Sword Tips and Tricks from Ms. KittieSparkle

Sword dancing: dangerous, empowering, proof of true isolation, technique and balance. Crowds fall for even the sight of a sword, and can be easily impressed, but it’s up to dedicated dancers to deliver a quality performance. As Ansuya says “Don’t let the hard stuff die!”

Sure some folks luck out and have a really flat head that they can literally spin a sword on like a propeller (neat trick, I’m not knocking it), but the rest of the pointy-headed belly dancers of the world struggle on. Here are some helpful tips for learning how to balance the sword, truths I’ve learned along the way about performing with the sword, neat tricks that are easier than they look (always a Godsend in a difficult sword routine), and thoughts on purchasing the sword that’s right for you.

In the Beginning:
We all do it at first, we get the sword in the mail, and we slap it on our heads and try to move a bit. Nothing will show you so quickly, you need to work on isolation. I took the sword off and on so much my first day I bruised my head. However, there are kinder, gentler ways to go about learning sword work. So, are you a throw ‘em in and let them swim person, or a let’s take lessons at the Y first? I’m the latter, so indulge me if you are in the first category.

First find the balance point with your finger or two fingers if your sword is heavy – make a mental note of it, or cheat (more about that later). For balancing on the head, I recommend beginners start with a head wrap and use sequentially smaller ones, as they get more comfortable balancing. When you get down to a thinner headband, or no headband you have to make a choice. Decide if you are going to cheat or not.

I myself am big on cheating, though I’ve done performances where I’ve not cheated. Using something to diminish sword slippage is what I’m referring to. My personal favorite is a thin strip of sand paper super glued to the balance point. I used to use double stick tape, but when it came off with one of the flowers from my headdress stuck to it, that relationship was over.

Movement:
Yes, yes, but what movements should you practice with this sword on your head? All of them, with the exception of the hair toss. Just try doing your normal choreography or movements from class with your sword. This is not to be confused with taking a normal choreography and slapping a sword on your head – viola a sword dance – please don’t do this! I’m only suggesting that you try everything, and see what works for you. You may come up with something cool and new. But more about that later…

Hot Tip #1: If you want to turn with your sword, always turn your head slightly in the direction you are about to turn, this will keep you from having to put your arm up to stop the sword from spinning on top of your head as you turn. Start slowly and build speed. When it’s time to stop, raise your arm to stop the spin of the sword, or lift the sword up and overhead in a dramatic fashion.

Hot Tip #2: This is actually a RULE, when you handle the sword blade, act as if the sword is sharp, even if it isn’t. Anything else (gripping the sword blade like a steering wheel) takes on the look of a baton twirler and destroys all the wonderful elements of sword in one fell swoop. So it’s not an option, just don’t do it - ever! Hold the sword by the handle; or if you’re holding in the blade section, in web of your thumb and forefinger, with your other fingers gracefully positioned for a glamorous effect.

Performing:
My favorite tips for sword come from my own experiences and the advice of various instructors and notables such as Suzanna Del Veccio, Ansuya, Jo Lynch and Princess Farhana. First rule is don’t ever begin your dance with the sword balanced on your head. No, no, no! I know you want to, because it seems like what sword dancing is at first, but don’t do it. Build suspense and your audience will be so much more impressed. Dancing is like telling a good story, you don’t tell the exciting stuff first! You build.

First you present the sword, so make sure your music has a nice intro for that, you show it to the crowd, and you may want unsheathe it at this point if you have a sheath. Next you balance the sword on your wrist, hip, knee, shoulder, finger, building up in levels of difficulty and of course, dancing at the same time. Try not to have too much ‘dead air’ time while you are getting your balance on. Instead, do some figure 8s or some other ‘back up movement’ or give the audience some face if nothing else.

Then there are the classic questionable balances, the boobs and the chin. I personally choose to avoid these as the chest is problematic for me (I don’t have enough to hold it up), and it’s considered tacky by some. The chin balance looks really masculine to me, even though I respect that it takes a lot of skill. I don’t mind seeing it, but I don’t do it. I’ve just gotta look pretty with that sword!

I usually save the head balance for the early mid section of the dance. Towards the mid section and end of the dance is a great time for floor work. More on that when we get to the Godsend moves.

Keep in mind you may want to remove the sword from your head during the mid to late section of your dancing with the sword on head. This shows it’s not stuck on by any artificial means. When you remove the sword, it’s a good time to add any of the balances you didn’t already do because they were too impressive to give away at the beginning of the dance. The single fingertip balance is a good example. Just be sure you’re not flipping off the audience! Use your index finger! Other options would be a pose, or flourish. Posing is no problem, but if you are going to flourish, (swing the sword in a figure 8 pattern or in front of you or over head like a helicopter blade) be sure your sword is strong enough not to come apart. That could be a little too scary for the audience. Watch out for low ceilings, ceiling fans and disco balls.

Hot Tip #3: When you are performing, with the sword on your head, and you feel it slipping, do not look up at your sword. You won’t be able to see it anyway and a photographer will most certainly take your photo in this ‘not so glam’ eyes rolled up pose. Instead, stop, smile and fix your balance. Letting your sword wobble and hoping it stays on is usually a disaster. The audience is distracted, you are distracted, just stop and fix the dang thing with the ‘dead air’ fillers discussed before. If you are part of a group choreography, continue the dance as you rebalance in a professional manner.

Hot Tip #4: If you are doing a wrist balance, remove your bracelets, sleeves, etc. if they’ll hinder you; or at least be prepared to move them back. Of course you should always practice at least once in full costume, but in case you forgot to do that, just thinking ahead will help.

Hot Tip #5: If your sword slips off catch it as gracefully as possible and give the smile/“oops” look, or you may wag your finger at it “naughty sword” and then continue calmly. Having a contingency plan will help you feel more confident, rather it slips or not. I am not a fan of letting it fall since it makes a horrible clang, and can damage you or the sword. Which brings us to Tip #6

Hot Tip #6: Bleeding on stage is not part of the colorful drama of Belly Dance. If you cut yourself on stage and blood is flowing, you’ll have to excuse yourself. It’s just too distracting for the audience. I know it’s cool and dangerous to work with a sharp sword like the CAS Iberia battle ready Hawksbill, but really, it’s best to have it dulled for our purposes.

The Godsend Moves, and the Hellish ones too:
First the ‘easy’ stuff that looks impressive:
The Dip – with the sword on your head, walk forward and then do a quick level change (if your knees can take it) and come back up quickly. Sword stays on surprisingly well, as long as you keep your torso straight up and down.
Ansuya Style Knee Turns – if you know how to do these, it’s surprising how easy it is to do it with a sword on your head. Use the same advice for beginning your turn as you would for a regular turn, turn your head slightly in the direction you are turning to start.
Sitting Princess Turns – You sit with your feet curled under, your butt to one side, then make your butt hop over your feet to the other side, raise your knees gracefully and reposition to the side again, butt jumps over your feet – you travel in a little circle. Combine this with a pretty hand movement, and a sword on your head, and people really seem to like it.
The ‘Reverse Table Pose’ Flutter – If you can flutter, this always gets a laugh…with sword on head during your floor work, go into the reverse table pose (like a table pose from yoga, but with the stomach facing up, arms extended behind you, legs straight, making a triangle between you and the floor) and undulate, and then flutter.
Lock crossed hands with a dance mate (swords on head) and slowly start to turn, build speed, then when ready break away and catch up the sword for a nice finish.
While sword is balanced on the shoulder, do three point turns across the stage arms out.

The Hard Stuff: Sword Toss: In the reverse table pose, with sword on head, drop the sword to your stomach. What helps: A nice soft landing spot. If you are not fluffy, you can dip your stomach down a bit as you catch the sword. Try not to worry about your nose, and remove your belly button rings for this one. Practice a lot.

Lying Down: I always find it hard to get into position (on the tummy or side) without wobbling the sword (on the head again). Best advice? Go slowly, move with grace and pointed toes.

For the side lay down, go to the Sitting Princess position first (legs bent under you, feet to the side of your butt), slide your legs out to the side while supporting your self with a hand on the floor arm locked out. Gracefully position your other hand with some florets if possible. Remember, the knee closest to the ground is bent under you, supporting most of the weight; the top leg is straight, ready for figure 8s or relaxed for undulations.

For the lay down on the tummy, it’s not so bad getting down as it is getting up with out looking like an old lady rolling out of bed. Here’s my take on it. Put the hand nearest the audience on the floor and slide towards your chest, place hand that was under chin (Farhana style) flat on the floor and perpendicular to your body, push up with both hands while gracefully positioning the legs and pointing the toes.

3. Getting up from a layback with your sword – So you’ve done a layback, balanced the sword on your tummy and done some hand work and some twisting shimmies, now how in the heck do you get up? Assuming you don’t have super human strength and can come up out of a full layback using your lifted chest and thighs, you may want to try rolling up on an elbow (sword in hands) and continuing the circle forward with some dramatic hair whipping. Practice a lot.

Say Hello to my Little Friend
So, you’ve read this far and if you have a sword it’s probably on your head at this point. But if you don’t have a sword, you may be asking yourself, what’s the best sword to get? I usually recommend one of three models, though there are many other swords out there perfectly fine. First, if you are in a dance company or ‘troop’ as they say, you may be required to have a matching troop sword. So check with your instructor before you spend your hard earned money.

My personal favorites are the Soroyan or the Soroyan knock off from Knight’s Edge the Hawks Bill from CAS Iberia or Kult of Athena. I like these for a couple of reasons.

They are all heavy enough to feel secure on your head.
They are showy enough to look nice on stage and at closer range.
They balance well and are sturdy, or can be rebalanced easily.
All except the CAS are easy to care for.
The Soroyan style, and the Kult of Athena sword are relatively inexpensive.
They are easy to find and purchase on the Internet.

Pros and Cons:
I know there are many other great swords out there, but these are the ones that I have experience with and believe work best for my personal criteria. The CAS sword finish has to be wiped down with oil after every use and kept free of any pitting elements and stored carefully! But it is the biggest, and it’s impressive in quality and shows well on stage. The CAS is pointy and sharp, so I wouldn’t want it in close quarters or at a belly gram, where it might impale someone’s darling little poodle. It’s definitely a stage only sword.

The Kult of Athena (KoA) sword looks similar to the CAS and it’s shinier, but is not as well made in the hilt – however I’d still recommend it gladly since the finish is easier to care for. The KoA sword is a little bit shorter, but does come with a scabbard. It does not need the high maintenance care of the CAS sword.

The Soroyan style is easy to care for, durable and pretty and feminine, also very safe for dancing in small places, since it’s really no more dangerous than a golf club. The only downsides are it does not come with a scabbard and the hilt is not strong enough to do figure battle type swings and rotations with.

You must treat all of your dance partners (including what some people call ‘props’ – canes, veils, etc.) with respect - build a relationship with them. A sword is no exception. Each sword is a little different, and has its quirks and it’s history. Reading this article is only the tip of the ice burg. Take the time to study sword with a good instructor like Ansuya, Suzanna Del Vechio or Princess Farhana. Research the topic on Shira’s site (www.shira.net) or on Bhuz. Check out videos if an instructor is not available, Princess Farhana’s is a good place to start. With practice and patience, your sword can add mystery, danger, excitement and proof of fabulous technique to your performance.