There is a common idea that is pervasive in raqs sharqi and fusion “bellydance.” So:

Are “muscular” movements safer than “skeletal” movements?

There is no such thing as a “skeletal” movement!

This fear of what is sometimes called “skeletal” movement demonstrates a fundamental lack of understanding of human functional anatomy.

Muscles cannot push, they can only pull. All movement is created by muscles pulling on bones at the joint they cross. ALL movement involves muscular action.

Muscles also can’t “fall asleep.”

Unless there is a major neurological injury.

A lot of the confusion in the world of raqs sharqi and fusion dance is probably an issue of terminology.

We are a particular kind of movement form in that we sometimes choose to actively contract or flex some muscle groups more than others.

But just because we’re not actively trying to contract a muscle, doesn’t mean it’s not working!

So your “knee” shimmy?

…is also using your glutes, quads, and hamstrings, just like your “glute” shimmy.

We’re just choosing to actively add a little extra contraction on top to change the movement quality. Which is totally valid – but it’s incorrect to say that the other shimmy is unsafe because “the muscles aren’t activated” – they are activated!

If they weren’t, you’d simply fall down!

You don’t need to squeeze everything tight all the time.

You can choose to, of course! And as previously mentioned, we sometimes choose to for certain aesthetic purposes (like creating a belly roll!).

But you’re not making yourself safer with the extra “squeezes.” You’re just changing how the movement looks and feels.

Sometimes if we have a specific pain or injury, it can be helpful to avoid certain movements for a while. But it doesn’t mean that movement or way of moving is inherently dangerous. Human bodies are great at adapting to stressors.

Did you learn something new about muscles? I’m glad!

My name is Siobhan Camille.

I’m an exercise scientist and a professional dancer.

I love helping dancers get better, stronger, and more resilient.

If this was helpful for you, please comment, like, share or save! And sign up to my newsletter to get blog posts like this in your inbox.

What is All or Nothing Thinking?

I spend a lot of time with my dance students and Dance Strong Challengers talking about something called “All or Nothing Thinking.”

In short, All or Nothing thinking is when we think that if something can’t be done perfectly, it isn’t worth doing.

Read on to learn more about All or Nothing Thinking and how I combat it in dance (and life). 

Wanna learn more? Check out my latest podcast episode here!

Read on to learn more about All or Nothing Thinking and how I combat it in dance (and life).

Wanna learn more? Check out my latest podcast episode here!

How do I identify All or Nothing Thinking?

You might be thinking “Well, I’m not a perfectionist.” (Or perhaps you are!). But All or Nothing thinking can be sneaky. 

All or Nothing Thinking in Dance Can Look like:

  • Not choosing to do your dance practice because you’ve “only” got 10 minutes and that doesn’t feel “worth it”
  • Focusing on the one, single mistake you made during a performance, rather than all of the audience cheers and compliments you received after
  • Not placing on the podium during a dance competition, so determining your performance and preparation a failure
  • Deciding not to watch a pre-recorded class because it’s 60 minutes long and you’ve only got 30 minutes to practice

Do you recognise any of these in yourself?

Combatting All or Nothing Thinking

I’ve been keenly aware of all or nothing thinking in the past 7 or so years, and I’ve worked hard to combat it. But it still sneaks up on me sometimes – which is why I need these reminders too!

The most recent occurrence I remember was when I’d had a super busy work week. I was working until 9pm at night, but I’d planned to go for a 10 kilometre run that evening. I caught myself thinking “well, now I can’t go for that run.” Because I’ve gotten quite good at catching this style of thinking, I realised what was happening! And I went for a 3 kilometre run instead.

Was it what I’d planned in my training schedule? Nope!

Did it still do me good, both physically and mentally? You betcha!

Did it mean that I was closer to my weekly training goals, and therefore better prepared for the next training session than if I hadn’t run at all? Absolutely!

If you’d like to learn a little bit more about my approach to combatting all or nothing thinking, check out my new podcast episode which launched today! 

Listen to the episode here or click the button below.

Know a friend who might enjoy the podcast too? 

Please feel free to forward this blog post to them!

Enjoy the episode. And leave me a comment if you take a listen and you’ve got any questions for me!

Hi dancers!

I have some gifts and prize draws to share with you!!

First up: Win some zills (finger cymbals!) from Turquoise International!!

Yes, the cat’s out of the bag: The Bellydance Bundle is back this year! 

Every year Turquoise International is SUPER generous and they offer some of their high-quality zills for us to give away. It is totally free to enter, and 4 Winners will take home 5 pairs of Turquoise International Zills!

You can enter here for a chance to win. I have a couple of Turquoise zills myself (the itsy bitsies – great for practising at home – and some larger ones) and I love them!

And yes, everyone can enter – it’s a worldwide competition!

Plus, this amazing practice resource is back: Figuring Out What to Practice. This is a great guide to revisit at different points in your dance journey – if you’ve done it before it can be really interesting to see what’s changed now!

If you ever struggle to know WHAT you should practice, I’ll highly recommend you grab this free guide – Figuring Out What to Practice.

It’s got an easy to fill out worksheet (it’ll take you only 5-10 mins!) and you’ll know what to focus on in your upcoming sessions. 

Get your practice guide here and get started!

Enjoy – and good luck in the finger cymbal competition!

Shimmies,

Siobhan Camille

P.S. I’m also offering a free live online Dance Strong Class next week! You’re already on my mailing list, so you’ll get the link 🙂 Got a friend who might like to join? Tell them to sign up here.

P.P.S. Don’t forget, my new online series with the one and only Issam Houshan starts this Sunday! Details here.

RICE is at least 10 years out of date!

The RICE (or RICED; rest, ice, compression, elevation, diagnosis) method for injury management has been advised against in the research & academic settings since at least 2010. In early 2019 I wrote an article about a more up to date method, “do no H.A.R.M” (no heat, no alcohol, no reinjury, no massage). But there’s been even newer suggestions on how to remember to manage injuries!

What’s wrong with RICE?

RICE ignores that there are different phases of healing, and implies that passive modalities (rest, ice, compression, and elevation) are of utmost importance to healing. While we need rest in the very early phases of any injury, we know from decades of research that getting back to movement as early as possible is key to better recovery. And re-loading an injured area is what ultimately makes it stronger and restores it capacity – not resting it!

There has also been some research suggesting that icing could delay tissue repair because it could decrease inflammation.Inflammation is CRUCIAL in the early stages of tissue healing – this is what brings in all the white blood cells to clean things up! It is especially important to avoid taking anti-inflammatories in the first 48-72 hours after injury.Professional performers may also consider avoiding ice. Even if this blunts inflammation only slightly in comparison to anti-inflammatory drugs, professional dancers often need to return to work quickly. Anything that could speed recovery could therefore be worth considering.

A new alternative: PEACE and LOVE

A paper that came out in 2019 (Dubois & Esculier) suggested PEACE & LOVE as an alternative to optimise recovery.

P is for Protect

E is for Elevate

A is for Avoid Anti-inflammatory Modalities

C is for Compress

E is for Educate

L is for Load

O is for Optimism

V is for Vascularisation

E is for Exercise

Let’s learn what these mean!

P if for Protect

In the first 1-3 days, minimise movement that could further cause injury, BUT rest should be minimised

E is for Elevate

Elevate the limb higher than the heart. There is weak evidence that this helps, but it won’t cause harm

A is for Avoid Anti-inflammatory Modalities

Definitely avoid anti-inflammatory drugs in the first few days. The use of ice is questioned and cautioned because it could also disrupt inflammation – which is crucial to healing!

C is for Compress

There is conflicting evidence, but taping or bandaging does seem to offer some benefits to our ability to function

E is for Educate

Health care providers should let you know that an active approach (actual rehab, not just things that feel good) is what you need to recover, and help you have realistic expectations for recovery

L is for Load

Putting weight on the injured part or doing strength exercises should be introduced early, as soon as symptoms allow. This promotes repair & remodeling of damaged tissue, and builds capacity – so you can do the things you used to!

O is for Optimism

Patients who are optimistic have better outcomes. From pain science we know that distress and negative feelings (or anything that makes us feel in danger) can increase pain. I know it can be hard, but trust that your body is adaptable!

V is for Vascularisation

Aerobic exercise (“cardio”) should be started a few days after injury to increase blood flow to injured areas. Early mobilisation and aerobic exercise improve function and reduces the need for painkillers.

E is for Exercise

Exercise is strongly supported for reducing the prevalence of recurrent injuries, and can help restore mobility, strength and proprioception after injury.

While some research papers can be hard to read and/or interpret if you don’t have a background in science, this paper is really readable. Click here or click the article title below to find it!

Did you learn something new about injury management?

My name is Siobhan Camille. I’m an exercise scientist and a professional dancer. I love helping dancers get better, stronger, and more resilient. If this was helpful for you, please feel free to share this article, or sign up to my newsletter to get posts like this in your inbox!

Want to dance stronger?

Siobhan Camille offers the Dance Strong 6 Week Online Fitness for Belly Dancers 4-5 times a year, and writes personalised strength and conditioning and/or rehabilitative programs for dancers year-round. Find out more about the Dance Strong Challenge here and find out more about personalised programming here.

I recently learned a pretty tricky drum solo by another dancer in 5 hours, over 3 days.

When I was cast in Jillina’s stage production of The Wonderful Wizard of Oz, I learned 7 choreographies in about 6 weeks. So here are some of my main tips to learn choreography quickly!

1. I watch well

Mirror neurons are a type of brain cell that fires both when we perform a specific action (like an arabesque) and when we observe someone else performing the same action.

That is to say, when we see another dancer perform an arabesque, the mirror neurons in our brains fire as if we were performing the movements ourselves.

This can help us understand and learn movements more effectively – so watch first, try second!

2. I don’t repeat mistakes

This one sounds really silly, but I’ll explain what I mean!

If I’m running through a choreography, and I keep making the same mistake, I don’t just keep going and hope it will get better.

I stop what I’m doing. I watch that section again. I practice it without the music. And then I do the run-through again. If I get it wrong again, I stop the music there immediately to break the pattern in my brain. I go from the top (or the top of that section again) and try to get it right.

3. I sing the timing

Especially with lyrical pieces or raqs sharqi pieces in general, steps are not usually on counts, but they follow the melody or other musical accents.

If I’m struggling with a step, I watch the piece again (there’s a theme here!) and I sing the steps. So if there’s a tricky arabesque combo with suspension, I sing along to the dancer performing it in whatever way makes sense for my brain. For example: “left, right, left, riiiiiiiiight, turn and….”

This helps me hear where it fits in the music.

4. I ask the silly questions!

If it’s an in-person or live-streamed choreography workshop, I’m not afraid to ask questions.

Don’t be afraid of looking silly. You’ll be more equipped to learn things independently if you ask questions about the technique or choreography while the expert is right there in front of you.

And chances are, there are other people in the room or the class who have the same questions as you, but are too shy to ask!

5. I prioritise practice frequency

Here for a good time, not for a long time! When trying to learn choreography quickly, I prioritise practice frequency over practice duration.

This increases the chances of me retaining the choreography in the long-term, compared to one or two super long practice blocks in a week.

6. I review right before bed

Sleep provides a lot of benefits to memory consolidation and learning (so getting enough sleep is also key to learn well).

Something I’ve done for a long time, is reviewing tricky things right before bed – even just once, perhaps even just watching instead of dancing.

So my brain can consolidate while I sleep!

These are just some of the ways that I learn choreography quickly!

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Sign up for my weekly newsletter here. I regularly send out short practice videos, tips, and freebies!

P.S. Here’s the drum solo I learned in 5 hours, employing a lot of these tricks:

Siobhan Camille challenged herself to learn this drum solo in 5 hours over 3 days