On making a DVD - Oriental Choreography with Khalida

Hello dear all,

In this post I'd like to share with you a bit of the process behind creating my latest DVD, 'Oriental Choreography with Khalida', in the form of a mini photo journal.

The finished result. See www.khalidadance.com/DVD

After teaching choreography workshop in Denmark this January, the participants (and hostess) remarked that it would be nice to have more time to practice each section of a rather complex choreography.

This sparked the idea to create a 'combination-based choreography DVD' - where the full choreography is split up into combinations, which are taught separately and then combined chronologically into a full choreo at the end.

Preparations include splitting up the dance into evenly-sized parts, each about 2-4 x 8 'beats', depending on where the music repeats.

For this particular piece the choreography structure looks like this:

AB-CDCD-E-FGHG-I

• A and B are 2 parts of an intro, which could be danced with or without a veil, or skipped completely
• CDCD is a section where 2 musical phrases/combinations repeat(the 'Shakira' and the 'Arabesque' combo in the DVD), once on the left side, and once on the right.
• E is a 30-second taxeem
• FGHG is a section where a transition/combination (F) is followed by a 'chorus' (G), then a bridge (H), and then the 'chorus' (G) repeats again.
• I is the finale

After the structure was set, all that was left to be done was to divide each section into repeating logical teaching sequences.

The DVD/Choreographical teaching structure

Theory-to-practice
With the theory completed, it was time for... dance practice. Much, much dance practice. With each section stepped and 'danced out' separately, with and without music, with and without instruction, with and without countng, and 'singing' the steps.

Paillettes and Veil - A post-practice still life composition.

Practical preparations
The morning of the DVD shoot was spent preparing filming makeup (enough, but not too much, with thanks to home-brewed coffee and natural light) and can-hold-a-full-day-hair-do (aka a wrap-snap n' go-bun for teaching, and a hopefully curly ponytail for performance) preparations!

Filming look - Lipstick to be added later

Recording Process
Recordings happened at my dance friend and student Sandra's beautiful home studio, where we were able to complete the full filming in one day (with plenty of takes) after a short warmup-session and rehearsal.

Camera and Studio setup - And also the top half of my face

Data Transfer
All of the filmed material was then carefully transferred to the main computer, and from there to a tiny USB drive (see below), which I was able to take home with me for editing the day after the shoot. Fast!

The Wonders of technology

Editing
The next step: Editification! Which means putting all the filmed clips in order, creating transitions, cutting away 'empty spaces', and adding titles or subtitles where needed.

This is one of my favorite parts of the process, as long as the software (in this case just plain WMM) is not too capricious, and providing I take time for 'movement breaks' (aka shaking out my limbs and head) regularly.

Editing - with my head in the woods.

Transfer to DVD
After all editing is completed, it's time for the DVD-ification. For this step (ie adding a main menu and basic chaptering, and creating an .iso file that can be burned to DVD) I use Pinnacle software.

This program tests my patience, quite literally, as the program likes to crash whenever I click too fast, so on DVD-ification day I tend to forego coffee in favour of tea. Patience.
Usually I create a PAL and NTSC version of a DVD, just in case.

Rendering... Tea... And Patience.

Testing and design/packaging
If rendering is succesful, I burn the first test-DVD. And after that, I test the test-DVD :) I usually create a cover design for the DVD beforehand, using Adobe Photoshop CS3, and I use simple paper sleeves for easy (light) transport.

The first Test-DVD. It worked!

Web shop, Gumroad upload and Packaging
After the official DVD-launch is done, I update the DVD web shop, start the upload to Gumroad for the downloadable/streaming version and send out the pre-ordered copies. For small batches of DVDs I've found a padded envelope works best.

The first batch of pre-ordered DVDs. N. 1 gets a sticker-heart!

Bonus packaging and Shipment
As a final step, after another good night's sleep, I get to preparing the rest of the DVD orders. All my DVDs (including the pre-ordered ones) are lovingly swaddled in a sea of colourful flyers for events, and then shipped to their (worldwide) destinations.

DVDs and flyer designs. I do like colours, and also fonts.

End result and sneak preview
So.. that's it. This is how the 'Oriental Choreography' DVD was born/created :)

To see the result in short form, check out the following youtube mini version:

If you'd like to order a copy, too, go here:

• DVD version: www.khalidadance.com/DVDs
• Downloadable/streaming version: http://gum.co/orientalchoreo

Hope you'll enjoy!

xx Khalida
www.khalidadance.com
www.inspirationnation.de

PS: A little bonus to go with the new 'oriental choreo' DVD I've created a .pdf Document with Choreography Notes, for those who like to work with them. Enjoy!

My Dance Practice Process

As a follow-up on my previous post on planning practice, here are some of my favorite tips on how to structure your actual practice sessions at home and/or in the studio, plus a few great articles I've found on dance practice, rehearsal and movement quality.

Enjoy and feel free to share!

How I structure my own dance practice sessions depends a bit on where I practise, and what I am currently working on.

No matter how much time I have though, I always take a few seconds (using very simple breath work) to center myself and focus before starting, and I take some time to warm up properly, making the practice itself much more productive - even if the session is short.

Same goes for cooling down. If I take one song to 'simmer down' I find that the work I have done sinks in more deeply, and if I stretch the muscles I have worked before moving on with my day- even for just a few minutes - I've noticed I have more energy and 'spunk' on the following day.

Also: I have found that whenever I get 'stuck', letting my dance rest a bit by moving it back to the pre-dance phase (see below), or working on a different piece, or just getting outside and breathing for a bit instead of stressing out about making progress always helps me get back on track easier on the next practice day. Sometimes inspiration takes time!

'outside' - the secret practice ingredient <3

So, in short (not) I usually structure my dance practice time like this:

Movement preparation
- take 3 breaths to center and focus - 30 seconds
- mini warmup: moving the joints through their respective ranges of motion to help up movement space (including 'cogs' from Anatomy in Motion) - 2-3 minutes

Dance-move preparation
- freestyle dance miniwarmup: dancing to one song in my itunes 'dance/listen' playlist that I am not currently working on, focusing on how my body feels, not on what I do per sé - 3-4 minutes

Note: The breathing and 'cogging' movement preparation help me connect with my body (something I have been working on more consciously lately) before any practice session, and it really makes a difference, so I even incorporate it now in classes that I teach (and take). 

I have also found that dancing freely to one song before practice helps me discover quickly which things to work on more during my technique sessions. I sometimes even find 'new' movement for my choreography work this way.

Actual dance pratice session
- Technique

•  I usually choose a specific movement to work on at different speeds, including in slow motion, first without music, then with music added
• Another option is to practice one or two techniques combined with music, then focusing on each movement separately without music (or with 'mind music' :) to refine and experiment a bit
• A technique DVD (or a mix of DVDs) focusing on a topic/two topics I am currently practising

Depending on how much time I have I sometimes do a mix of all 3 options, but if I am very short on time I will usually just do one movement focus, and/or 1-2 techniques with music, or a very short section of a DVD - All sandwiched between a short movement preparation, warmup and cooldown.

- Choreo work

• I start by reviewing a video of a previous choreo practice session and/or workshops I have taken/taught for inspiration
• Then I either dance the full choreo (while recording) OR I focus on a specific part I am working on (while recording the version I want to check 'in action')
• Then I check the recording of the full choreo (or of the specific part I am working on) using my dance journal as a guide to reflect (see below)
• After that I usually try out a few things to refine without music, making notes of the things I want to KEEP
• Then I dance again (while recording) etc..

Note: My dance practice sessions can be technique, or choreo, or both. If I have plenty of time then I will do technique first, then choreo work, as working on technique always inspires me. Sometimes I am working with a DVD and suddenly inspiration strikes, so I have to stop it and then test out my new choreo ideas right away. 

If I have the studio for practice I try to work on my technique at home beforehand (or on an earlier day), so I have maximum studio time for the choreography itself. I still do the breathing, and movement preparation + mini freestyle session at the studio though!)

So for me choreography is mostly an iterative process: I dance - record - reflect - refine - redance - record - etc.. Even if I am planning to improvise (or partially improvise) to a song, having this immediate feedback loop helps me to use the practice time I have to the max.

my dance - record - reflect - repeat setup at the studio :)

Using a dance journal

I always bring a notebook (I have a separate one for practice sessions) where I note the date, time, where I practise, what I work on, and what I did that day (dancing with or without music, with or without costume, with or without mirror) for each practice session.

For each 'dance loop' within the practice session I note the things I see that I like, the things that I didn't like (and ideas on how to change them if I know), the parts where I want to try out different options, and the parts that are still missing somehow.

The Little Book of Dance

Bonus dance challenges and self-coaching

If a dance is more or less 'set', or if the improvisation sessions start to feel more fluid, I challenge myself by adding more performance-like circumstances (dancing with the costume, dancing without mirror in different directions, imagining my audience and/or performance environment) and focusing more and more on how the dance 'feels' when it goes well.

So in a way I am coaching myself, much like I would coach a student who is working on her choreography or musical interpretation. It is certainly less comfortable than 'just' dancing the choreo many times, but it does make the practice time much more effective.

My 'Coachee', with #dancerfeet :)

Cooling down

I move more slowly for at least one (calming) song after a vigorous practice session, and no matter what I have worked on I try to take my time to stretch out the muscles that have been working hard, as well as reflect a bit on how I feel about the practice session and the things I have learned in the process.

Doing this gives my practice sessions a feeling of 'completion', helps restore my mental and physical energy a bit, and it makes it easier to 'stay in my body' during the rest of the day.

Sometimes I will use my foam roller routine for some extra deep upper body relaxation work


Dance prep work

BEFORE I start to choreograph (or prepare to improvise) to a song I tend to go through a preparation process for a few weeks or months, by listening to different versions of the music, watching videos of different interpretations, gathering information about the song itself, studying the lyrics, visualising dance movements that I would like to 'see' (this usually works best when I am doing something else, like work around the house, showering, walking, or driving), imagining how I would make use of a (sometimes still imaginary) costume etc..

This process can happen months (or even years!) before I start on the actual choreographing/improvisation preparation of a song, and I find it to be one of the most crucial steps in unlocking my creativity, even though it is mostly 'passive work'. It also allows me to work on several pieces at once, so they can germinate and mix in the back of my mind, intermingling with my daily dance (and life) experiences.

Sometimes inspiration hides up here!

Focusing on other non-dance activities (like TKD), or taking classes in other dance forms (like ballet, modern) while having a dance project broiling in the back ground also help to boost choreographic/improvisational creativity.

For improvisation performances this background preparation process still happens, albeit a bit more subconsciously.

Soo, that's it, my dance practice process in a (big-ish) nut shell :)

Please let me know if you have any questions/remarks, and if you are a dancer: I'm curious to learn about your practice process too!

xxx Khalida
www.khalidadance.com



PS: Check out the following articles for tips and more inspiration on the process of practice, performance and general movement. Enjoy!

Articles of the month: On movement quality and performance

How to improve your movement quality instantly by Move Better:
https://gmb.io/move-better/
  
Top 10 muscle imbalances (and how to fix them) by Stop Chasing Pain: http://www.stopchasingpain.com/free-articles/

3 Awesome articles on dance and movement by Monika Volkmar:
- Dance like a Human part 1: http://danceproject.ca/dance-like-a-human-part-1
- Dance like a Human part 2:http://danceproject.ca/dance-like-a-human-part-2-do-you-even-shift
- Dance like a Human part 3:http://danceproject.ca/movement-variability/

How to unlock smooth and free movement using self-regulation:
http://fitforreallife.com/2016/03/unlock-rigid-stiff-movement-self-regulation

Performance tips by Dance Magazine:
http://dancemagazine.com/inside-dm/make-magic-onstage/


Articles of the month: On practice and rehearsal

7 ways to practice on a busy schedule by Dance Comp Review:
http://dancecompreview.com/7-ways-practice-busy-schedule/

Journalling tips for dancers by 4 Dancers.org:
http://www.4dancers.org/2016/03/journaling-for-dancers-why-you-need-it-how-it-helps/

Tips for (mostly group) rehearsals by Dance Advantage:
http://www.danceadvantage.net/rehearsal-management-tips/
 
How to get the most out of each class by More Than Dancers:
http://www.morethandancers.com/10-mistakes-to-avoid-dancer-edition



Until next time,

xx Khalida
www.khalidadance.com

On making dances - Videos from Fédra's FDBD - Nov '15

These are my latest performance videos, both recorded at the Jubilee show 'Transmission' of my dear dance friend and colleague Fédra of Belgium last November at Wolubilis in Brussels, BE - Celebrating her 15th year in oriental dance.

This is our isis wings duet to 'Mosavo Misrlou', a choreography we co-created especially for this event

About 3 seconds into our performance I broke my left wing stick (too much kettlebell swinging, thanks Pavel!), but I was able to hold it together, literally :) The isis wings are from Ayshe (US) and they are, except for the sticks (which you can order separately), virtually indestructible.

A picture from our rehearsals at the studio:

We started working together on this dance at the studio in Würselen, DE in July 2015.

Fédra and I had performed a wings duet before (which was based on this isis wings solo choreography from 2011), but for the Transmission show we wanted to create something new, with more stage dynamics.

First we mapped out our placements on the stage for each part of the song, then we filled in the movements drawing from a solo wings choreography I had created earlier for a workshop to the same song, plus techniques from the duo portion of my Isis Wings DVD

One of the inspirations for this piece was a beautiful duo choreography by Azimé and Lies I saw while judging the Benelux BD championships a few years ago. I will post a link to it here if they ever post it online. The music inspiration came from a workshop by the lovely Marratu Sekhmet of BE. 

The second video is my solo performance at the same event - A double silk veil fusion to Wael Kfoury's 'Omry Kelou'

This choreo is a revisit from a dance I created especially for my very first teacher's sister Yamila's International BD Festival in Heerlen, NL.

The use of 2 rectangular silk veils was originally unplanned. I had ordered one custom veil from les soies de Minifée in Canada to match this costume, and by coincidence she had sent me 2 veils to choose from: A brightly colored one and a slightly more muted version. I found it too hard to select just one, and the difference between them was minimal, so I decided to buy them both.

At the time the veils arrived I was just about to finish a no-veil choreography for the show (which would be happening a few days later) to this beautiful Wael Kfoury song.

A few minutes into playing around with the veils in my living/dance room with them half-tucked into my costume skirt (like so - they were/are a bit too long for regular double veil work) while listening to the show music a flash of inspiration hit me: What if I..?

And bam, just like that, this double veil choreography was born. The dance had been almost ready at that point, it just needed the veils as a finishing touch. I performed it 3 days later :)

You can find the original (February 2012) performance here:

The things I've learned from looking back on the choreographic process of these 2 dances are:

1. Work and 'input' is never lost.
Even if a dance you work on is never performed, it still has value as a learning experience, and it can be a source of inspiration for a later piece. Similarly, each performance you see, every piece of music you hear, every dance practice (or other movement style!) you do can one day be part of something you create, so be sure you gather or document your inspirations in some way.

2 Trust your intuition.
At any point in the process of creation, the most unusual or 'un-thought-through' ideas often turn out to be the most remarkable ones. I've often found that 'last minute additions' to a dance, or places where I was 'stuck' in a choreograpyh eventually become the ones that make the dance more meaningful, personal and unique. The more you trust your creativity, the more expansive it will become.

Until next time!

xx Khalida
www.khalidadance.com

PS: You can find a free (!) downloadable double veil class in the pinned post of my KDanceOnline FB group here, and a full overview of my DVDs/downloadable classes here and here.