OOOOHHHH, ok, i get it now. ^_^ sorry for taking this way off topic! i misunderstood. ::blush::
behavior like that makes me think of spoiled kids who just whine until their get what they want, instead of working for it. no doubt there is a correlation. good luck with them! i'd say be firm, they have to learn sometime that they need to work for what they want, right?

A friend and fellow teacher commented how her class numbers always increase when there is an upcoming performance opportunity. As I teach for a college course, my situation is different I think. Many of my students look at their clases in terms of keeping fit, exploring a new experience etc
Eventually most students who stay with their classes consider they will at least perform in class group dances and many want to go solo. The important thing that we often fail to get over to get over to students is that along with the "right to" and fun of performancecomes the responsibilty of being as well rehearsed and presented as possible whatever the venue because we are an entertainer and representing our dance.

Dear Dina,
Many times the women that I know are here for a short while and then gone home again, or have just arrived and so they still have that basic cultural element in their dance, their cooking styles, their ways of communicating, etc. But I DO see a difference in the second generation Arab girls who's parents arrived here as first generation immigrants. The second generation girls are really into the "I do my own thing" philosophy of dance, so I see completely where you are coming from for sure.
I think that there are not really very many western dancers who can accurately portray native dance. There are so very few western Egyptian style dancers among those who claim to be performing Egyptian belly dance, for example, and I think the same thing is true of Turkish dance. Lebanese modern seems to be a closer style, though many of the western dancers sort of overdo with complex technique when trying to emulate that style as well. I think one problem is that somewhere along the line, it became all about physical technique to the great detriment of all other elements of the dance, especially any that are culture based. This emphasis on technique only has sort of sucked the essence out of the dance styles they claim to be dancing.
Regards,
A'isha

Dear Fariha,
I would say "polish" is only part of what makes a professional dancer different than someone who is out having fun dancing with their friends. Polish comes with practice and intent, another thing that the social dancer does not have to worry about. I will try to explain without using my physical self, but that is kind of hard for me. In the classroom situation, it is easier because I can physically demonstrate what I am talking about rather than just use words to explain what is essentially manifested with a physical being.

Blocking- has to do specifically with the way a dancer uses space. In the West in dance, this is primarily a horizontal thing, but in Middle Eastern dance, the professional dancer utilizes vertical space even more so. When horizontal space is used, it is specifically to show movement and emotion in a certain light. The professional dancer must consider the space to be danced in, while the person partying on the dance floor only has to be aware not to disrupt the other dancers. Space is often extremely limited for the social dancer and movement usually is somewhat curtailed because of it. The idea is not be be the prime focus of attention except in cases where one is, perhaps put into the center of a circle for a minute or two,or something similar, and then that focus on the individual is very brief.

Projection- is really not part of the social dancer's purpose. Projection of personality and emotional is at a minimum except in the "having fun" aspect. There is not a gamut of emotion, the idea is not to have force of personality as much as it is to share a moment in time with the other social dancers, be on the same wavelength, etc. The community connection is very strong and so the alpha personality of a performer is not necessary unless one is purposely showing off, which may or may not be appropriate for more than a minute or two. (See the circle thing above..)

Carriage- I have noted a strong difference in the way that professional belly dancers in the Middle East and N/ Africa carry themselves on stage as opposed to the carriage or every day posture of the average social dancer. There is something in the upper body, a tension or unconscious awareness of being the center of attention that you see, actually in most entertainers around the world, that is evident in professionals. I really think it is a physical tool of projection.

Psychological purpose- I think this is most important of all. The psychological purpose of social dancing is to build community. Dancing as a group for fun at a party or club is entirely different than dancing as a professional single entity. I think there is even a difference between dancing as a professional group. The psychological purpose of professional dancing is to call attention to the dance itself, to present the audience with a thing to be observed for the most part and not participated in. I fully realize that most Middle Eastern and Egyptian dancers do have a part in their shows where they go out and dance in and with the audience, but if you think about it, that is usually during a Saidi or Beledi interlude and not during belly dance. Both Saidi and Beledi have their social counterparts and in fact are known as social dances. Belly dance started its life as a stage entertainment and has a different psychology. You do get members of an audience who will stand up and dance for a few seconds, but they understand that they are for the most part going to be observers. They do not spend even 5 minutes usually, physically interacting with the dancer or the music if the dancer is on stage.

During my own shows I have often noticed that the Arabs get up and dance for a minute or two, even if I am on a stage far away from them. This could be for any number of reasons. They may love the dancing and feel compelled to join in for a moment. They may love the song I am dancing to and give in to the urge to dance along, just like happens at rock concerts in the West. They may know the guy who wrote the song, or just feel like moving instead of sitting for a minute.

Any way, I hope this has been more helpful than I feel like it is. I have a difficult time explaining myself without use of my body when it comes to dance.
Regards,
A'isha