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| x.Keylee.x Quote | Reply | This message was updated on 1/22/2004 5:27:17 PM by x.Keylee.x | Dances: the basics posted on: 1/22/2004 5:25:09 PM Further on I will cover each scroll dance. Here I will go over the basics. With each scroll dance there is a theme, a basis. Some there is a specific outline that is reviewed in the books. Review the dance from the books. Decide on the meaning and purpose of it. Then go over it in notes creating a basic outline, key points you want to cover and steps you need to include. Print it out or write it out. Keep the notes handy for times when you are commanded to dance unexpectedly. You may not copy and paste any dance except for the submission dance. It is a story dance, exposing all your hopes, fears, needs and the journey you traveled to be in their collar. Copy and pasting dances cheats yourself and your audience. Pasted dances do not all interaction with the audience. It does not allow you to react to happenings in the room. Also what if some man smacks your ass as you spin about him enticingly. If its pasted, you do not react, and the man would feel either insulted or angry at the open disrespect. Which would be bad. We are not civilized like the city people. We do not have garden dances. The Kassar slave dances are hot; they are not for the pleasure of free women. If a free woman or women happen to be present do not change the theme and manner you dance one iota. If a free woman asks you to dance, politefully and respectfully explain that we of the nomads do not have any garden dances. Our dances are for the men and their pleasure ergo they are very erotic and vivid. When doing a dance please remember, dances take time, practice and alot of hard work. Try to keep your posts 2-3 lines long, instead of pushing it to the maximum word limit vp allows. This enables you to feed the imagination of your audience more frequently, is more likely to keep their interest better and enables you to be more able to react to events in the room. If you are a slow typer then send your words more frequently. Not everyone can type a 100 words a minute. If possible try to keep the dance between 20-35 short posts.Try to watch and keep attune to your audience. If you notice how someone is reacting very favorably to a certain aspect, enhance it slightly. Tailor your dances to the known tastes of your audience. When possible try to include your audience to make the dance more personal, more memorable. It can be simply a soft breeze as you twirl by them or your eyes focusing on them as you move to more involved interaction. Shut out any distractions while dancing so you can focus soley on the task at hand. Try to watch your spelling, word usage and try to keep it believable. Keep your posts clear, so that it is easily understood. Your audience can not read minds. If you do not post getting up off the ground and running across the field, they audience will not be aware of it. To them it would appear you teleported over there and will be confusing. Add your own personality to the dance, in little ways, using your eyes, how you smile, what thoughts or fears are fluttering thru your mind. Then practice it, with your fellow kajira or come to me and we can work on it together so that it becomes inate part of you. Watch the dances of others for ideas, do not try to imitate them only use them as a source of learning and inspiration. Make the movements believable and clearly understandable. All dances should include certain things: a clear beginning: whether its simply walking out to the dance pit your heart a flutter with excitement or a detailed work up. It has a clear beginning to notify the audience the dance is starting. build up: This is the steps you convey thru your dance the purpose of your dance. Do not just state this is my expession of my submission to men. Show it thru movements, heart beat, short thoughts, the look in your eyes etc.. climax: This is the cresendo of the dance where it reaches its highest most revealing and vivid point. This is where it should become clear what the purpose of the dance is. closure: Wrap your dance up, some examples are to collapse on to the ground as the music fades to prostrating yourself at the feet of the man you dance for. Do not feel badly if the audience does not interact or react as you had hoped. Many people are new to gor and a bit nervous, others are too engrossed in to your dance to do more than watch in pleasure. Some dance moves from various styles of dance, ballet, belly and others; use them for ideas describing them but do not just state the name of the movement: allongé: With the arms stretched out as far as possible. arabesque: A pose with one leg stretched straight out to the back and one arm usually stretched out to the front. The back leg may be on the floor or at 45, 90, or 135 degrees. (These angles are measured from the vertical; 90 degrees means parallel to the floor.) pirouette: A complete turn on one leg. The dancer usually goes round more than once. The raised leg is most commonly held in rétiré, but pirouettes with the leg in other positions are not uncommon. If the direction of the turn rotates the raised leg away from the front of the body, the pirouette is en dehors; if it rotates the leg toward the front, it is en dedans. The dancer spots in order to avoid becoming disoriented. Pirouettes are usually fast, but supported pirouettes, in which a partner steadies the soloist, may be done very slowly. promenade: A pivot turn in which the dancer moves slowly around by shifting the heel of the supporting leg. The rest of the body may be in arabesque or attitude. In a supported promenade, the partner turns the soloist. Arm Ripple: Arms start below the hips and behind the back, palms facing in toward the body. Using the same movement as in the falling leaf arm, the dancer undulate her arms in and out as opposed to up and down. Arms work in opposition to each other, one moving in as the other moves out. The dancer should keep the Arm Ripple low and slightly behind the body. Cobra Arms: Essentially a shoulder roll that moves down the arm. The dancer begins with the arms straight out to the sides at shoulder level with the palms facing down. Alternating shoulders, the dancer rolls the shoulder backward (from front to back) letting the motion travel down the arm. The dancer should be careful to keep the palms facing down while doing this. This movement can be done in rapid succession to form a continuous rippling of the arms or it can be done slowly to give the impression that a single wave is traveling down one arm and onto the next. isolations: Moving one part of the body, such as the head, shoulder, ribs, or hips, while the rest are immobile Snake Hips: A form of rolling hip movements used extensively in the 1920's by burlesque and shimmy dancers. Hip Rock: the hips alternatively lifting and dropping while standing with both feet flat on the floor, knees slightly bent, and the pelvis in neutral. There should be no forward, backwards, or sideways shifts of the pelvis. Nor should there be any twisting. The knees remain flexed at all times with the knee on the side of the dropped hip being slightly more bent. Shoulder Shimmy: The shoulder shimmy is done by thrusting one shoulder forward while pulling the other shoulder back. Do not think of it as shaking your boobs, but as shaking your shoulders (the breasts will come along for the ride). Leap: A leap into the air from the supporting foot, landing on the opposite foot. A leap always involves a change of weight from one foot to the other. |