This was an entire discussion on how to teach them which certainly breaks them down:
bdinstruction.tribe.net/thread...76b3c48

Hope it helps!

~Z.

so long as it's a topic, can i jump on and ask another question? (other than that one ^_^)
is there a difference between "parallel arm undulations" (ie, Rachel Brice dvd) and snake arms? the way i got taught snake arms the shoulder is up when the hand is down (just kindda happens that way) and in her dvd the hand is up and "pushing" when the shoulder is up. also, she keeps her arms up higher than my teacher has us do with snake arms.
im wondering if those are just differences between cabaret and tribal fusion, (the particulars and the name) or if they are really intended to be separate moves?

Hi Angie,

You have to think of your arms as starting from your spine. It is a good idea to have your students start by using one arm, then gradually introduce the other. They should think and feel that both arms and the entire shoulder girdle is one entity while executing snake arms.
Since only the spine is capable of a true undulation, you must use what you have in such a way as to create the illusion of a snake undulation, i.e., shoulders, elbows, wrists, knuckles/fingers. Shoulder rolls should be practiced in both directions, one at a time then together and in opposition. It is also very important to develop grace and flexibility in the hands and fingers. This can be done by pressing the palms out so that the stretch creates a slight backward curve in the hand, in other words, the bases of your fingers, the pads above the heart-line on your palm, are pressing forward. After pressing, immediately relax and release the palm and fingers, slightly curve the fingers inward no more than about an inch from the palm, then slowly press and release again. It is important to feel resistance while pressing and must be done slowly and rhythmically to inhales and exhales. Another great exercise I discovered years ago and found absolutely essential was to do the mudras of classical Indian dance. Flamenco hand exercises are great and very similar to the ones in Indian dance. You can start by making soft fists and slowly stretch out your thumb as in a "thumbs up" gesture, then slowly stretch out the index finger and so on. Again, you must feel resistance each time you outstretch a finger, take care to keep the other fingers curled in to your palm until each is ready to stretch. Once you have all the fingers open, your hand is as wide open as it possibly can be with fingers separated. Now slowly bring in the pinky, keeping it straight as you bring it towards your palm followed by the ring finger, and so on until you have your soft fist again; your hands and fingers should feel taught (resistance) as you do this. You will in time be able to open and close your fingers as if you were opening and closing a fan, a domino effect, if you will. The grace and flexibility to be gained by this is well worth learning, and will help you to make BEAUTIFUL snake arms as well as hand-ripples and wrist circles!!

Students need patience when learning snake arms as there are so many things they must learn and do in a fluid, continuous movement. Full flexion and extension of the wrist is also important (bending as much as right angles forward and backward) because you are attempting to make a curve with the arms. The movement starts at the middle of your back and proceeds through the shoulders, elbows, wrists, fingers and beyond, energetically speaking. This helps prevent the "cutting off" of the complete movement.

I would be happy to give you more info on snake arms, if you would like. I hope you find this helpful. Please let me know.
HAPPY DANCING!!

Rosina
aka Nadia