Table of Contents

from the Guide to Teaching Mideastern Dance (2011 edition)

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Note: no lesson plans are included. This guide is designed to help you formulate your own teaching method by giving you ideas, examples, and a general outline of teaching a single class as well as planning a several-week course. See excerpt below.


        Dedication and Preface to the new edition
  • A. Background research & preparation
    1. Skill assessment & development
      • a. What skills does student have?
      • b. Which skills need developing?
    2. Lesson planning
      • a. Class business
      • b. Warm-ups
      • c. Technique drill
      • d. Dance
  • B. Classroom method
    1. Introduction of a move
      • a. Analytical approach
      • b. Intuitive approach
    2. Practice of the move
      • a. Repetition & correction
      • b. Experimentation & variation (excerpt below)*
      • c. Basic skills into advanced techniques
    3. Dance
  • C. Student's ability to learn
    1. Motivations
    2. Mental/muscular arousal
      • a. Accentuate arousal
      • b. Incorporate relaxation
        • *Note on teaching beginners
  • D. Teacher's role in learning situation
  • E. The teacher's lessons
    1. The Path to Maturity
    2. Blocking the Flow
    3. Do We Really Need to Know This?
    4. Where Does YOUR Extra Energy Go?
    5. What Do We Do With This Information?
  • F. New Visions in Belly Dance

*(excerpt from "B: Classroom method: 2. Practice of the move")

b. Experiment and Variation: The practice of a skill can take many forms. Find alternative ways of presenting the same material so students don't get bored or frustrated. Alternative methods change the focus but not the underlying concept. This keeps the student interested while still reinforcing the move.

  1. Introduce stylistic changes that would apply when using the steps in different contexts (i.e., oriental or folkloric; vary the level of isolation - large and loose, or subtle and controlled.)
  2. Foster kinetic memory by having students repeat the move with their eyes closed; facing a different direction; or alternately with another move. Divide them into couples and have them face each other. When they have to execute a step that is the 'opposite' of their partner (i.e., isn't a 'mirror image'), they'll really have to concentrate, and they'll learn the move very thoroughly this way...

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