Spins Family

/ Danse Orientale / By

 


Return to Vocabulary Overview

 

Spins Family Introduction

This section includes turns without hipwork. Additional turns can be found throughout the Step Family sections with related moves.  For all turns, stay in Home Position and spot for balance. Only step out as far as you can maintain posture and Home Position.

 

Direction

Turns are often defined by direction: CW (clockwise) and CCW (counterclockwise). Imagine a clock on the floor. Your body faces 12L00cf, your right arm is at 3:00cf, your back faces 6:00cf, and your left arm is at 9:00cf. When you move CW, you turn from 12:00cf to 3:00cf to 6:00cf to 9:00cf.  When you turn CCW, you turn from 12:00cf to 9:00cf to 6:00cf to 3:00cf.

 

Inside • Outside

Turns can also be defined as inside and outside turns. To execute inside and outside turns clearly, maintain clean footwork and weight changes.

  • Standing with your weight completely on your right foot, an inside turn moves CCW, and an outside turn moves CW. 
  • Standing with your weight completely on your left foot, an inside turn moves CW and an outside turn moves CCW. 
Careful Footwork

None of the spins in this section are paddle turns.  Even when one foot is flat and the other is in relevé, each foot lifts cleanly (even if barely) off the floor for clean footwork.  This clean footwork protects the knee.  However, you can do a variation of many of these turns by turning them into paddle turns.  

 

For a paddle turn, the center foot is planted on the floor and only the heel or sole is lifted to shift the direction of the foot as the body turns.  Be very careful with the paddle turn, especially on faster turns, that the foot, ankle, knee, and hip stay aligned correctly and you are weighted properly.  This is to prevent tweaking the knee or ankle.

 

Three-Step Turn

This turn is the same turn used in Basic Egyptian with Full Spin, where the step ends with a hip pivot.  The default Three-Step Turn explained below does not have hipwork.

Definition

Travel right, stepping the right foot out to 2nd position with toes pointed to 3:00cf [1], turn CW to face 6:00cf stepping left foot to 6:00cf with toes pointed to 6:00cf [2], continue CW turn stepping right foot out to 2nd position (foot flat 12:00cf and toes pointed 12:00cf) [3], touch left foot in flat 1st position [4]. Reverse traveling left.

 

Notes
  • Touch on the ball of the foot with no weight shift.
  • Complete the turn by the third step, so you are already in place 
for the touch.
  • Within the turn, step out to 2nd position [1], step back into 1st 
position [2], step out to 2nd position [3], and then back to 1st 
position.
  • Spot during the turn, either to the left or right, depending on 
direction you are traveling.


Open Spin

While this spin can be used alone or with a variety of Salimpour Vocabulary steps, it specifically is used in the Basic Egyptian with Open Spin and Pivot-Shift-Step with Open Spin steps.  Notice how the footwork of the spin (flat-ball-flat-ball) coordinates with the Basic Egyptian and Syncopated Pivot-Shift-Step footwork (flat-touch-flat-touch).

 

Open Spin is used as the beginning promenade in Suhaila’s El Samer choreography where it is organized into a floor pattern allowing multiple dancers to share the stage  The spin can also be performed as part of a promenade for a soloist as demonstrated in the windup before the ending of Jamila and Suhaila’s iconic Joumana choreography.

Definition

Chaine turn (flat-ball-flat-ball) traveling forward halftime downbeat right. Step forward on the right foot to 12:00cf with arms in 2nd [1]. Step forward in relevé on the left foot to 12:00cf turning CW; arms in high 1st [2]. Step forward on the right foot to 12:00cf; arms in 2nd [3]. Step in relevé forward on the left foot to 12:00cf  turning CW; arms in high 1st [4]. 

 

Notes
  • The flat step stabilizes the move and sets the direction for travel. Complete a full turn when stepping in relevé. 

  • Spot forward for the turn. 

  • As you change weight to each foot, immediately balance over 
the weighted foot; practice with smaller steps. 

4/4 Spin

Jamila learned the 4/4 Spin and 2/4 Spin from observing her second husband, a professional Indian dancer.   This spin works well for a windup or musical accents.  A traditional windup progression includes a transition from the 4/4 Spin into the 2/4 Spin.  The 4/4 Spin also coordinates well in spirit and sentiment with Singles on the Up Fulltime from the Shimmy Family.

Definition

Walk fulltime downbeat right leaving left foot in place with right foot moving to turn body CCW and completing one turn in one 4/4 measure.

 

Notes
  • Use your right foot to point to each direction change: step right foot towards 12:00cf [1], 9:00cf [2], 6:00cf [3], 3:00cf [4]. 

  • In variations, the downbeat can be on either foot. But if turning CCW, the right foot marks the turn; if turning CW, the left foot marks the turn. 
  • The feet are either both flat or both in relevé.  The move is traditionally taught flat with a focus on picking up the feet cleanly to protect the knee.  However, the step is most often practiced in relevé.

2/4 Spin

Jamila learned the 4/4 Spin and 2/4 Spin from observing her second husband, a professional Indian dancer.   The 2/4 Spin is often paired with the 4/4 Spin for a dynamic build.  It can be alternated with any other spin to create different dynamics within a spinning sequence such as a wind-up.  This step pairs well with the Ghawazee or CCW Pivot Fulltime (downbeat right) steps from the Basic Egyptian Family; alternate four counts each of the step and spin.

Definition

Walk fulltime downbeat right in relevé, leaving left foot in place with right foot moving to turn body CCW in half turns, completing two turns in one 4/4 measure.

 

Notes
  • Use your right foot to point to each direction change: right foot steps to 12:00cf and points to 9:00cf, body faces 9:00cf [1]; left foot steps in place [(1)&]; right foot steps to 6:00cf and points to 3:00cf, body faces 3:00cf [2]; and left foot steps in place [(2)&]. 
 

  • Footwork is similar to F&B&. The left foot stays mostly in place and the right foot moves around in the turn.  The spin is neither a push nor paddle turn.  Lift and place feet deliberately and cleanly working through and within jazz 3rd or jazz 4th
  • A variation of this is 2/4 Paddle Turn where the left foot stays connected to the floor (flat or relevé), and the right foot is in relevé.

Diagonal 2/4 Spin

Jamila learned the Diagonal 2/4 Spin from observing Flamenco dancers and her second husband, a professional Indian dancer.  The Diagonal 2/4 Spin is often paired with the 4/4 and 2/4 Spins for a dynamic wind-up build:  4/4 Spin into 2/4 Spin into Diagonal 2/4 Spin.  As with any of the spins, this spin can be used for musical accents, transitions, progressions, and more.

Definition

2/4 Spin with alternating diagonal arms halftime downbeat right. Form a straight diagonal line with both arms, beginning with right arm in a low V and left arm in a high V.

 

Notes
  • The right arm is down at 12:00cf [1], up at 6:00cf [2], down at 12:00cf [3], and up at 6:00cf [4]. 
  • The upper body has a slight hinge at the waist.

Centrifugal Spin

Jamila learned this spin from observing the Sufi turning ritual, inspired by her father-in-law who had been a Sufi leader in the first part of his life before the Iranian government forced his conversion to Shia Islam.  This spin has a unique quality which can be used to great advantage when accenting music or creating variation in a wind-up sequence. The natural centrifugal force speeds up the turn when the index fingers meet and slows as they move apart. 


 

This spin pairs well with the Running Choo Choo Family.  A common combination is to alternate eight counts each of 2F2B and Centrifugal Spin.

Definition

Turn CCW fulltime downbeat left. Extend arms forward from high 1st position with index fingers pointing up throughout, arms move halftime downbeat left: open left arm out to 2nd [1], bring right arm to meet left arm [2].

 

Notes
  • Step the feet evenly; the spin is not a paddle or push turn. 

  • Touch the sides of your index fingers when your arms meet. 


Out-Up-Out-Down Spin

Jamila learned this spin from observing the Sufi turning ritual, inspired by her father-in-law who had been a Sufi leader in the first part of his life.  The striking arm work in this spin provides great variation when used in conjunction with other moves or spins in a sequence.  This spin pairs well with the Running Choo Choo Family.  A common combination is to alternate eight counts each of 4F4B and Out-Up-Out-Down Spin.

Definition

Turn CCW fulltime downbeat left. Fold hands with soft fists and index fingers extended straight from the line of the arm or wrist
 to create a continuous line throughout entire move. Leading
 with pointed index fingers and moving arms fluidly in extended arcing lines between positions, sequence arms:  begin out in 2nd [1]; up to 5th [2] with fingertips crossed in rounded arc; back out to 2nd [3]; and down to low 1st with fingertips crossed in a rounded arc [4].

 

Notes
  • Can also be called the Down-Out-Up Spin. 

  • The arms arrive at each position on the correct counts but without pausing. 

  • Step the feet evenly; the spin is neither a paddle nor a push turn. 

  • The four-part arm pattern (out-up-out-down) can be called quartertime. 

In-Out Spin

Jamila learned this spin from observing the Sufi turning ritual, inspired by her father-in-law who had been a Sufi leader in the first part of his life.  This spin creates a nice progression or build when alternated in a turning sequence or wind up with the Out-Up-Out-Down Spin.  This spin pairs well with the Running Choo Choo Family; a common combination, four counts each, is:  FMMB, In-Out Spin, BMMF, In-Out Spin.

 

The In-Out Spin, as well as other Vocabulary spins, were included in the Bal Anat Whirling Dervish performance.  While the dance is traditionally performed by men, Mary MacDowell was the Whirling Dervish soloist for Bal Anat.  Suhaila’s grandfather had been a Kurdish Sufi leader in the first part of his life before a forced conversion to Shia Islam and subsequent immersion in Persian culture and community.  Jamila developed this stage version of the dervish dance through her studies of, research on, and consultations about Suhaila’s paternal lineage and culture.

Definition


Turn CCW fulltime downbeat left. Hands overhead in 5th position with fingertips pointing up and palms facing front, right hand in front of left hand; arms press halftime downbeat back (alternating).

 

Notes
  • The arms press back and in front of the ears, giving the illusion of the head moving back and forward in the spin.
  • A common variation is to press the arms halftime downbeat front.

Head Movements

Introduction

Jamila’s second husband, Satyavrat Jaswansingh Kshatriva, was a professional Indian dancer who trained in four styles:  kathakali, kathak, bharatnatyam, and manipuri.  His primary studies were with guru Sankaran Namboodiri, who specialized in kathakali, a highly stylized story-telling dance from Southern India that features exaggerated facial expressions, hand gestures, and body movements. Inspired by Satya and classical Indian dance, Jamila introduced select head movements that she felt complemented belly dance.

 

Jamila taught the head movements 
in class along with the simple Head Movement Pattern explained in this section. Bal Anat members performed the head isolations during the snake dance, karshilama, and improvised solos. Audience members often commented how intimidating and mesmerizing the dancers were.  

 

Of particular note was Jay Goodman, one of Jamila’s students who rotated as one of the Bal Anat tray dancers.   His head movements were particularly expressive and memorable, pulling from his experiences in the Middle East.  Jay spent time living with the Tuareg Berbers (also known as the “Blue People”) in North Africa, where he participated in the tribe’s guedra (blessing ritual) and was included in the successive line of women who led the ritual.  When he returned to the United States in the late 1970s, he demonstrated what he learned at Jamila’s studio on Broadway. 

Head Movements

Keep the movements small, with hands at hips throughout each exercise.

Forward-Forward

Slide the head straight forward (out) and back (to center) fulltime downbeat front. Look forward.

Side-Side

Slide the head right and left halftime downbeat right. Eyes look halftime downbeat right. Keep the head level and facing forward.

Around-Around

Draw a CCW circle with chin parallel to floor, fulltime downbeat right. Look forward. Keep head level and facing forward.

Crescent

Follow a V pattern with the head. Slide forward right, back to center, slide forward left, back to center. Eyes look halftime downbeat right. Keep head level and facing forward. Always return to center to keep the movement clean.

Head Movement Pattern

Forward-Forward (out-out) fulltime downbeat front [1-2]; Side-Side halftime downbeat right [3-4]; Around-Around CCW fulltime downbeat back [5-6]; Crescent right [7], Crescent left [8].

The content from this post is excerpted from The New Danse Orientale: Salimpour Belly Dance Instruction, published by Suhaila International in 2013 with updates and additional content added in 2023. The New Danse Orientale is a study guide and resource for belly dancers when learning Salimpour Vocabulary steps and step families.

If you would like to make a citation for this article, we suggest the following format: Salimpour, J. & Salimpour, S. (2023). Spins Family. Retrieved –insert retrieval date–, from https://suhaila.com/spins-family

Related Posts