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  1. #31
    V.I.P. jenc's Avatar
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    I hope that this doesn't mean - as I fear it does - that never (3 years) having been corrected for my use of arms it will be v diff to do improve

  2. #32
    Moderator Darshiva's Avatar
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    Very difficult, but not impossible! I am a testament to that! (it took me three years of hard work, but I now have beautiful arm work, so it's possible!)

    This thread has been thought provoking and quite interesting. I think that so long as one respects the origins of the dance, that adding a touch of self to it is always a good thing. I think, also, that this has been the prevailing attitude in this thread.
    Bellydance in Kyabram!
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  3. #33
    Member Pleasant dancer's Avatar
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    Quote Originally Posted by adiemus View Post
    We can attempt to 'leave it all behind' but the motor pathways that drive movement are usually so well-rehearsed that even if you do a hip lift, if you've been a ballet dancer, you'll do it with an underlying ballet motor pathway - which means all the associated movements in the way you adjust your posture, head position, arm position etc will be 'ballet'.

    It's like learning to speak a foreign language - unless you're very, very good you'll always sound a little bit foreign when you speak the new language.

    It's not a voluntary decision to make - movement patterns are unconscious after a while and when you learn a new movement it doesn't 'undo' the old movement pattern, it just lays another one nearby - so it's always easier to return to the original movement pattern than the new one.
    Well put, I totally agree. It took me a while to get the grounded feeling of Egyptian style after doing Highland, where the emphasis is very "up". Fortunately I had a few years gap between the two, so this made it easier.

    I think what I meant to say more was you have to try to leave what you know (and in some cases know very well) about other forms of dance behind you (at least at the beginning) - i.e. the phrasing of the music and the conformity of movement of particular types of dance, and try to get into the feeling and phrasing of ME music. The music drives all dance, I think. Understand the music, and you can understand and dance the dance itself, I believe. But I totally understand the view that it's like speaking a foreign language - I suppose some folk manage the "accent" more than others.

    We can but keep trying, and practising, just like learning a language!

  4. #34
    V.I.P. adiemus's Avatar
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    You've got it PleasantDancer! The music drives the dance, and especially in raqs where the dance is the visual expression of the music. Which is why I mourn the loss of those wonderfully complex pieces of music being replaced by simpler pop tunes!

    Time, practice in front of a mirror/video/teacher (visual, verbal and kinaesthetic feedback), and repeating the movement patterns over and over until the new motor pathways are stronger than the old ones is the only way to get to dance automatically in the new dance form.

  5. #35
    V.I.P. Aziyade's Avatar
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    Quote Originally Posted by adiemus View Post
    Time, practice in front of a mirror/video/teacher (visual, verbal and kinaesthetic feedback), and repeating the movement patterns over and over until the new motor pathways are stronger than the old ones is the only way to get to dance automatically in the new dance form.
    I'm having a similar struggle trying to "unlearn" some of my Suhaila training so I can get that nice soft relaxed look I like. Between that and the ballet, sometimes I wonder if I'll ever get rid of that strange "accent" I feel like I still dance with. But it will happen eventually, with enough practice, I guess.

  6. #36
    Member rsps's Avatar
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    I think this thread was very interesting. Thanks for all who commented. I guess I had to see this side of the forum (the open discourse even through strong disagreement) to get a more rounded view.

    Thank you!

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