Origins of the FCBD® Rhythmic Undulation (Arabic) Shimmy

An amazing guide to teaching engaging Introduction to FCBD® Classes

Unlike Levels One and Two, the teaching order for Level Three isn’t defined or structured—and that’s by design.

Level 2 is our most extensive Program and it is a fascinating collection of learning, inspiration and practice.

The most advanced level dancers and instructors cherish fundamentals.

Embracing Feedback is the key to growth. Here’s how you can do it.

This transition is a testament to the strength and evolution of our community.

Movement Dialect describes the unique combinations and creations of a particular troupe or group. This Movement Dialect naturally evolves through the creative process of personal and group collaboration.

Going forward, FatChanceBellyDance as a business, dance organization, and troupe will shift to using FatChanceBellyDance®Style, FatChance®Style, and FCBD®Style in our teaching, marketing, and promotional materials instead of American Tribal Style and ATS.

In order to simplify our terminology and unite everyone under the same designation, we are consolidating Sister, Brother, and Certified Studio into a single term: Certified Studio.

As we’ve learned throughout our classes and podcast with Nawarra, there is an identity associated with the music and dances, this is no different when it comes to adornment.

In FCBD®Style, there are a few areas of Moroccan adornment we can see in our costuming. Most of these are seen in our more classic style.

An instrument that is quite predominant in much of the music we dance to are the Qraqeb or garagab (Arabic: قراقب), in English often transliterated as krakeb (thanks Wikipedia).

You may have heard them called gargabas.

Most of the influence in FCBD®Style is in our “classic” costuming elements and music. I’m using “classic” here to refer to what was typical in the early era of FatChanceBellyDance.

Building up a step allows the movement to really shine. It takes the audience on a journey through the music and gives your fellow dancers a clue as to what may be coming next. Allowing you all to dance with more confidence and ease.

What is our Arm Posture when we dance FCBD® and why do we use it? Find out in this excellent article from the ATS® Magazine archives by Megha Gavin

Some people find this posture uncomfortable and hard to maintain at first. However, with time and conscious effort, it begins to feel natural, even essential for dance movement

I love learning how steps are created, and how they evolved before making it into the official vocabulary. After spending some time with SuperBeth of Tamarind last year, I had a greater appreciation for this “zippy” fun step which also happens to be a Tamarind Dialect step!!

Find out where it came from and why it is called this way

The Sunanda is a Modern Step, meaning it’s on Tribal Basics Volume 7 Creative Steps and Combinations. This step was created by my dear teacher, Megha, while she was living in New Orleans, Louisiana between 1998 -2003.

Did you know the Alabama Twister used to be called "the DeAnna."? Yep, true story!