing gaps due to costume problems. Our compere usually does our haflas too but because of the large nummber of acts she usually does less in this show. We also try to get a rep from the charity to say a few words at the beginning.
We have also had friends come in to help our troupe with hair makeup and costume changes- especially if there are any quick ones, which is sometimes unavoidable!
Most years we have had a photographer as well as someone video-ing the show. We have sold DVD's of past shows to raise extra money for the charity.
Of course there would be no point to any of this without an audience, so we have to promote the show well in advance. Happily many people now come back year after year to see it, and supporters of the charity will also swell the audience numbers. As an added attraction we also open the bar an hour early and have a belly dance trader as well as a display by our chosen charity. But we promote the show with press releases, posters, Facebook, and emails, as well as badgering our friends to come along. Getting a photo in the local paper is a great boost! And then we just cross our fingers and pray for a good turnout of generous people with deep pockets!
If you are thinking of doing something similar- go ahead! It will be hardwork, but hugely enjoyable, and it really pushes your dance performance skills and technique forward too. It's a wonderful experience which the performers will be talking about for months- if not years. I thoroughly reccomend it!
I decided a few years back that it would be good to challenge the troupe (Miramar) by giving them a taste of performing professionally on a proper stage with lighting. I've always had a great love of the theatre, and had long dreamed of putting belly dance on the stage, so it seemed like a good idea! As the costs of hiring professional theatres was out of our means we decided to do it to raise funds for charity, which usually gets us a preferential rate of hire, and makes the whole thing more do-able. The first show was so successful that we have been doing them yearly ever since!
We have tried different formulas over the years but have broadly stuck to a format of two or three troupes with solo spots and sometimes a comedy number, and all in all this seems a good combination. Doing a complete show with one troupe would be quite hard work, so collaborating with others makes it more enjoyable, less stressful and very interesting, as you then get a bigger variety of styles, choreographies, and costumes. And most troupes don't get the chance to perform on a stage. We all get used to just performing one or two numbers at a hafla, with basic lighting and no platform or stage, and simple sound systems, which is very informal, so it's both exciting and challenging to have to think about entrances and exits, colour combinations, formations, lighting and sound- it's a big learning curve, but very enjoyable!
Preparations seem to take around six months- but as we meet about once a month (and more closer to the show), this feels a good pace.
So we usually invite two other troupes to join us, so there is anything from 20-30 dancers involved in the project. I ask each troupe to prepare 5 seperate and different dances, and the teacher can have a solo spot. The dances can be either the whole troupe or varying combinations, like duos, trios, and smaller groups- doing this does take some of the stress out of performing and avoids too many quick changes. And then I ask each troupe to join us in a big finale. I must admit to being inspired by the Belly Dance Superstars, and thought, if they can do it, why can't we? So the finale music is usually divided up into four sections- one for each troupe, and a short section at the end for the whole cast to join in with. Then I get together with the other troupe leaders/teachers, and we work on the end section together and create a short choreography. Then each troupe goes off to work on their own section and the end piece. Then about a month before the show we get together (preferably on the actual stage, if possible) to have a try out. This gives us a chance to tidy up the entrances and exits, and sections where one troupe comes in and another exits, or moves to one side. On the day of the show, we book the theatre from the morning so we all get to practise our dances and also a finale practise together. As we have the show on a Sunday afternoon, we then have a bit of time to get lunch and get ready before kick-off at 2.30pm
Most troupes have different costumes for each seperate dance, and Miramar have got quite inventive at recycling things in different combinations, but we always have a colour scheme for the finale, when all troupes wear the same colour- which makes it especially dramatic.This year we are going for gold!!
In the past Miramar have done a comedy number- usually incorporating our panto camel Yasmine Le Bump,but last year we have a guest troupe come in and do that, which gave us a bit of breathing space, and gave another troupe a bit of the limelight! We also usually get some friends into the camel to go and collect money at the interval, as kids really love her!
About a month or so beforehand I get all the details of the dances and sit down to work out the programme. This usually takes a fair bit of time as there are lots of considerations, and I try to achieve a balance. I try to space things out so people have enough time to change between dances ( ideally two or more dances, but it can be done in one!), and then I look at the style and feel of a dance to a certain where it might best be placed. Sometimes teachers make a special request because of costume or hair changes and I try to cater for that. I also look at the costume colours and style, as well as any props or complicated entrances or exits. I also try to space out the solos and duos to give the other dancers a bit of breathing space. I also ask the teachers if they have any special lighting requests and consult with the lighting guys beforehand to arrange this.
In previous years we have had 'blue state' blackouts between acts which looks more tidy and professional (so no hanging around for lots of applause and bowing!!), but try to have the next troupe in the wings ready to go straight on. We have also always had a stage manager to liaise with the tech guys (lighting and sound) as well as keeping control of the performers - checking they are ready and in position and not making a noise! We usually also have an assistant SM who will come and give the performers a call just before they are on, and help with costume changes, run errands etc.The stage manager is also in charge of setting and preparing props.
We have also had a compere for the shows, and she has kicked off the show and ended it too, but it has been very useful to have her on hand to step in if there are any embarrassing gaps due to costume problems. Our compere usually does our haflas too but because of the large nummber of acts she usually does less in this show. We also try to get a rep from the charity to say a few words at the beginning.
We have also had friends come in to help our troupe with hair makeup and costume changes- especially if there are any quick ones, which is sometimes unavoidable!
Most years we have had a photographer as well as someone video-ing the show. We have sold DVD's of past shows to raise extra money for the charity.
Of course there would be no point to any of this without an audience, so we have to promote the show well in advance. Happily many people now come back year after year to see it, and supporters of the charity will also swell the audience numbers. As an added attraction we also open the bar an hour early and have a belly dance trader as well as a display by our chosen charity. But we promote the show with press releases, posters, Facebook, and emails, as well as badgering our friends to come along. Getting a photo in the local paper is a great boost! And then we just cross our fingers and pray for a good turnout of generous people with deep pockets!
If you are thinking of doing something similar- go ahead! It will be hardwork, but hugely enjoyable, and it really pushes your dance performance skills and technique forward too. It's a wonderful experience which the performers will be talking about for months- if not years. I thoroughly reccomend it!
Thursday, 26 January 2012
Happy Busyness!
I have had lots of occasions in the last couple of weeks where I wanted to write a blog, but just haven't had the time! That's a good thing, because it's about having lots of work going on, but the creative side of me also needs a little outing, too! It felt as if just before Christmas there was a big bung stopping everything up, but now someones pulled the plug - and it's all gushing out really fast!!
Things have changed a bit since my last blog- mostly good, I might add. Just before Xmas in a state of panic and desperation I applied for a care job, and got an interview last week. By the time the interview came around I was feeling rather ambivalent about it, so maybe that affected my performance, but needless to say, I didn't get the job. My caring skills are a bit out of date, as I haven't done anything really for over ten years, and the policies and ways of doing things are being constantly updated, plus it's not my main career, so no doubt someone with better skills and more drive got it. In a way I'm relieved, as at the moment it would have been a bit of a stretch to fit in around everything else, but I'm confident that the universe will find me the perfect job. In fact, talking of perfect jobs, The Creaky Cauldron have asked me to make a Dumbledore 'style' wizard costume, and there are plans to make costumes for the staff too, which could fit neatly around my other work- maybe this is the perfect job already and I didn't realise it!
My classes are going well- numbers are still down with the 'old' classes, but I've still got the Warwick Uni classes, as well as a new beginners class at the college. I haven't had enough beginners there for over a year until now, so something has definitely shifted. And the Uni classes are a bit of a moveable feast as the first week we had 12 and last week we had about 30! I think that this will continue to be the case as the students obviously have more important things to do like attending lectures and doing essays, so I won't necessarily get the same students from week to week.But I'm very grateful for it, whatever is the case and it's an opportunity to learn more about teaching.
Things are also developing with the radio show....we have now got permission to use the new premises, but we need to raise funds to do remedial work and decorate. We also have a lively young man called Neil who is going to do his own show starting next week! His show will just follow on after ours, and will be about the arts. Peter and I are really excited about this as we would like to see The Alternative Show grow into a full blown radio station in the future, and this is an important step towards that. We've also successfully done our first Skype interview, and using Skype means that we can now interview and talk to people all over the world, which opens up all sorts of exciting possibilities. And we are holding our first MBS show at Lifeways in Sept! This is to raise funds for the show, as well as give Lifeways a big promotion....it's all happenning!
And as if that's not enough, there is the Belly Dance Spectacular coming up soon, and Le Petit Souk to organise for May! But I must admit to doing a lot of praying and making requests before Xmas....and someone was obviously listening- and it's all coming at once- phew!
Things have changed a bit since my last blog- mostly good, I might add. Just before Xmas in a state of panic and desperation I applied for a care job, and got an interview last week. By the time the interview came around I was feeling rather ambivalent about it, so maybe that affected my performance, but needless to say, I didn't get the job. My caring skills are a bit out of date, as I haven't done anything really for over ten years, and the policies and ways of doing things are being constantly updated, plus it's not my main career, so no doubt someone with better skills and more drive got it. In a way I'm relieved, as at the moment it would have been a bit of a stretch to fit in around everything else, but I'm confident that the universe will find me the perfect job. In fact, talking of perfect jobs, The Creaky Cauldron have asked me to make a Dumbledore 'style' wizard costume, and there are plans to make costumes for the staff too, which could fit neatly around my other work- maybe this is the perfect job already and I didn't realise it!
My classes are going well- numbers are still down with the 'old' classes, but I've still got the Warwick Uni classes, as well as a new beginners class at the college. I haven't had enough beginners there for over a year until now, so something has definitely shifted. And the Uni classes are a bit of a moveable feast as the first week we had 12 and last week we had about 30! I think that this will continue to be the case as the students obviously have more important things to do like attending lectures and doing essays, so I won't necessarily get the same students from week to week.But I'm very grateful for it, whatever is the case and it's an opportunity to learn more about teaching.
Things are also developing with the radio show....we have now got permission to use the new premises, but we need to raise funds to do remedial work and decorate. We also have a lively young man called Neil who is going to do his own show starting next week! His show will just follow on after ours, and will be about the arts. Peter and I are really excited about this as we would like to see The Alternative Show grow into a full blown radio station in the future, and this is an important step towards that. We've also successfully done our first Skype interview, and using Skype means that we can now interview and talk to people all over the world, which opens up all sorts of exciting possibilities. And we are holding our first MBS show at Lifeways in Sept! This is to raise funds for the show, as well as give Lifeways a big promotion....it's all happenning!
And as if that's not enough, there is the Belly Dance Spectacular coming up soon, and Le Petit Souk to organise for May! But I must admit to doing a lot of praying and making requests before Xmas....and someone was obviously listening- and it's all coming at once- phew!
Tuesday, 10 January 2012
Getting Busy....
Well, am now just starting back into regular classes this week, and as usual it's proving to be a bit of a shock to the system! I start out the holidays with good intentions of practising and stretching every day......and then never do it! So, apart from a couple of gigs I have done next to nothing in terms of dancing or practise!! Dear, oh dear! The downside (well, there are several, actually!) is that the lack of exercise gets me into an apathetic, grumpy state where I get very lazy and unmotivated. As soon as I start dancing again, my mood changes and I'm perky and lively! Must be something to do with the old seratonin levels, I'm guessing. And of course, like most people, I have put a bit of weight back on...uuurgh!
But quite a bit has been going on in the background...as I have been considering my work situation again. Selling my jewellery via the internet or a local shop hasn't worked out so far, but admittedly I haven't really advertised it much, but it feels as if that will only ever be a kind of paying hobby. I do get lots of enjoyment out of making it, though. I also ran a small jewellery making workshop before Xmas which went well, and have another lined up for a retirement group. I'm still continuing to search for a suitable job, but the boost of the Christmas work and the fees from students is helping me to draw back from the brink of financial ruin- phew! So if I'm very careful, I can chug along for a while longer, while I am waiting for the Universe to find me the ideal job! But I am not resting on my laurels, oh no- I am continuously looking for opportunites to perform and teach both dance and jewellery making and take my stall to BD events, as well as searching through the jobs section in the local papers.
As regards the classes, I'm pleased that most of the 'old' students are coming back this term, but the numbers have been further reduced by illness, and changed circumstances, holidays etc- it's the Incredible Shrinking Career at the moment! But some of this has been offset by a new ready made class I have been offerred. To cut a long story short, a friend had been asked to teach a class at Warwick Uni and couldn't do it, so she reccomended me...and hey presto, I'm doing it! It's really good because I don't have to advertise, or organise anything- just turn up and teach- and get paid! They are a keen bunch of twenty-something girls with a lot of energy, so it will be interesting see how we can work together. They have previously learnt from my good friend Di who is a fab teacher, so I have big boots to fill, but I'll do my best!
And on top of all of that there is the Belly Dance Spectacular, the Souk and various other gigs and events to organise or book myself into...time to get busy!
But quite a bit has been going on in the background...as I have been considering my work situation again. Selling my jewellery via the internet or a local shop hasn't worked out so far, but admittedly I haven't really advertised it much, but it feels as if that will only ever be a kind of paying hobby. I do get lots of enjoyment out of making it, though. I also ran a small jewellery making workshop before Xmas which went well, and have another lined up for a retirement group. I'm still continuing to search for a suitable job, but the boost of the Christmas work and the fees from students is helping me to draw back from the brink of financial ruin- phew! So if I'm very careful, I can chug along for a while longer, while I am waiting for the Universe to find me the ideal job! But I am not resting on my laurels, oh no- I am continuously looking for opportunites to perform and teach both dance and jewellery making and take my stall to BD events, as well as searching through the jobs section in the local papers.
As regards the classes, I'm pleased that most of the 'old' students are coming back this term, but the numbers have been further reduced by illness, and changed circumstances, holidays etc- it's the Incredible Shrinking Career at the moment! But some of this has been offset by a new ready made class I have been offerred. To cut a long story short, a friend had been asked to teach a class at Warwick Uni and couldn't do it, so she reccomended me...and hey presto, I'm doing it! It's really good because I don't have to advertise, or organise anything- just turn up and teach- and get paid! They are a keen bunch of twenty-something girls with a lot of energy, so it will be interesting see how we can work together. They have previously learnt from my good friend Di who is a fab teacher, so I have big boots to fill, but I'll do my best!
And on top of all of that there is the Belly Dance Spectacular, the Souk and various other gigs and events to organise or book myself into...time to get busy!
Friday, 30 December 2011
Belly Dancing in Restaurants... a few tips.
After a request for any tips about restaurant dancing I've been thinking about it a little. I'm by no means an expert having only done about a dozen or so gigs over the years. I've usually been too busy to take on a regular gig and they can be hard work and not very well paid either- but they can be a wonderful opportunity to hone your skills and learn while geting paid. And if you love intereacting with the public it can be great fun.
Dancing in a restaurant (or a dinner function) can be quite complicated unless you have a regular spot with them and know what they are after, so the best first step is to acertain what they expect from you, and also to find out practical things like what music system they have, ceiling heights, stairs, stage/space and also to agree a price for performing.
Usually restaurants want someone to entertain their diners, but not to harrass them! There is a delicate balance between having fun with the diners and knowing when to keep your distance from those who just aren't interested. Sometimes diners don't know you are going to be there and plainly are embarrassed or aren't interested- they usually look away or keep their heads down. The ones to intereact with are those nodding their heads to the music and grinning at you! You will also need to check out if there is enough room for sticks/veils, and what the floor surface is like.
When you have chatted with the restaurant owners you can then decide if it works for you. I made the mistake early on in my career of being available constantly and dancing whenever needed, and consequnelty was exhausted at the end of the night! Now I usually suggest that I do two or three sets of about 15/20 mins through out the evening, with a change of costume, music and props each time- about 3/4 tracks each. this can of course be flexible- if diners are really enjoying it you maybe able to add another track on the end of your set.And you will need someone from the restaurant to operate your music, stopping between tracks for you to catch your breath and pick props up. Alternatively you can arrange the tracks on a copy disc with a gap of a few secs between- and sometimes I have taken a friend along who has done the music for me. And arrange with the organisers when to do the sets- usually between courses and towards the end of the meal works best. Find out if the restaurant want you to get people up to dance with you, and also if there is anyone special- like a bride/groom/birthday boy you need to focus on. and whether there will be a cake or birthday gift you can help deliver.
Improvisation is a must for restaurant work! You can do choreographed dances too, but often the space available is not suitable, and flexibility is the name of the game! You may find yourself dodging waiters, tables and customers, while smiling and not losing your step so you can see why a choreography may not work. A set piece could work as an opener but then improv would work better afterwards. One important thing I have found out is that as a restaraunt dancer you can't afford to have a big ego that needs to be stroked! Some restuarants see you as just another employee and expect you to fit in around the food and customers which are most important. Your job is to entertain, and that may mean intereacting with the diners, getting them up to join in and having some playful fun. If you are comfortable with cheeky eye contact and getting close to the customers to have a joke that's great, but you will need to have a clear idea of your boundaries and may occasionally have to take control of unruly/drunk diners who might think you are offerring them something more than you had bargained for! In some cultures it is considered acceptable to put money into the bra or belt of a dancer, or simply throw it at her. You need to decide how much of this is acceptable to you. If offerred money I usually point to my belt or help guide their hands so they are not tempted to stuff it down my bra! DON'T stop to pick it up off the floor...looks tacky! Get someone else to do that for you! And if people want to dance with you, I suggest holding their hands only, and not allowing them to touch other parts of your body like bare waist, leg, chest etc! Peoples boundaries get a little fuzzy under the influence of alcohol and messages can get confused- this also means I advise you not to drink before your performance so you remain on the ball and in control at all times!!
Other things to consider are- how revealing your costumes are and what to wear depending on the customers age, preference etc. I also take shimmy belts to put on customers, and if there is a bride or birthday girl/boy they get a specially shiny or noisy belt, and sometimes a veil. Make sure you remember to collect them before you go, as well as your music!
And finally, don't be afraid to approach the owners to get paid! Don't allow yourself to be bullied to accepting less - always agree a price beforehand, and if possible confirm it by email or letter. And a big no-no is don't undercut other dancers- it's very unprofessional and damages others employment opportunities, plus sends a negative message out to employers and other dancers.
I'd be interested to hear if any of you other dancers out there have any comments to add to this or observations, as I know there are many people out there with much more experience than I. We can always learn from each other!
Dancing in a restaurant (or a dinner function) can be quite complicated unless you have a regular spot with them and know what they are after, so the best first step is to acertain what they expect from you, and also to find out practical things like what music system they have, ceiling heights, stairs, stage/space and also to agree a price for performing.
Usually restaurants want someone to entertain their diners, but not to harrass them! There is a delicate balance between having fun with the diners and knowing when to keep your distance from those who just aren't interested. Sometimes diners don't know you are going to be there and plainly are embarrassed or aren't interested- they usually look away or keep their heads down. The ones to intereact with are those nodding their heads to the music and grinning at you! You will also need to check out if there is enough room for sticks/veils, and what the floor surface is like.
When you have chatted with the restaurant owners you can then decide if it works for you. I made the mistake early on in my career of being available constantly and dancing whenever needed, and consequnelty was exhausted at the end of the night! Now I usually suggest that I do two or three sets of about 15/20 mins through out the evening, with a change of costume, music and props each time- about 3/4 tracks each. this can of course be flexible- if diners are really enjoying it you maybe able to add another track on the end of your set.And you will need someone from the restaurant to operate your music, stopping between tracks for you to catch your breath and pick props up. Alternatively you can arrange the tracks on a copy disc with a gap of a few secs between- and sometimes I have taken a friend along who has done the music for me. And arrange with the organisers when to do the sets- usually between courses and towards the end of the meal works best. Find out if the restaurant want you to get people up to dance with you, and also if there is anyone special- like a bride/groom/birthday boy you need to focus on. and whether there will be a cake or birthday gift you can help deliver.
Improvisation is a must for restaurant work! You can do choreographed dances too, but often the space available is not suitable, and flexibility is the name of the game! You may find yourself dodging waiters, tables and customers, while smiling and not losing your step so you can see why a choreography may not work. A set piece could work as an opener but then improv would work better afterwards. One important thing I have found out is that as a restaraunt dancer you can't afford to have a big ego that needs to be stroked! Some restuarants see you as just another employee and expect you to fit in around the food and customers which are most important. Your job is to entertain, and that may mean intereacting with the diners, getting them up to join in and having some playful fun. If you are comfortable with cheeky eye contact and getting close to the customers to have a joke that's great, but you will need to have a clear idea of your boundaries and may occasionally have to take control of unruly/drunk diners who might think you are offerring them something more than you had bargained for! In some cultures it is considered acceptable to put money into the bra or belt of a dancer, or simply throw it at her. You need to decide how much of this is acceptable to you. If offerred money I usually point to my belt or help guide their hands so they are not tempted to stuff it down my bra! DON'T stop to pick it up off the floor...looks tacky! Get someone else to do that for you! And if people want to dance with you, I suggest holding their hands only, and not allowing them to touch other parts of your body like bare waist, leg, chest etc! Peoples boundaries get a little fuzzy under the influence of alcohol and messages can get confused- this also means I advise you not to drink before your performance so you remain on the ball and in control at all times!!
Other things to consider are- how revealing your costumes are and what to wear depending on the customers age, preference etc. I also take shimmy belts to put on customers, and if there is a bride or birthday girl/boy they get a specially shiny or noisy belt, and sometimes a veil. Make sure you remember to collect them before you go, as well as your music!
And finally, don't be afraid to approach the owners to get paid! Don't allow yourself to be bullied to accepting less - always agree a price beforehand, and if possible confirm it by email or letter. And a big no-no is don't undercut other dancers- it's very unprofessional and damages others employment opportunities, plus sends a negative message out to employers and other dancers.
I'd be interested to hear if any of you other dancers out there have any comments to add to this or observations, as I know there are many people out there with much more experience than I. We can always learn from each other!
Wednesday, 28 December 2011
Santa Magic 2 and restaurant dancing
Following on from my last blog I was talking about my experiences at The Creaky Cauldron last week. I'd been so worried about my financial situation the week before and had been praying for some help from the Powers That Be/The Universe/God/Goddess, so I felt so blessed when I landed the job! And, amazingly enough I also got an extra holiday bonus from Stratford College, AND a performance gig for a birthday at a restaurant in Stratford. Can't describe how happy and relieved I was!
So...the first couple of days at the job felt specially great, not least because it was fun being there! I was meant to learn how to use the till but we got so busy that in the end I was just a bagger, wrapper and helper, with occaisional bouts of standing around looking cheerful, and pretending I knew what I was doing to customers. I'm hoping that I proved myself a useful member of staff and that they might invite me back soon...but I guess I'll just have to wait and see....
Last night was the restaurant gig in Stratford. This time the lady whose birthday it was asked me to dance specially and was the payee, though this isn't usually the case at restaurants (they usually pay you). Although it was an enjoyable evening, it was all rather relaxed and laid back and as it wasn't very busy the staff started to join in with the dancing after I'd only done a couple of numbers! Normally I wouldn't mind, but as the lady was paying for me I felt that I wasn't really giving her her money's worth, nor focussing specially on her if it became a bit of a free for all. But most of the diners were her friends anyway, so I think she was happy they were all having a good time. However, it did make me consider what the situation might be if this was repeated. I haven't done much restaraunt work, but I understand that they want the customers to have a good time, and it shouldn't be about the ego of the dancer getting stroked by having her special solo spot...but I want to give good value for money, and if everyone joins in too early then the dancer might as well not be there! I suppose some places just see the dancer as a paid party starter, and that's fine, but maybe I have got a bit too much ego, and should accept what the customers want? I danced once at a Turkish/British wedding, and I had two sets lined up. I made my entrance for the first set, and had barely done one number before the dance floor was filled with excited Turks jigging around, so I couldn't do the other dances! The organiser then told me I didn't need to do the second set- but they would still pay the fee! I'm not complaining, but I suppose it's just a different mind set that we Brits aren't used to! And different restaurants have different ideas of what they want so it's all a bit of a minefield, I guess!
Am off today to do a gig at one of Miramar's regular bookers, an old peoples home near Oxford. As the girls have decided which dances we are doing this time, they have chosen dances that I haven't done for a while, so although I have practised, one of them is still a bit ropey! I'm looking forward to standing at the back and following them for a change!
Looking forward to some family visiing this week, and although I'd love to just slump on the sofa the rest of the time, I need to get some advertising fliers out soon for the New Year classes.
So...the first couple of days at the job felt specially great, not least because it was fun being there! I was meant to learn how to use the till but we got so busy that in the end I was just a bagger, wrapper and helper, with occaisional bouts of standing around looking cheerful, and pretending I knew what I was doing to customers. I'm hoping that I proved myself a useful member of staff and that they might invite me back soon...but I guess I'll just have to wait and see....
Last night was the restaurant gig in Stratford. This time the lady whose birthday it was asked me to dance specially and was the payee, though this isn't usually the case at restaurants (they usually pay you). Although it was an enjoyable evening, it was all rather relaxed and laid back and as it wasn't very busy the staff started to join in with the dancing after I'd only done a couple of numbers! Normally I wouldn't mind, but as the lady was paying for me I felt that I wasn't really giving her her money's worth, nor focussing specially on her if it became a bit of a free for all. But most of the diners were her friends anyway, so I think she was happy they were all having a good time. However, it did make me consider what the situation might be if this was repeated. I haven't done much restaraunt work, but I understand that they want the customers to have a good time, and it shouldn't be about the ego of the dancer getting stroked by having her special solo spot...but I want to give good value for money, and if everyone joins in too early then the dancer might as well not be there! I suppose some places just see the dancer as a paid party starter, and that's fine, but maybe I have got a bit too much ego, and should accept what the customers want? I danced once at a Turkish/British wedding, and I had two sets lined up. I made my entrance for the first set, and had barely done one number before the dance floor was filled with excited Turks jigging around, so I couldn't do the other dances! The organiser then told me I didn't need to do the second set- but they would still pay the fee! I'm not complaining, but I suppose it's just a different mind set that we Brits aren't used to! And different restaurants have different ideas of what they want so it's all a bit of a minefield, I guess!
Am off today to do a gig at one of Miramar's regular bookers, an old peoples home near Oxford. As the girls have decided which dances we are doing this time, they have chosen dances that I haven't done for a while, so although I have practised, one of them is still a bit ropey! I'm looking forward to standing at the back and following them for a change!
Looking forward to some family visiing this week, and although I'd love to just slump on the sofa the rest of the time, I need to get some advertising fliers out soon for the New Year classes.
Monday, 26 December 2011
Santa Magic Part 1
Have just had a wonderful but very busy week! I'm delighted to report that I got myself a Christmas job for the week running up to Christmas day- at The Creaky Cauldron. They were obviously very busy and needed the help so I rang them and bob's your uncle! I was in every day all day, including Christmas Eve doing various jobs, but mostly bagging up sweets for Santa presents, wrapping said presents, and assisting Santa. The last job was the best bit- I togged myself up in an elf 'style' costume and hat and then my job was to greet families as they got to Santa's Grotto, then guide them in to see the man himself. I also wrote out certificate for people who solved the Potion Puzzle, which meant Santa then got the heads up on the kiddies names in advance....which was a sneaky ruse as the kids then were astounded to find he knew their names!! But he has to be one of the best Santas around- dressed in a very good quality costume, and his beard, wig and moustache looked real, and he topped it off with a garland of holly so looked as if he had just stepped out of a victorian advert. But he had a brilliant technique of appealing to everyone, kiddies and adults alike, and spent quality time with them, which was great. Most people came out glowing with excitement and praise. But despite the stresses of being so busy the highlight of the job was seeing the look in peoples faces when they met Santa...it really was magical!
...oops, gotta go and get ready to go out, so will write more about my week soon....ta taaa!
...oops, gotta go and get ready to go out, so will write more about my week soon....ta taaa!
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