Client Side of Things: Show Time

Hiring a bellydancer for you event makes it even more memorable and delights your guests. The following will help make things go smoothly with the bellydancer and make sure that the show is the best experience for your guests as it can be.

1. Be prepared for the dancers arrival. Dancers will arrive generally 15-20mins ahead of the performance time on the contract. Have their change room ready and accessible. It's better if the guests don't see the performer before or after the show.

2. Announce the show.Even if it is a surprise. Why? It builds anticipation and when the dancer enters the room there is satisfaction right from the start and brings the energy up in the room. A bellydance entrance piece begins with the dancer out of the room which also adds to the drama of the entrance. Performances where the dancer just suddenly appear in the room have less impact. Also, it is important to make sure there is a performance area cleared for the dancers. If people are seated, more people can see the dancer.

3. Have payment and change room ready for after the show. Dancers often have several performances in one evening and appreciate not having their departure delayed. Also, performers create magic and fantasy and seeing the performer out of costume can somewhat diminish that magic. It's ok for guests to ask for cards and a few quick questions, but over exposure after or before the performance ruins the illusion of the performance itself.

4. Let the bellydancer do the show. Bellydance shows for gigs have a general format. There is an entrance piece, a middle part, and a finale. Because we are performing a 20-30min show there is a balance between keeping the show a "show" while mixing in some audience interaction by inviting guests to dance. Too much solo can get boring for some audiences (especially if they are not familiar with bellydance/Oriental dance) and too much interaction looses the feeling of a professional show because it looses focus on the bellydancer. The dancers know their music and when is a good time to ask people to dance. A good performer will feel the crowd well too. Because of this, it is advised that guests only dance with the bellydancer when invited.

This is especially if you are hiring musicians to perform with the dancer. Some musicians will end the song if people are getting up uninvited.

Entrance pieces are typically done without interaction. The middle part is when guests will be invited to dance with the songs beginning and ending with the dancer solo on the floor. The finale is typically done as a solo to finish the show with a bang.

Don't worry we see you hinting towards a person you want us to ask ;) If we're not heading over it is maybe because the song is going to end in a few moments or maybe a baladi section is coming on so we may ask a woman.

If you prefer a show only with no participation that's ok too. Just let Maha know in advance.

Client side of things: Hiring Maha FAQs

Thinking of hiring me? Here are some FAQ's that I commonly get:

How much does a bellydance performance cost?

All prices are listed on my website and are based on location of the event: www.mahabellydance.com/hire.php#prices

Is this your best price?

Yes.

How long is the show?

The best length of time for a show is 20 mins; however, depending on the event, the show may be lengthened or shortened. Much time beyond 20mins may be over kill and wont be appreciated by your guests. If your event requires a longer performance, please call for a consultation. Adding a second show in the evening is another option to consider if you would like more entertainment.

I'm having a Bachelor party/guys night out, how much will you charge?

Sorry, but neither myself or any dancers I know perform at all male events - ever.


I'm having a bachelorette/bridal shower, what is involved in your show for something like this? How much does it cost?

Some times I do a regular 20-25min show. Commonly for all women events like these I do a brief performance followed by a fun bellydance lesson. In this case, I enter with a dazzling performance to start off, then we do a 30-45min lesson. I can bring some coin hip scarves for your guests to borrow. The whole performance/lesson combo takes about an hour in total.

There are a few things to consider in advance if this is something that you would like to add to your event:

• Space - you will likely need more than 100 square feet depending how many participants you have


• Room Temperature - this is an important one! Although the class is not meant to be physically intense and more "fun", dance involves movement and participants will get heated up a bit. If they are all in dressy dresses and heels, this isn't going to be as fun for them if they happen to sweat. If the the room is on the warm side, it could cause some discomfort and it may be better to shorten the lesson.


• A decent sound system - music should be loud enough to be heard over all the giggling girls and teacher's voice :)

For bridal showers, birthdays, or bachelorettes there is a surprise gift at the end :)

How much does the performance & lesson combination cost?

The same as a 20-25 minute show which is based on the location of your event and are listed here: www.mahabellydance.com/hire.php#prices

Why is it the same price if we only want to you for 15mins or 30mins?

Regardless of how long we perform, the time spent consulting and preparing for the performance is the same. Once we are there - 90% of the work has been done so if we stay a little bit longer it is really about the same effort. I have a longer response to this question if you would like to read it: http://www.mahabellydance.blogspot.com/2010/09/how-to-charge-for-gigs.html.

Can we see you perform before we hire you?

Sure! There are two ways to do this.

View my performance Videos: http://www.mahabellydance.com/gallery.html

Come watch a show: If you visit the Performance page on my website you will see the restaurants and events that are open to the public to come and watch a show: http://www.mahabellydance.com/performance.html. If you let me know you are coming I can confirm that I will be there and make sure I say hello after I am finished changing after the performance. Because these are mostly in restaurants, it is advisable to make a reservation in advance.

Can you wear that red/blue/purple costume?

Probably :) I rotate my costumes so they get even wear and sometimes they get pulled out of rotation for cleaning and repairs. I also buy and sell them frequently so I may not have the one you see on my website, but I likely have another similar. Music and props used are also deciding factors on which costumes are chosen for that night.

Do you dance with props?

Yes, each of my shows feature a prop - usually two. Entrances are done with a veil and if room permits, Isis wings. I can perform with zills, cane, shamadan, and sword. Too many props in one show can be overkill so I generally keep it to one or two. Shamadan and sword tend to be danced to slower tempos so keep this mind if you are wanting a really upbeat performance.

Do you bring your music?

Yes, music can be brought on cd or iPod. Dancers do not provide stereo equipment. Ideally a good sound system should be in place. Boom boxes are rarely acceptable (and not always friendly with Arabic music). If the volume is too low, it can bring the energy of the show down as people are trying to be really quiet straining to hear the music.

Will it be you that is coming?

Yes! Maha Bellydance is a one person operation. I do work with other dancers if you would like to have more than one performer, but I will always be dancing if you are hiring me. I am not an agency (and don't care to be one!). In a very rare situation, if I was unable to come due to injury or illness, I will recommend a dancer as a replacement and arrange for them to come.

Randa Kamel in Toronto

I've been lucky now to have studied twice with Randa in Canada, both times she was brought by Little Egypt. The first time was in Montreal in 2009, the second was this past weekend in Toronto. Both times were quite incredible; however, this past weekend weekend with Randa was even more so.




By watching her dance, you can tell she is an extraordinary woman: strong, passionate, a master of her art form.

What was extra special about this weekend was she talked more about what she wanted from us as dancers. She watched us perform Friday evening and sat upfront smiling and clapping for us for three hours!

Saturday she gave us feedback as a group:

1) We all looked the same. She told us we needed to go and look to see everything that is out there and to become unique ourselves. Most importantly we needed to make sure what we were learning was "good" and that we need to not only see with our eyes, but also our brain and our heart too.

2) We were lazy - most of the performers had danced to instrumental music. It is a lot more difficult to dance on vocals because we have to work extra hard get the translation and emote the right way based on what the singer is singing.

3) Our tempo was "old" and we needed to speed it up.

3) She told us that Oriental dance is Egyptian and that we must only dance Oriental style to Oriental music and to be careful not to do fusion. She explained she had been to Argentina where bellydancers were dancing Tango to Oriental music and in Brazil dancers were doing Samba to Oriental music. She did not say that we should not do fusion - just that fusion should have it's own music and that it should be separate from Oriental.

Most amazingly, she also told us that we had shown her that we were all capable of doing better based on what she had seen and told us to love Oriental dance enough to get out there and do the hard work to become better!

Randa taught two workshops. The first was a modern choreography to Ana Hana. Right off the bat, with the first sequence I knew I could have just spent the 3hrs on just that! Of course we pushed through and completed the whole choreography. It was very modern, innovative, and very "Randa". Randa constantly pushed us to be "more strong" and to work harder to get it right.

The second workshop started with Oriental technique, then shifted into Saidi. I had seen her perform this Saidi choreography in Montreal and was mesmerized by it so I was very happy to have it taught to me! Unfortunately the workshop was not advertised as Saidi so no one had brought their assaya; however, given the size of attendance at this workshop, to actually use the cane would have been problematic. Luckily, Randa had DVDs for sale of both choreos to take home, which was a huge bonus considering that the complexity of her style will take you more time than the workshop allows.

What was really amazing for me was getting to hang out with her after her Saturday night performance - which was beyond perfection, by the way. We got to dance and party with her while Layali El Sharq band played. At the end of the night, I wanted to say goodbye to her one last time and say thanks. She gave a troupe mate of mine and myself some more feedback, this time personally and I was very impressed: after so many performers over 3 hours she remembered everything - not only how we danced, but also what we wore, our hair, our makeup and what we danced to!! She continued to tell us to keep loving Oriental dance and to work hard and if we do, we will become great dancers. It is her passion for the art form why she teaches, why she was here to tell us to do better. She told us about working on Pyramid Rd in the cabarets and how she hated it, but she did it so that she could earn money to invest back into her dancing so that one day people would respect her as an artist.

We couldn't be more grateful that she persevered to become the artist that she is today!

On a final note, just to let you know, if you are ever able to study with her she does not like it when you sit and take notes - she wants to see you doing the work and putting your all into it.

Thanks to the following who made this event happen:

Little Egypt: www.littleegypt.com
Hannan's Bellydance Studio: www.hannandance.com
Layali El Sharq Band: www.layalielsharq.com

Alhambra Dance Company - Call to Audition

Alhambra Dance Company

Alhambra is a Middle Eastern & Flamenco fusion dance company located in Toronto. Founded by dancer Caliana in 2006, it has since evolved to include a collective of talented dancers. Choreographers for the company include Caliana, Alexandra, and Maha. Innovative and captivating, Alhambra excutes seamless and beautiful interpretations of both Middle Eastern dance & Flamenco.

Call to Audition

Alhambra Dance will be holding auditions to expand the company.
When: Sunday January 9th @ 12-2pm
Where: O.I.P. Dance Centre, Studio A
190 Richmond Street East
Toronto, ON M5A 1P1
(647) 477-5225

About You:

You ideally will already be at the Advanced/Professional level in Middle Eastern Dance. Having other dance styles such as Flamenco, ballet, contemporary, jazz in your repertoire/dance background would be an asset.
Specific requirements for successful candidates:

You are dedicated to being a professional artist in all aspects, have an open mind to doing things differently and trying new styles of dance.

Successful candidates will be expected to attend weekly rehearsals for 2 hours on Sunday afternoons (mid-late afternoon – exact time will be announced when it is confirmed). Regular attendance and being ready to dance at start time is important to maintain productivity.

In the event we are preparing for upcoming shows, you can expect extra rehearsal hours on a weekly basis.

To maintain a positive and productive artistic environment we are putting a limit on the amount of troupes/companies our dancers can be a part of; limit of 2 companies per person, which includes Alhambra Dance.

You ideally already own some professional Oriental costumes.

Rental Costs after money raised in our own events are applied will be split amongst all involved in the dance company.

Dancers can use 1-2 inch heels when learning flamenco, but ideally for performance you should at least invest in some character shoes. Anyone wishing to do further study outside of what is provided through the dance company should invest in actual flamenco shoes.
What the Ambassadors of Alhambra Dance will provide:

* Excellent dance experience
* Training in Flamenco Dance in order to execute Flamenco Oriental pieces optimally
* Excellent dance experience

The Audition:

Please prepare a 5 minute oriental piece to be performed in front of the panel. Depending on turn out, you may not get to perform the full 5 minutes.

You will be shown a small portion of folklore, oriental and flamenco to then be “performed” to the panel in a group/in groups (depending on turn out).

If this dance company sounds like something you want, please contact calianadances@gmail.com or reply to this email in order to get your name on the list for an audition.

Dancers Are Genetically Different Than The Rest Of Us

I came across this article today. I guess there is a "dancing" gene after all, though I KNOW that you can learn to dance even if you have two of the biggest left feet. Enjoy!

Source: Dancers Are Genetically Different Than The Rest Of Us

"What makes dancers different than the rest of us? Genetic variants, says a researcher at the Hebrew University of Jerusalem.

In a study published in PLoS Genetics, Prof. Richard P. Ebstein of the Department of Psychology and his research associates have shown, through DNA examination, that dancers show consistent differences in two key genes from the general population. Ebstein is the head of the Scheinfeld Center for Human Genetics in the Social Sciences in the Department of Psychology.

This finding is not surprising, says Ebstein, in view of other studies of musicians and athletes, which also have shown genetic differences.

Ebstein and his colleagues found in an examination of 85 dancers and advanced dancing students in Israel variants of two genes that provide the code for the serotonin transporter and arginine vasopressin receptor 1a.

Both genes are involved in the transmission of information between nerve cells. The serotonin transporter regulates the level of serotonin, a brain transmitter that contributes to spiritual experience, among many other behavioral traits. The vasopressin receptor has been shown in many animal studies to modulate social communication and affiliative bonding behaviors. Both are elements involved in the age-old human social expression of dancing.

The genetic evidence was corroborated by two questionnaires distributed by the researchers to the dancers. One is the Tellegen Absorption Scale (TAS), that correlates aspects of spirituality and altered states of consciousness, and the other is the Tridimensional Personality Questionnaire (TPQ), a measure of the need for social contact and openness to communication.



The genetic and questionnaire results of the dancers were compared with those of two other groups examined – athletes as well as those who were both non-dancers and non-athletes. (Athletes were chosen for comparison since they require a good deal of physical stamina like dancers.)

When the results were combined and analyzed, it was clearly shown that the dancers exhibited particular genetic and personality characteristics that were not found in the other two groups.

The dancer “type,” says Ebstein, clearly demonstrates qualities that are not necessarily lacking but are not expressed as strongly in other people: a heightened sense of communication, often of a symbolic and ceremonial nature, and a strong spiritual personality trait.

Others involved in the research with Ebstein were his Ph.D. student Rachel Bachner-Melman, as well as additional researchers from Israel and France."

How to charge for gigs

Recently I've been asked about how to charge for gigs. Great question! I'm happy to share what I've learned about this, to not only save you from ever getting burned but also in the knowledge that sticking by high standards is good for all of us!

I typically do 3-7 gigs a week here in Toronto. I dance regularly at 4 different restaurants, two of which are Arabic nightclubs. In addition I appear at many parties & weddings. I've had the honor to have many wonderful clients and to be a part of so many wonderful memories. These clients make up most of my business. My article is a bit tongue & cheek and certainly not intended to be a reflection of all the clients that contact me.

How to charge for gigs:

Lets start by breaking down the clients perspective of what they are paying for. They see you for the duration of your show, and that's usually it unless there has been a meeting in advance. From their perspective they are paying you for the 15-30mins that you are there for. Fair enough.

What most experienced bellydancers will know is that the 15-30mins that you are doing the actual performance is the least amount of work in the whole process.

Lets keep in mind what it took to get to the point where a client may make initial contact. You have hopefully spent many years and $$$ learning how to bellydance and have taken a professional course, have acquired some professional costumes ($300 - +$1000 each), have all the additional props (silk veils, isis wings, canes, shamadan, sword) and have invested in some marketing & business materials (website + SEO, business cards, terminal to accept debit & credit card payment, etc).

Here are your set up costs to begin your business and these efforts have brought the client to you.

From here, the gig booking process begins with the initial contact by a prospective client. This is time spent via emails or on the phone to listen and answer questions from the client. Here you will ask your set of questions and explain your booking process.

1. You require a deposit to secure the booking.

I take a 25% deposit on all bookings. This tells you the client knows they want you there and will not change their mind at the last minute. You can confidently book this into your schedule so that when someone else phones, you're booked and won't be upset knowing you could have done the other gig if the first one bails. You are valuable and so is your time.

2. You will provide a Contract/Terms of Agreement
This document should outline the details of the gig (Client name, contact info, event type, address, etc) and your terms. You can view a copy of my standard contract here: www.mahabellydance.com/BLANKContract.pdf

*I actually don't require a signature unless meeting in person. An email acknowldgeing that they have read it is sufficient for me.

If someone is not willing to give a deposit or agree to your contract, great. You know that they are wasting your time and you have successfully weeded them out. If you are professional with a great website, photos, costumes, & contract people will take you seriously and will feel confident giving you a deposit. This also assures the client that you will show up!

The next part of the process is preparation for the gig. This includes: choosing an appropriate set of music, getting ready, and getting yourself to the event. For me this is a two hour + process. My image when I arrive is very important to my branding as a bellydancer. I'm ready from head to toe: my nails are always done, hair, outfit, everything. You have to be making efforts to be the best most glamorous version of yourself. This means hair, nails, lashes, buffing, pro makeup - the works. Decide what your budget can allow and remember this all takes time & $$ going to your appointments.

Getting there. You have to be on time and consider your mode of transport; are you hiring a driver or do you have your own car?

All these things considered, once you are there and doing your show, 90% of the effort is done.

I hope this all gives you a perspective on what exactly you are charging for your gigs.

How to price yourself:

There are a few considerations at this point:

1. What are other professionals charging in your area.

This will give you your base. Don't undercut - you will be shooting yourself in the foot and bringing everyone else down with you.

2. Is this an event or weekly/monthly restaurant gig.

You can see my breakdown of prices here: mahabellydance.com/hire.php#prices

Events include weddings and parties. They are a one time event though you may have clients who will hire you a few times a year in this category.



Weekly, bi-monthly, or monthly restaurant shows allow the dancers constant exposure to potential clients and will produce more gigs. Also, for clients who wish to see you perform in advance, this is where they can come watch you. For this reason, a reduced rate is appropriate.

*Auditions:
Don't ever audition for free. Unless it is 3pm in the afternoon and the only people there are the owners and some staff. You should have video available on your website. I've had clients come to the studio to watch a demo when I was dancing in a duet. This is rare and they paid for the rental and an additional fee for our time.

3. The location of the event.

You should charge more for travel time. Firstly because of the additional expense of getting there, but also the extra travel time will mean you may not be able to book a second or third gig in an evening.

4. Charging for a second show

For me, I will charge half for a second show IF there is no more than 30mins wait in between shows.
For restaurants, the price is NOT reduced for a second show. You are already giving a reduced rate. Don't do a discount on top of a discount.

5. Zaffa

If the contract is for a Zaffa only, it is the price of a regular show. Zaffa and a show is treated similar to two shows. I charge my regular rate for the show and $150 for the zaffa. I'm more flexible about the wait time in between shows. What often ends up happening is I will do the Zaffa, go to anther gig, and return to the wedding for the second show.


Negotiation:

People will always try to negotiate. Be patient and firm. Negotiation is embedded as a norm in many cultures so expect it. If you let yourself be pressured to taking a lower price, you have devalued yourself and wont feel good about it.

Common negotiation tactics:

1. "If you dance at my event you will get a lot of exposure and you can leave your business cards all over on all the tables."

This could be worth it if you are provided with the name, address, telephone, and email address of ALL attending guests so you can send your marketing materials to harass them to hire you for parties or sign up for you classes. Yeah right.

Unless this is for a charity that you would like to volunteer for, they are just looking for a free or discounted show.

How about you get paid your rate and still get to leave your cards all over like at any other gig?

2. "We are just a small group can you give us a discount?"

Consider all I wrote above about the gig process. Does it really matter how many people are there? It's same amount of effort from start to finish if it is for a dinner party of 5 or a wedding of 500.

3. "What if we only want 15mins instead of 20, 25, or 30mins?"

Again, consider all I wrote above about the gig process. It's same amount of effort from start to finish if it is for 5mins, 10mins, 20mins, or 30mins. You still spend the same amount of time in consultation, getting ready, and getting yourself there. The whole concept of "the bellygram" for less is rediculous. The price is the price is the price if you are there for 5mins, 5000 people, or 30mins for 5 people.

4. Common one for restaurants: "You charge $150 for a weekly show? Come this week and I'll pay you $100 then we'll talk about it."

Ugh. No. Here's what may happen. They may have no intention of having you weekly. There is a special event and they want a bellydancer for that week. Chances are after the show they will say: "We are going to think about the weekly thing. We'll call you." They may call you months later for a single show for $100. Ugh.

You are better off to charge your gig rate the first show. Discounts apply after that based on if the show is weekly or monthly.

This one I've learned the hard way with a newly opened restaurant. I didn't lower my weekly restaurant rate, but I still accepted my weekly restaurant rate on the first show as they said they wanted a weekly show. Though everything went well, they decided it wasn't in the budget for weekly entertainment....and said they would like to start this in a month or so when things pick up.

So they knew in advance that they could not afford weekly entertainment, but they said they wanted it when they called me.

You will either be contacted by restaurants having bellydancers for the first time, or ones that have established bellydance show.

The later will likely have a set rate they pay the dancers. You can take it or leave it, or ask for what you would expect to be paid.

5. "It's a weeknight and not prime gig time can you give me a discount?"

Ok, I'm sure you're catching onto why not, right?

6. "We want you to come to our party. We have LOTS of family weddings coming up this summer, can you give us a deal."

Same above as the restaurant scene...


If you conduct your business in a professional way you will be treated that way. Don't devalue your skills or your time, ever. If you're good at what you do, you will always have work so no need to ever feel pressure to compromise your prices.

I have had a honor to get to know an amazing musician and person here in Toronto, Dr. George Sawa. Dr. Sawa was born in Alexandra, Egypt and is a master Qanun player. He has taught and written on various subjects in Arabic music at the University of Toronto and York University. He has also produced 2 CDs: The Art of the Early Egyptian Qanun Vol 1 & 2. Vol 1 was nominated for Juno award in 2009.

Recently, Dr. Sawa has published a book on music appreciation for Bellydancers that is the only book of it's kind and is an excellent resource for teachers and students of Middle Eastern Dance.

The book contains chapters on the essentials that every Middle Eastern dancer should know: Rhythms, Melodic Modes, Musical Instruments, Musical forms & Maqams. In addition, 2 cds are included containing approx 33 tracks each that compliment lessons in the book. The photography is stunning featuring bellydancer Bozenka and images of Arabic instruments (all from Dr. Sawa's collection!). I had the privilege to be a consultant (or rather guinea pig) on this project and highly recommend this excellent book.

It is lovingly dedicated to the memory of Taheya Carioca, Samia Gamal, and Naima Akef. aw :)

You can find the book here: www.georgedimitrisawa.com/buy_music.htm

The book is reviewed on the Gilded Serpant here.