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Ethics Code and oriental dancers or dance Tribal


This article is not mine, I have drawn from a subject http://bellydance-universal.ning.com/profiles/blogs/codigo-y-etica-de-bellydance-o, which in turn is extracted from Shalimar Mattar,
the newspaper "East House and Magic," more information on the referral link.

is a code I think everyone should keep in mind, so if I can afford it, who would put it in his blog would encourage, but also respecting the authorship and origin of the source.

I've seen of importance, because lately, well, really since I got serious about this in the Eastern and tribal dance and the organization of events on them, I see a distinct lack of respect for all, including students, teachers -girls, dancers, dancers, teachers, apart from seeing "other phantasmagorias" knowledge-building not true, such as history of belly dancing (yes, I sting like a historian in the process, lol) ... I think some people do not realize the real meaning of the word professionalism and are dedicated to try to demean others by believing senseless speculation and ensure a seat, more work, or know why, as the most typical example I've seen .

And most importantly, for most this is a hobby, if for a hobby or hobby you have to be at ease, better quit. It is very difficult to earn a living with it, and they try it, you have to respect and allow their free action, while not disrespect them, of course is. It is an art, or that is intended, and how art can make all the seriousness and professionalism you want, but if it does, it does well even in this sense of respect for the community or sector.

These standards are based on something called common sense, and I think we understand and practice form a picture of "good vibes" that would also allow the existence of many professionals in coexistence and harmony. Before you blurt something, I recommend reading ALL.

Well, this is what I think about it. Sure will some comments, which will not even be answered, referring to the good feeling prevails here. I can be more or less wrong as this, as every human being, but I think there are things that are logical. And protest something you do not agree is a right, also because I'm not disrespecting anybody getting this. If someone could sit alluded to, is a problem that should arise, because as I said, I have not written it is written by a professional in South America.

The bellydance (belly dance or belly) is an artistic expression and as such should be disseminated. It is up to the professionals to ensure their concept, maintaining standards of elegance that surrounds it and not allowing its spread.
to perform his duties with dignity, professionals in the field should receive fair remuneration for artistic and educational services provided.

conduct is considered antithetical to the practice of unfair competition with other professionals (dancers and teachers). Teachers



The teacher has the role to teach and guide patiently, always looking first for the health and welfare of their students and respecting the limitations of each.

The curriculum of the teachers should be available to the students.

teacher is important that the optional assessments on an annual basis with the students so that they have to valuable information available for the evolution of learning.

dedication to teaching should be geared to teach their students and not to promote the teacher and his personal vanity.

The teacher should conduct their work free from any discrimination, encouraging and respecting their students regardless of their physical characteristics, pointing out that this is an activity aimed at wellness and balance physical, mental and emotional. Therefore can not be required any aesthetic standard.

fitness for the teaching of the belly dance, is considered satisfactory for a minimum period of 4 years of studies in this area with improvement in teaching and knowledge of anatomy, kinesiology and biomechanics, which guarantee the security of a job conducting body conscious.

The teacher must meet the schedule and the schedule of courses offered or disclosed to his students.

All students deserve equal attention from her teacher, which should not make them any discrimination agency.

The teacher must be particularly honest about their knowledge, looking for correct answers to the clarification of his students. All relevant information available to the course to be taught must be communicated with clarity and honesty, viewing the learning of their students.

As belly dancing has its origins very remote and inaccessible information, this question must always be clarified in advance, to avoid disclosure of fictional stories that result in prejudice to his image and proliferation.

The teacher should not encourage negative competitiveness among students or other groups.


attitudes are considered unethical:

- Submit choreography boasts other professionals without authorization and omit the name of the creator.
- inhibit the participation of students in workshops and courses that can enhance development and learning elements.
- Submit resume with fictitious information concerning the training and experience. It is recommended that the case of courses and workshops, always ask for a certificate of participation. Dancers




It is up to professional dancer to meet all specific clauses in the contract about the provision of art and its contractor.

The dancer must ensure the moral image of the category which represents:

a) maintaining a relationship of respect and elegance to your audience and contracting
b) Dress appropriately to patterns of class during performances.

is part of the proper ethical conduct among professional dancers: Spend

due respect and attention when you attend the presentation of another dancer and / or students.

Be supportive and direct the work with team spirit and unity, when making the overall presentation.

Be aware that every professional has a unique style that sets them apart and thus, to appreciate and admire, with due humility, all the various ways of expressing the same art.

workplace respect of other professionals.

Other attitudes antithetical

Cross or interfere with the work of another professional to be aware of this fact. Syndicate

personal propaganda material for the contracted services of another dancer.

criticize or denigrate the performance of other professional image with the public, contractors and other colleagues in the area.

Transforming a personal dispute collective presentation of vanity, which interferes with quality of work submitted.

The way of how a teacher and dancer refer to their (s) teacher (s) is an example to be followed by her students tomorrow. Who do not respect your teacher does not value art. It's always

medical evaluation before the start of activities as in any physical activity.

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After so long away, I turn to write something new. Something that maybe is not so new because many have said, and not for me because it's something I've been discussing, in the proper sense of the term, with many people, from dancers not only dance oriental, showbiz people, and people who simply appreciate good art.

This is the true definition of a professional of any dance, which appears to the eyes of art and many people should be. Some people

usually assumed that a good artist is just that, in the case of dance, which has a technical Bena and knows a good repertoire of moves and combinations that make up the particularity and definition of the style of dance that dance. In such cases, means that someone who practiced aerobics is also a dancer, because it uses the rhythm of music, a sequence of predefined aerobic movements.

Not so. The dance, as the ancient Greeks formalized by giving his own muse (which is only a minor goddess, Terpsichore (Esther Píscore for friends, lol)), is an art.

Some people think, and that is the same thought as above but widespread that to be an artist enough to have a broad knowledge of technical and time consuming study. Thus, according to this, someone may be considered a professional artist having studied many years, or someone may be a professional musician to bring many years of study.

addition, there are people who score even as the master artists, teachers and schools where it has passed. It is true that a good teacher (which this does not mean it's the best artist in his art, but have good communication skills and education) has a lot to do with the fruits that give his student-see, for example, the few students who had Gaudí. No is the same as having someone as a teacher to pass the good learning of his pupil, and for more high, do not have the knowledge required for good solid student, a teacher opposed to the above. But the teacher did not make the artist. You can teach technique, and how much can advise you and teach you techniques to dominate other items required. And

least one school (school, college ,...). The reputation of a school is given provided entirely by their teachers and artists who have come prepared comprehensive, but also by something called "marketing"-which has existed throughout the ages, with different names and different techniques, different objectives, etc., but the same thing.

An artist does not "born" literally, ie not born from the womb of his mother knowing. It is shown that dancing is not transmitted by genes, for example, if a Japanese born in an African tribe, this does not represent Kabuki know, but it is very likely to have skills to learn African dances with the same sense of rhythm that any another colleague of his tribe, so long as we teach. It is rather something inherent in all human race.

The issue is that depending on the context in which it was raised and the education they received, will be more willing to read and understand the artistic and creative production, the self-mastery and imagination, and other attributes essential.

most likely people to believe that someone born into extreme poverty (cultural) has no sense of art, I can not understand, as someone born in the richest family in the world, surrounded by libraries more luxurious, and houses full of original artwork and exclusive. That is false, and demonstrates that have appeared throughout the history of mankind great musicians, painters, sculptors, writers, or any artist worth his salt, in poor families. On the one hand, art is everywhere, from all eras and styles, from the counted oral stories, folk dances, the sacred paintings of the Romanesque church of the town, the graffiti, buildings ... On the other hand, you can not get a "cultural education" does not mean an individual who has not received, either by a relative, acquaintance, or as the result of some experiences that have led, creative skills, sensitivity and observation on the environment, and other qualities that are inherent in the human being, and mental and emotional intelligence.

And driving all this long explanation to mean the same thing at the beginning: an artist is not only technical, but not born a complete artist.

An artist needs several tools, and put it to express myself better schematic (focusing especially on the dance): Technical

• . Both a general technique such as more accurate to define the art and practice style. An art is only the transmission of an idea, message or emotion. Therefore, the technique leads to a specific pathway in the transmission of what is meant, but it makes up the art, because without the idea or concept to convey, nothing. Creativity
• . On this point there are many misconceptions. One is that creativity only serves to create something new, different, original, and therefore is not always necessary. Not so, creativity and originality are two different things. Creativity is used for everything from beginning to end, from conception of the idea is original or not, until the composition of a consistent direction and choreography with the music and style and ultimate achievement. It is true that creativity (along with the holy imagination) influences on originality, as in the creation of new steps and distinctive combinations. Creativity is the force that nourishes the life and imagination. The more creative the better, the fewer, the person will apply what little he has learned from his teachers, for many years it takes, without listening to the wisest teacher all: yourself.
  
• Imagination. It is the only place where we dare to "do the donkey", in our minds, to think unthinkable things, is perhaps one of the best gifts of nature. It's like the movie projector movie screens of our mind (and above holographic hear), and feeds on creativity and holistic logic and mental logic helps make sense of a more normal (though not necessarily realistic , lol). If someone has lost the little exercise that ability, and aims to make art and has a small problem. Originality
  
• . The ability to do something new, unafraid to deviate from the path "standard" of dance or art in general clear that if it deviates much, a fact which is not bad or anything, stop acting on the initial or desired style. It can be a staging, new steps, costumes, use of different music ... Multiple possibilities. Is usually found a good artist when she has her own label and dares to do new things. Originality is fed, of course, creativity. Style
  
• . Many people confuse it with the original simple. Luckily, no one can copy a hundred percent the way of dancing, or practice any other art-other / artist. The same personality, psychology and implemented in their original artistic productions define their style. Unfortunately, although we can not completely copy a style, many people try to create something "new" imitating others. There is a clear distinction between inspiration (which is to begin from the point proposed by another person or artist, and follow a new path of experimentation) and mimic (attempt to copy everything to another person or artist, artistically speaking.) This usually happen to people who have blocked creativity and imagination, and believe to have no other recourse. (Note: for people who are learning, however, teachers recommended to copy, copy, to get fruits and understand themselves better;))
  
• Ability to understand and convey feelings and emotions. This is very important, because it converts a sequence of muscle movements in art. Fortunately, the ability to sense we have. But the ability to understand what we feel is more complicated, to understand, are those times when you do not really know what they feel and less because it happens. And sometimes, it's hard to know how to convey those emotions to the outside. Seems to be the simplest verbal expression, as nonverbal communication, perfected, can provide a wide range of possibilities-that is, as when someone does a Ganot may seem to mean something different if you change a simple tick of face or body. In dance, the tool to develop is the body expression and even the facial too. You can make a move with an energy and give the impression to convey something different to do with another type of energy. Another fault that many people often do in a high scenario, is delighted with what he does simply, it's not bad to enjoy the dance, quite the opposite, or linger for fear. We must remember that there is an audience. The public wants to see us, something is there, if not, I would have gone, and if we want to see is because they want to know what we're going to explain. If we just tell the story or emotion ourselves, or limit to be afraid, we are not passing anything to the public and the public no sense, and do not take care. It is also a matter of mental and energy, namely to the outside as an explosion.
  
• capacity feel the physical environment. Especially space. Many people do not know take advantage of the space available, because there will be tested in a small space or certain features, and costs to adapt to space. Nor is the most important tool, but it is important. The conscious use of all space (small or large), shows not only be the teacher's own body, which is an artistic material, but also space-which is like a part of the canvas (the other being music). Also, do not say because it is common sense in the dance, but he stated, include the need to understand the rhythm and music in general, yes, and incidentally, the essence and style of music, do not more.
  
• esteem and self confidence. More useful than it sounds (and not only important as a person). While it is true that they often felt in the power of a person when he is comfortable with herself and the achievement of its performance, also have seen that through self-control achieved by precise muscular years of practice and experience can know how to apply energy. But how it interacts this in all the above aspects will be reflected in one, several or all aspects. It is very important to feel confident and love yourself, because if you are unsure even of what we do and why, whether it will do well or poorly, it loses energy or simply montonal you do not get the energy needed . Obviously, this is the most difficult to achieve for some, and maintained for everyone. Everyone has his difficulties in his life, but in what may be in the dance, at least one must be sure of what you do and because it is made, and accept the body that is beauty-current ratings are very different from a century ago, and thousands of years ago, therefore, everyone has a beautiful body, it is clear. The body is our vehicle visually, and can not be left unattended or less despise.

For today I think that is enough. Maybe I miss some point, but I hope you like it. I guess I will develop more parts of the same subject, but you see, do not post much lately, I'm busy, lol.

Zaghareets!