Tips & Tricks for Belly Dancers

• On Costuming. This link leads to a separate page.
• On Doing Performances
• On Collecting Tips
• On Dancing With A Sword. This link leads to a separate page.
• On Dancing With A Snake

• On Teaching
• On Working With Live Musicians
• On Personal Safety
• Promoting Yourself
• Staying Organized
• Other Ramblings

• Acknowledgements

• Important Announcement

• For A Party. While performing at a party, remember that your purpose is to entertain, not to explore your "art". Three years later, which will be the more treasured memory for partygoers--the memory of you doing a nice show, or the memory of you getting the birthday boy up to dance with you? Which will be the more cherished addition to the photo album--a shot of you caught in a dramatic pose, or a shot of you placing a turban on Grandpa's head? Of course, your show should focus first on delivering a polished performance, but remember that their purpose for asking you to dance was because they wanted entertainment. Make sure you leave them with fond memories to enjoy for years!
• When To Leave The House. When going to a gig at a location you haven't been to before, make a guess at how long it will take to get there, then leave the house 15 minutes (or more) earlier than that. That 15-minute buffer allows you time to take a wrong turn on your way there, discover that you have to stop for gas, or get caught in slow-moving traffic en route.
• Outdoors. If you'll be performing outdoors, it's probably better not to plan on doing veil work in your show. The wind can wreak havoc with your attempt to do a lovely, graceful veil dance.

Photo of Despina, who contributed the tips to the right.

Women In The Audience. Be friendly to the women, and pleasant to the men: Whether you're doing a restaurant show or a one-off function, make the women your allies. Most women are a great audience, but some can be catty. Jealous? Who knows? The fact is you need to be nice to them--but not in a fake way. Be sincere, but make that extra effort. A sour face in the audience can throw you off and snide comments can bring you down. Men often appreciate just about anything that looks good and some of the more cultured men will particularly appreciate your talent. What you don't need is their partners becoming angry every time they look your way. Avoid this by paying extra attention to the women before, during and after your show. Who knows--maybe they'll want to become your students when they see you demonstrate that belly dancing is an art form with a lot of class! (Contributed by Despina from Australia.) Keep Smiling. The only thing your mouth should be doing during a show is smile. Don't perform with your mouth wide open as though you're a teenager in a tacky talent quest or rehearsing for an adult magazine pose. It's just plain ugly, so don't. (Contributed by Despina from Australia.)

• Equipment. Even if the person who hires you assures you that a sound system will be available to play your music, take along your own boombox. Chances are you won't need it, but you want to be ready in case you do! It would be embarrassing to discover that the site's sound system plays only CD's when you've brought your music on a cassette tape, and there's always the chance that the site's sound system will be set up wrong, will blow a fuse right when it's your time to dance, etc.
• Bring A Spare. Make a second cassette with your music, and bring both to the show. That way, if something happens to your original (the sound system chews it up, etc.) you'll have the backup available for use. If you're part of a troupe, designate someone else to bring the spare, so if you forget yours, they'll have theirs.
• Introduce Yourself. Backstage at a show, well-known dancer Bert Balladine once said, "When a great dancer first makes her entrance, she parades around the stage to greet the audience. When a really great dancer makes her entrance, she does it twice." In other words, when you first appear, people will be busy looking at you and your costume, and won't notice your initial dance moves. So, stride on-stage with confidence, greet the band with a pleasant nod or gesture, greet your audience with a pleasant nod or gesture, give the audience a few moments to take in the sight of you, and only then start to actually dance.

When You Lose A Finger Cymbal. Sometimes finger cymbals come off while you're dancing. If that happens, look for the missing one and pick it up. Lay it on your left hand (the "less" quick hand when you play) between two fingers, directly under the thumb-cymbal, which is still kept in place by the elastic. Keep the wrist a bit up, and continue playing like that. If another cymbal cuts loose (most unlucky performance), you can do the same trick with the other hand (only it's a bit more difficult to play, because the right hand plays more quickly). (Contributed by Paola, an Italian belly dancer who currently lives in The Netherlands.) Facial Expressions. You might express different moods throughout your show through facial expression, such as enthusiasm, acknowledgement of a friend in the audience, joy, mischief, "I'm glad you came to see my show!", "I feel great today!", or pleasant introspection. But stay away from trying to project an overtly seductive look. Many audience members, men and women alike, find it offensive, and it makes you look ridiculous.

Photo of Paola, who contributed the finger cymbal tip to the left.

• Accepting Tips. Not every dancer is willing to accept tips tucked into her costume. If you opt to do so, present the side of your hip or an armband or other accessory as the place to put it. Don't offer your bra cups or the center front of your hipband. That's courting disaster, plus it looks cheap. (Contributed by Siovana el-Nashir in Denver, Colorado.)

Setting The Expectation. If working in a restaurant, you can subtly suggest to audiences that tips are welcome by tucking a couple of bills into your belt before the show. (Contributed by Siovana el-Nashir in Denver, Colorado.) A Plant In The Audience. If someone you know is in the crowd, ask them to tip you early in your show, to set the example for the rest of the audience. Sometimes you just need one person to break the ice for you. Don't Beg. It offends audience members if the dancer plants herself directly in front of them and keeps dancing directly at them, suggesting that she won't leave until she is tipped. Customers find that annoying, and it makes the dancer look low-class. (Contributed by Siovana el-Nashir in Denver, Colorado.) Alternate Collection Methods. If you're not comfortable with the idea of people tucking tips in your costume, but you still want the money, take a pretty basket or a tambourine around with you as you visit the audience to serve as a receptacle for holding the tips. Don't Stoop. If tips fall out of your costume onto the floor, don't stoop to pick them up--many audience members think it looks tacky. Instead, before you dance, make arrangements with either the restaurant staff or someone you know in the audience to collect any tips you've dropped after the show and bring them backstage to you. So how does everyone else out there feel about collecting tips? Add your own opinion to the fray!   1) How do you feel about collecting tips from the audience when you perform? I never, ever collect tips from the audience. I let people tuck tips in my costume when done respectfully. I carry a basket for people to put tips in. I just set a jar on the stage to collect all my tips. None of the above Poll reflects votes since October 26, 2002.

Diane Randle, who contributed most of the snake trips below, has been a volunteer with the Calgary Zoo in Canada for five years. She handles large snakes quite often, and offered these tips for dancers who would like to perform with snakes.

Transporting Snakes. Snakes are surprisingly fragile and very susceptible to serious bone problems if they are in temperatures that fluctuate too much. So, care must be taken in transporting them. Keep them warm during their backstage time, especially if they are under hot lights. At the zoo, we use a cooler with a hotwater bottle wrapped in heavy toweling (it must be secure so the snake can't ever come in contact with the bottle itself!) to keep snakes warm when we are transporting. (Contributed by Diane Randle in Alberta, Canada.)

PHOTO CREDIT: This photo of Shira with Alice was taken by John Rickman, San Jose, California, 1997.

PHOTO CREDIT: This photo of Shira with Alice was taken by John Rickman, San Jose, California, 1997.

Hygiene Is Important! Snakes carry salmonella and dancers must be very careful about washing their hands after handling snakes. Especially if you are starving because you haven't eaten before your show and are going to hoover down a plate of finger food! (Contributed by Diane Randle in Alberta, Canada.) Not Exactly Cuddly. Snakes or other reptiles don't make very good pets for most people, so don't get one unless you can appreciate snakes for what they are. Far too many end up being taken to shelters, or worse, released to make their way on their own, because people think they are cool and then get bored with them once they get them home and find out they don't do much. (Contributed by Diane Randle in Alberta, Canada.)

Choose Your Costume Carefully. Part of the appeal of a snake is its way of gracefully moving in its own right. However, this can also lead to bloopers onstage. Pick your costuming carefully when dancing with a snake--if it twines around your body, can it dislodge your bra or belt? Can it raise your skirt and expose what's underneath? Choose costuming that will keep you decent even if your snake does put some creative energy of its own into the show.

• Be Professional. People are paying you money to teach them. That means you are, in their eyes, positioning yourself as a "professional". Act the part. Arrive early to set up so you can start class on time. Maintain an environment that is conducive to focus and learning--for example, no small children running wild and interfering with the students. Come prepared with an idea of what you are going to teach, and make sure you are equipped with all necessary music and props to teach it. You can always be flexible and let the needs of the class take you a different direction if you wish, but start with a plan.
• Teaching Tapes. Make a special "teaching tape" for each technique you plan to teach in your class. For example, make a tape with one whole side dedicated to drum solos, another with a whole side dedicated to music suitable for veil, etc. If you're teaching a choreography to a particular song in class, record the same song time after time after time on the tape. That way, when you start teaching the technique in class, you won't have to take time for rewinding your tape every time a song ends. In the plastic cassette box, include a list of every song on the tape and which cassette or CD it came from, so if students ask about the music you can tell them where they can buy it. Keep your entire collection of these teaching tapes in your dance bag, so that you'll be ready to respond to any special requests from your students for covering a particular topic.

PHOTO CREDIT: This photo of Shira was taken by John Rickman, San Jose, California, 2000.

Dance Notes. Prepare written notes for your students to help them remember what you've taught in class. These might be a list of the names of steps you normally teach in your beginner class, a list of finger cymbal rhythms you normally teach, or the steps used in a particular choreography. This will make it easier for your students to practice at home, and they'll learn more quickly. Music Advice. Give your students a written list of belly dance tapes or CD's that you recommend for practicing at home, with information on where they can buy them. They need music in order to practice on their own, and it's very frustrating to them if they purchase a tape that proves to be unsuitable for practicing your style. Combinations. Put together brief combinations that use 2 or 3 different steps, with a smooth transition from one to the next. Teach those in class, so that your students will have some working examples of steps that transition smoothly into something else. Choreography Vs. Improvisation. Strike a balance in your class--teach some choreography, so students can have a complete dance they know how to do, and incorporate some freestyle exercise, so students can learn how to improvise on their own. Honesty, Ethics, & The Law. Don't make homemade tapes of music to sell or give away in class--it's very illegal, and sets a bad ethical example for your students. Instead, direct them to where they can purchase original copies of the music. You wouldn't want anyone else distributing videos of you without your permission, would you?

• Help Students Remember. Encourage students to bring a notebook to every class. When you teach something new, give them time to write notes down for practicing at home, and offer suggestions on what to say. (Contributed by Melissa Amira.)
• Promote Your Classes Yourself. If you offer your classes through a local adult education or community education program, don't expect the sponsor to do all the work of advertising your class. Sure, they'll list it in the course catalog, and that is great publicity. Remember, it's your class too! So make your own efforts--distribute flyers whenever you perform, post your dance business cards on community bulletin boards, put up a web site, list yourself in the teacher/performer directory on this web site, etc. You'll attract more students, and your larger class sizes will make the program that sponsors your classes more committed to continuing to work with you. Also, see the section below on Promoting Yourself.

• Introduce Yourself. If possible, introduce yourself to your musicians before your show. Learn their names, too. Establish a human connection with them. Tell them you're looking forward to dancing with their music.
• Agree On Signals. In dancing with a live band, politely suggest before your show that you would like to signal them when you are ready for a music change. As an experienced dancer, you know about how long a piece of music needs to be before you need a change, or if the audience should become disinterested. This also gives you some control on the pacing of the show, and lets the band know in a subtle way that you do not want to be at their mercy, because sometimes they can be merciless. The easiest way to signal the band is to turn around, face them, and look at the "head" musician. (Contributed by Sulisha Kanouni from Salt Lake City.)
• Request A Song. Before performing with the band, do request at least one song. This lets them know that you are a knowledgeable dancer who understands the music you perform to, and again, sends the subtle message that you want some control over your show. (Contributed by Sulisha Kanouni from Salt Lake City.)
• Avoid The Biggest Pitfall! First and foremost, listen to the music and dance accordingly. The biggest gripe of musicians is that they dislike playing for a dancer whose movements have nothing to do with what's happening in the music. Pause when the music pauses, make transitions when the music makes transitions. Listen for what mood the music is trying to convey (joy, excitement, daydreaming, grief, etc.) and try to convey that same mood through your actions and expressions. Apply the "rule of 4's"--Middle Eastern music tends to run in phrases that let you repeat the same movement 4 times before transitioning to something different. The first time you do the step, you're just getting into the flow of it. The second and third times, you're more confident with it, and the fourth time you can think ahead to what to do next so you can make a smooth transition to whatever you're doing next.

• Learn The Songs. Build yourself a collection of tapes or CD's that feature the popular songs most commonly used by the live musicians in your community. Listen to those songs over and over again until you really know the songs well enough to hum along and anticipate what comes next. Practice to those songs over and over, trying on different moves with different parts of the melody to find out what works well for you. Some songs, like Habena and Aziza, have "stops" in them, which are abrupt pauses in the music--get familiar with those, and make sure your movements stop in nice poses when the music stops. Once you're familiar with the songs that are popular with your musicians, you'll be much better equipped to dance with the music rather than against it. By knowing the song itself, you'll be able to anticipate what the musicians will do next.
• Partnership. Treat your musicians as people, as your partners. As you come on stage, make eye contact with them and smile in acknowledgement. Continue to make eye contact occasionally during your show. If the music winds down at the end of a song, look at the musician so you can stop together. At the end of your dance, acknowledge the band, encouraging the audience to applaud for them.

• Be Informed. Several days before the show, if there are particular songs you would like to have played for you, find out what the names of those songs are. That way, if the musicians offer you an opportunity to request particular music, you can be prepared with an informed response. Warning: although most musicians appreciate it when a dancer shows enough interest in the music to make requests, there are some mean-spirited musicians who get irritated if the dancer dares to ask for something in particular. You need to decide which risk you're willing to take--that of annoying the musicians by exhibiting no interest in the music that will define your show, or that of annoying the musicians by making a request. If you know someone who is already acquainted with this particular band, ask them what they would recommend.
• Give Direction. Be prepared with a response in case the musicians ask what you would like to have played for you. If you don't feel inclined to request specific songs by name, at least be prepared offer some direction in terms of what nationality of music you like (for example, Turkish versus Arabic), what rhythms (for example, bolero for the veil work or karsilama for the finale), or whatever. Beware of saying, "Just play anything," because that could be construed as lacking respect for the artistic skills of the musicians and could result in some really disappointing music. When you really don't know what to ask for, try saying, "I find that I get the best music when the musicians select songs that they really enjoy playing. What would you most enjoy playing for me?"
• Acknowledge Them. As you enter, you probably greet the audience. But you should also greet the musicians--make eye contact, smile genuinely, maybe even nod. When it's time for your exit, pause and "present" the band with an arm gesture and a large smile. Encourage the audience to applaud for them. If you liked what they played for you, then after you've changed your clothes, seek them out during their break and verbally tell them how much you enjoyed their music, and what a pleasure it was for you to dance with them.
• Psychology. Act confident, yet friendly. Psychology plays an important part in dealing with a band. And if you're a good dancer, they will be more willing and even proud to work with you! (Contributed by Sulisha Kanouni from Salt Lake City.)

You're performing in front of a happy, responsive crowd. You've got your routine down pat, your costume is perfect, you feel confident and in control. But things can go wrong… and sometimes horribly wrong. Goddess forbid that this happen to any of you, but it only takes one guy with the wrong idea to land you in trouble that you don't deserve and most certainly didn't ask for. It only takes one lunatic/insane fan to change your life forever, or end it.

There are some things you can do--and not do--to make sure of your safety. The fact is that belly dancer or not, you are a woman in a world that can be unsafe--and as belly dancers we often do late night gigs, many times travelling alone.

• Flirting. Never flirt with the men in the crowd. There are enough uneducated men out there who equate bellydancing with erotic dancing/stripping. Don't encourage this opinion, because it will undermine their professional respect for you. On top of that, the women of the audience won't appreciate it at all. Be respectful of the fact that these men are often attached to a woman who is right there in the audience. Be respectful of yourself and the art form you are performing. (Contributed by Despina from Australia.)
• Personal Space. Keep an acceptable distance from those you pick from the audience to dance with you. This especially applies to when you choose a man! Keep the show classy--it's not a hands-on strip tease nor is it lap dancing--it's an ancient, beautiful dance. You know that, so never give the audience any other impression. Grabbing a person's hand to get them to dance is as far as it should go. Touching them on the shoulder to speak to them is no sin, but it can make some people jump to conclusions. Some people think that because you innocently touched them it gives them the right to touch you. (Contributed by Despina from Australia.)

Club Owners. Never take crap from the restaurant owners. Smile and be friendly, but keep a professional aloofness that will dissuade them from trying to be any more than your employer. Some restaurant owners have been known to "try their luck"--a charming, beautiful woman in a stunning, semi-revealing costume is enough to drive any man wild. But that's his problem. Let him be driven wild--quietly. He needs to keep his distance. Don't be afraid to tell him when enough is enough. If he is invading your personal space or trying to touch you while talking to you, confidently and obviously step back. If you draw the line the first time, they'll usually back off. Having said that, if they don't get the hint the first time, the chance of work isn't worth you feeling uneasy and constantly on your guard. There are plenty of other places that welcome talented dancers. (Contributed by Despina from Australia.) Escort. Try to bring a male friend/partner with you to the first in a new club. For a one-off gig try to determine exactly what the purpose of the party is at the time you accept the booking. Use your gut instinct to decide whether or not a "bodyguard" is necessary. If you don't mind doing bachelor parties, always arrange your partner or a male friend (preferably pretending to be your partner) to come with you. For a restaurant gig, male company on the first night will usually suffice. Introduce your escort as your boyfriend of 4 years or husband even if he's not (with his consent, of course), so the restaurant owner/workers know there's a significant--although sometimes absent -- other in your life. (Contributed by Despina from Australia.)

The dancer in this photo is Despina, who contributed the tips on personal safety that appear to the left.

• Cover Up! When leaving the house to go to a performance, wear something that covers up your costume. This could be a caftan, a coat, a full-length cape, a Khaleegy dress, or anything else that hides the belly dancing costume underneath. Wearing only your costume, with no cover-up, could send an "invitation" that you absolutely do not intend to male observers who may take it as a sign you are "available" for activities you do not want to offer. (Contributed by Tanya Liptak from Phoenix, Arizona.)
• Tell Someone Where You're Going. If you can't arrange for someone to escort you to a bellygram or other performance, call two friends before you leave the house and tell them where you are going. Give them the address you are going to, plus the name, phone number, and any other information about the contact you are supposed to meet there. Set a pre-arranged time for you to call them and tell them everything went okay, and ask them to call the police if they don't hear from you by that time. (Contributed by Tanya Liptak from Phoenix, Arizona.)

PHOTO CREDIT: This photo of Shira is by John Rickman, San Jose, California.

• Save Money On Promotional Photographs. When you do get some beautiful photos of yourself in costume, instead of giving the restaurant where you dance an original photo, and risking losing it (especially if it's your last one), go to a copy center that has color copiers and have color laser copies made. Generally, they cost about $1 (U.S. dollars) each, less if you buy a handful or get them on special. The copies look nice enough to be shown on an announcement in the waiting area of the restaurant. (Contributed by Catharae from southern California.)
• Designing Your Business Cards. Take every opportunity to acquire and keep business cards used by other dancers--they'll be a great source of ideas once you're ready to have your own made. As you look at theirs, you'll get ideas about what you like and what you don't like.
• Designing Your Business Cards. Strike a balance between your personal safety/privacy and making it easy for prospective employers to contact you. For example, you may want to include your phone number and city, but not your street address. If appropriate, include your e-mail address and web URL. You don't necessarily need to spend the extra money to include an actual photo of yourself on the business card, although you can if you like. If you have any particular specialties, such as sword balancing, cane dance, candelabrum, snake, etc., you may want to mention them on the card.

• Working With Agencies. When agencies book you for shows, write your name on their business cards and pass those out when you do the show--it would be unethical to pass out your own cards in this setting.
• Market Research. If you get a call from someone unfamiliar who wants to hire you for a performance, pleasantly ask how they got your name. That will help you figure out which of your methods of promoting yourself are most effective. If you place an ad somewhere, measure the number of responses you got from it (marketing people call this the "cost per contact") and the total amount of money you were paid as a result of people who responded to it (subtract the cost of the ad, and this will tell you the payoff of it). This will help you decide whether to continue promoting yourself through that advertising medium. If you put up a web page promoting yourself, place a counter on it as a way of measuring how much activity it's getting so you know whether it's worth the effort to maintain it.
• Promotional Photographs. Once you feel confident that you are ready to promote yourself as a teacher or performer in your community, invest the time and money in a professional photo session. Get a collection of prints made in various sizes--some 8 x 10, some 5 x 7, some snapshot size.
• Promotional Photographs. When you schedule a performance in a public place, offer the organizer the use of one of your photos for promoting it. Be sure to make it clear that you want the picture back after the event is over, so they don't throw it away!

PHOTO CREDIT: This photo of Shira is by John Rickman, San Jose, California.

• Working With A Photographer. If you can, choose a photographer who has worked with other belly dancers before--especially if you have seen and liked his work. If that's not an option, then be prepared to take an active role in leading the photo session. With family portraits, the photographer usually has a number of suggestions for poses, but you'll probably have to come up with your own poses for belly dance pictures. Give it some thought in advance, before your photography appointment, so you won't waste your time and the photographer's once you get there deciding what to do next. Try to choose poses that are representative of how you really dance, and put the same kind of energy into them as you would if you were striking that pose during a performance.
• Promotional Photographs. Use two or more different costumes, so you can have multiple "looks" to choose from--for example, you might have a nightclub-style bedleh (sequinned bra/belt/skirt costume) that exposes a lot of skin for some pictures, and the more covered look of a beledi dress for others.
• Promotional Photographs. If there are any props you frequently incorporate into your shows, such as sword or cane, be sure to have some pictures done that include those.
• Photo Sessions. If possible, take a fellow belly dancer along with you to the photo session to give you a practiced dancer's eye at evaluating the poses before the photographer begins to snap. In particular, ask that person to watch out for unflattering details such as loose skin creasing along the rib cage, your gut protruding, your skirt hanging at the wrong angle, etc.
• Musical Inspiration. If shooting in a studio, take your boombox along for mood music while you pose for photos. It will help inspire you to pose and move in ways that look great on film.

• Makeup Bag. Get a makeup bag that will be specially used for your dance makeup. Stock it with all the cosmetic items you are likely to need when you do a performance: eye shadow, eyeliner, eyebrow pencil, lipstick, foundation, blush, and anything else. If some of these are items you use on a normal daily basis, then purchase duplicates of them to keep in your makeup bag. Keep it permanently packed with these supplies. Then, when the time comes to do a performance, you can just grab the makeup bag and go, confident that you won't forget anything.
• Assemble A "Survival Kit." Buy a gym bag that you dedicate solely to hauling your dance paraphernalia, and stock it with standard items that you regularly need when you are preparing to go to class or performances. Some possible things to include in it: a pair of finger cymbals, safety pins, a spare pair of underwear, your makeup bag, a practice costume, a notepad for jotting down notes, etc. Keep it permanently stocked with these essentials--that way, you're always equipped to just grab it and run out the door when you're in a hurry.
• Keep Your Belongings Safe While Dancing. Film canisters are a discreet place to stash money or keys. (Contributed by Amy Walker.)
• Checklist. Make a checklist ahead of time of everything you'll need for your show. Be specific--instead of having a line item for "Costume", have individual entries for "Bra, Belt, Necklace, Earrings, Overskirt, Underskirt, Veil, Matching Underwear, Body Stocking" etc. Include all props, jewelry, makeup items, and odds & ends such as safety pins or hairpins. When you pack for your show, review the checklist to make sure you have everything. After the performance, as you pack to go home, again review the checklist to make sure you take everything home that you brought.

• Learn To Do Makeup. Are you one of those people who really isn't certain just how to apply makeup? Then go to someone who sells cosmetics and get them to do a makeover for you. Most Mary Kay cosmetics sales people will come to your home and teach you and your friends how to use their makeup. Or, you can go to the cosmetics counters of your favorite department store and ask if they're willing to give you a makeup lesson. If you like what they did, you can then purchase the exact product from them that they used on you. If you didn't like what they did, then you'll know what to avoid.
• Dancing with Fire. Always wear natural fibers if you will be dancing with or around fire because they leave no residue after they burn. Synthetic fibers are made with petroleum products, and if they catch on fire they will melt and cling to your skin, rapidly giving you serious burns. In contrast, silk and cotton burn cleanly into ashes that won't harm you. (Contributed by Zia bat Ali.)
• Keep Growing. Even if you have taught and performed professionally for years, keep learning. Attend workshops. Attend a fellow professional's classes to see how she presents the material to her students. Go watch other professionals perform in your area. Make a point of getting frequent outside input into your dance and teaching techniques, and then try to assimilate it into your own style--that's what will help you grow and keep your interest in the dance alive.
• Whether The Weather. Use plastic bags with the sealable zip tops to protect cassettes or CD's if you're performing where it might rain! (Contributed by Amy Walker.)
• Litterbag. You won't always find a convenient wastebasket in the dressing room. Use plastic bags from the supermarket as portable garbage bags for used cotton balls, tissues, etc. (Contributed by Amy Walker.)

I'd like to thank Melissa Amira of Austin, Texas for contributing several tips. You can e-mail her at kyriaki@mail.utexas.com.

I'm grateful to Sulisha Kanouni for contributing several tips based on her own experience. Sulisha lives in Salt Lake City, Utah and has been dancing 34 years, 25 of those years in Middle East dancing. In these years she has performed throughout the United States and Canada, mainly in the Middle East or Greek nightclubs dancing with live bands. You can e-mail Sulisha at sulisha@MCI2000.com.

A big thank you to Despina from Australia for contributing the excellent tips that led me to create the Personal Safety category of this page! It's an important issue that we dancers don't always think about in our eagerness to get paying gigs. You can e-mail Despina at despina@dreamingofjeannie.com.au.

Catharae, who teaches in Southern California, was nice enough to contribute a tip to the Promoting Yourself section. Thanks, Catharae! You can e-mail Catharae at Cath1a2rae@aol.com.

Amy Walker from the Southern U.S. offered some great ideas about how to stay well organized. You can e-mail her at wxgal@yahoo.com.

Paola, an Italian dancer who currently lives in the Netherlands, contributed a tip on what to do if you lose a finger cymbal while performing. A photograph of her appears next to her tip.

Tanya Liptak has offered some excellent tips on personal safety. Please give some thought to her suggestions on how to avoid putting yourself in danger! You can e-mail her at FantasyDancer@webtv.net.

Check the "On Tipping" section for tips from Siovana el-Nashir about accepting tips. You can e-mail her at siovana@prodigy.net.

Diane Randle, who contributed the snake tips, has been belly dancing since 1984. She has also been a volunteer with the Calgary Zoo in Canada for five years. She handles large snakes quite often, and offered her tips for dancers who would like to perform with snakes. She is based in Alberta, Canada. You can e-mail her at drandle@telusplanet.net.

Zia bat Ali from Atlanta, Georgia contributed the tip about safety when dancing with fire. You can e-mail her at twonomads@mindspring.com.

Do you have tips you'd like to share? E-mail them to me. Please include your name, city, and state/country so I can include you in these acknowledgements!

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• Please do not post the music files you find here on your own web site or link to them.
• Please do not use photos from this site to decorate your own web site, flyers, business cards, or other projects unless you found it on the Clip Art menu. If you do use artwork from the clip art menu, please cooperate with the conditions set by the clip art providers.
• Please do not publish anything from this site in a newsletter unless you get my permission first. Yes, I will give permission if you're willing to meet my conditions. So far, everyone who has asked has found my conditions to be reasonable.
• Please do not make copies of material from this site to distribute to other people unless you get my permission first. Yes, I will give permission if you're willing to meet my conditions. So far, everyone who has asked has found my conditions to be reasonable.

Of course, you may view or print pages from this site for your own personal use. And you're welcome to link to this site without asking me first.

If courtesy and respect for my generosity in sharing all of this are not enough to get you to honor my wishes, please also remember that the law is on my side. All articles and artwork appearing on this web site are protected by copyright law.

I truly regret the need to say all of this, but I've been driven to it by people who stole things from my site. If this theft continues, it could drive me to remove this site from the web. So please be an honorable member of the Internet community, and cooperate with my requests.

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