Nearly Everything You Need to Know About Props

 by Anala Rabari 

Props can be a wonderful way to add interest, beauty, and a new twist to your dancing. They also can give you a new level of challenge. However, it's a good idea to think about the time, effort, and expense that they can require before investing in them.

 As there are a number of props that are popular in belly dancing, this article will be written in installments.  To aid the reader in finding information on the prop that interests them, categories of props have been created.  As the sections for each prop are added a link will become available in the category list.

For each prop there is information on how to buy or make the prop; additional supplies that you might need; and tips for using, caring for, and storing these props.  Hopefully this will end up being a very useful guide for you to get started incorporating props into your dance.

Flowing props:   Veil - Wings

Hand instruments:   Zils - Tambourine - Drums

Balancing straight(ish) objects:    Canes - Sticks - Swords

Balancing containers:     Baskets - Trays - Tea sets

Fire:   Candles - Shamadan

Flowing Props:  Veil - Wings

 Drama.  That's the only word that can truly capture the effect of flowing props such as veils and wings.  I find double veils (dancing with two veils at once) are a whirl wind of fantasy that mesmerizes.  Whereas wings evoke the ancient majesty of the pharaoh's court as it is forever preserved in hieroglyphic images.

     VEIL

Selecting a Veil

Veils are commonly made of about three yards of fabric in a rectangle shape; however, some are semicircular shaped. Lengths can range from 2 1/2 to 4 yards and are usually 45 or 60 inches wide. Most of the time they are made of sheer fabrics, such as silk, georgette, or chiffon (I would not recommend sparkle organza).

To make sure that the veil is the right size for you hold it behind you while your arms are outstretched. There should be at least 12 inches of extra fabric  extending beyond each hand; if there is less than 12 inches then the veil will be difficult to work with because it is too short.

 When buying fabric that you plan to hem for making into a veil be sure to ask the person cutting the fabric for you to actually cut the fabric and not "rip" it like is usually done.  You want to ask them to do this so the fabric won't fray and will be easier to work with.  Also if you think you are going to sew a lot of your own veils invest in a roll-hem foot for your sewing machine as it will give you a nice, professional looking hem.  Roll-hem foots can take a while to get use to using so be patient when you are learning how to use it.

The color of a veil is usually selected for the way it matches or contrasts to the skirt you are wearing.  Most people feel if you use a veil of contrasting color it should have some decoration in the dominant color of your skirt.  I, however, feel that a veil does not necessarily have to match the color of your skirt or have decorations in the dominant color of your skirt.  Use it to express yourself.  Use complimentary colors or contrasting ones.  Match it to your head dress or your top.  The main thing is to choose the color that you like and that will make you feel great.

Tips on Using a Veil

If making your own veil you can sew trim to the edges that need to be hemmed.  This can help you find the ends by touch instead of by sight when you are dancing.  It may help prevent you from accidentally dropping it.

If you plan to do a routine incorporating the veil and finger cymbals (zils) try sewing a 1" length of narrow elastic onto the edge of the veil where you plan to hold it. Then you can loop the elastic over each ring finger when entering with the veil so your other fingers remain free for playing the zils. When choosing your elastic there is something to consider, you can choose an elastic that will match your skin tone and be less visible (and therefore less distracting) to the audience; however, if you go with a light colored elastic it can become dirty over time and become more visible.

If using a semicircular veil, sew different trim (either by style or size) on the straight edge and the curved edge. This will make it easy for to know which edge you are holding simply by the feel of it.

If you sew a few tiny beads on the edge of the veil at the points where your fingers hold it when your arms outstretched it will make it easier to tell by touch where to grasp the veil when you're in a dark backstage environment.

Caring for a Veil

If your veil does not have trim it will be easier to clean; if it does have trim you are better off seeking a professional garment cleaners advice.  Most veils you can take to a dry cleaner or hand wash yourself.  Silk resists stains and dirt so it does not take a lot of soap to clean (mild soap like Ivory, Woolite, or dissolved shampoo will work).  Always test a small spot for to see if the color is going to bleed and never wash more than one veil at a time as the colors could mix. Never soak, boil, or bleach silks.  Like most natural fibers, silk likes a consistent temperature so use the same temperature throughout the wash.  If silk gets wet, roll it lightly in a towel allowing the towel to absorb the water.  Never leave it in the towel or in a crumpled condition. Hang or lay flat to dry.  If smell is a problem you might try a light mist of Febreze, but again be sure to test a small part to see how the material will react.  You can also try sealing the veil in a plastic tote with a cup full of activated charcoal.  The charcoal will absorb the odor, but make sure the charcoal does not actually touch the fabric.

If ironing is required, press on wrong side of fabric. A low setting may be used and the fabric should be pressed while still damp (if its dry use a spritzer bottle before ironing). Use an all cotton ironing board cover. Don't use a steam setting as it can leave watermarks.  And again natural fibers don't like temperature change, they also do not like extremes for a long period of time so try to avoid leaving your veils in hot cars during the summer or cold cars in the winter.

If you have to store your veil for long periods of time pad any folds that you put in it with acid free tissue paper or unbleached cotton muslin.  This will help prevent creasing (meaning less ironing) and it will also help to protect the individual fibers in the veil from breaking.

Hand Instruments: Zils - Tambourine - Drums

Oriental dancers through out time have used various hand instruments. Their popularity is greatly influenced by cultures and time periods. For instance in today's dance world most Turkish dancers still play zils themselves whereas in Egypt it has become more prevalent to have them as part of the hired band that accompanies the dancer.

A word about hand instruments. I think many dancers tend to forget that the main word in this category of props is INSTRUMENT. To try to just add any of these props into your repertoire without really practicing them as instruments would be a disservice to yourself, your audience, and the art form. Coming from a percussion background, I would highly recommend that you seek advice from percussionists in your area. If you invest in the time it takes you to learn the correct way to play these instruments from the beginning you will find that you will be able to add them to your repertoire faster and easier. Not to mention that your audience will find your multiple talents more enjoyable.

     ZILS (Finger Cymbal)

Finger Cymbals are often referred to by the Turkish word for cymbal, zil, although the plural is actually zilya. However, they can also be called for their Arabic name which is sagat or zagat.

Selecting Finger Cymbals

The first thing to remember when buying zils is that you ARE purchasing a musical instrument. Keeping that in mind, it is more important to pay attention to the sound that they make rather than the way they look. Listen to them a few times before buying. You want a pair that makes a nice bell-like ring or chime and not a clunky sound. Also pay attention to how long they resonate after they strike. A good pair should resonate at least three seconds after the strike, an even better pair will resonate longer.

If you are new to playing finger cymbals it might be best to start with a small pair of zils. They will not sound as loud and be lighter weight than larger pairs. Cymbals that are 2 inches in diameter are a good start. More experienced zil players will probably prefer larger cymbals that are louder and will therefore be heard better over the band or sound system.

When buying zils it is important to note if the pair you are looking at has one hole in the center where the elastic goes through or if it has two slits where the elastic goes around a little bar between the slits. You will want to try to get a pair with two slits and not a center hole. The slit style is a design that gives you more control. After all, it's important that your zils do not flop around on your finger when you are trying to play a steady beat.

Tips for Fitting Zils

The zils should be worn on the first knuckle of your thumbs and middle fingers. To make sure that your cymbals fit you may need to play around with the elastic or replace it all together. I feel that round elastic cord makes it harder to control my cymbals and it often "rolls" on my fingers. Many dancers suggest using a flat braid elastic of about 1/8 or 1/16 inch wider than the width of the slot and I did find that this worked better for me as well. Some dancers use small safety pins to help secure the fitting. Again, as was mentioned with the veil you can choose an elastic that will match your skin tone and be less visible; however, if you go with a light colored elastic it can become dirty over time and become more visible, whereas black elastic will not show dirt as much over time.

Most people need slightly bigger elastic on the zils that are worn on their thumb. Try sewing 2 or 3 beads or coins on the part of the elastic that goes over your thumbnail. It can be the same color as your elastic so its not seen or you can go for something more flashy like the coins (or beads that match your outfit). This will always help you tell which cymbals will fit on your thumbs and can come in very handy in poorly light backstage areas.

Tips for Using Finger Cymbals

Many people say that if you can walk and chew gum at the same time you can handle dancing with zils. Unfortunately, not all of us are that coordinated. Start off slow. Learn to play the zils first. Then try dancing with them on but not playing them, just get use to how they feel on your fingers while you are dancing and get use to the difference in hand gestures that you can do while wearing them. After you are use to this, start trying to produce a ding here and there. Stick with a slow easy pattern and work your way up to faster and fancier ones. Remember you are striving for an even tone, a steady tempo (to match your song), and the correct rhythm.

A supply that you may want to consider investing in is something that is referred to as a zil muffler. This is something non permanent that you can put on your cymbals while you are practicing to save everyone around you and yourself from getting a headache. You can make these yourself in many ways. Toes out of old socks or baby booties can be cut slightly larger than your zil then insert elastic or a drawstring in them to secure in place while you practice. You can also do the same by using a lightweight fabric that won't ravel, such as felt or a knit. Many dancers crochet their own mufflers (a pattern can be found on the website www.shira.net) and more vendors are also starting to sell these. You can even use painter's tape (like the kind used to protect windows from being painted) to cover the strike surfaces while you practice to muffle the sound. It's very important that you get the painter's tape and not something else as other tapes can leave residue that is hard to remove.

Caring for your Zils

Most dancers may not think about needing to care for their zils as much as other props because they are not delicate in nature. However, you should be mindful about your zils becoming tarnished and looking poor. Luckily this is easily fixed with a quick rub of brass polish then your zils will be bright and sparkly for your next show.

Another maintenance issue with zils is to make sure that the cups of the cymbals are free of any debris. Elastic, safety pins, or buttons inside the cups of your zils must be small otherwise they can interfere with the sound. If you strike your zils and they do not produce a nice ring check to see if the cup is obstructed and adjust accordingly.

You may want to invest in a small drawstring bag to keep your zils in; they come in handing for carrying your cymbals from point A to point B and they can help you from losing a zil here or there. Most are made from velvet or other pretty fabric; some vendors sell them, however, they are also easy to make.

Balancing straight(ish) objects: Canes - Sticks - Swords

This category of props is great because it is a mix of old and modern props.  Cane and stick dances go back centuries and were born out of women creating parodies of the martial art work that the men practice.  These pieces are often very playful with hoppy energetic moves; in contrast, sword dances are slow, sultry, and fascinating.  The audience always wonders what you are going to do with a sword.  Although there is some documentation to female sword dancing, historically it was a man's dance.  That is until recent times.  Sword dancing is most common with Western dancers at Renaissance Faires, folk festivals, restaurants, and nightclub acts. 

     Sword

Selecting a Sword

If you are new to sword balancing you might think that it is better to start with a lighter sword, but this would be a mistake.  It would be far better for you to start with a heavier sword so that you can condition your muscles to carry a good weight from the beginning.  Also heavier swords tend to stay in place more easily than lighter ones.  Now, don’t be fooled, even though heavier swords stay in place better they can still be just as dangerous as lighter swords if you are outside in a wind.  Another aspect of the sword to consider is the curve of the blade.  Swords with slightly curved blades, like sabers or scimitars, will be easier to balance than swords with straight blades.  On average most swords are around 3 to 4 ½ pounds in weight and 3 feet 3 inches long.

Dancing swords are especially made for dancing.  They are weighted and balanced just right because they are made for this specific function.  Do not try to use a sword that you happen to run across in an antique store, unless you can tell it’s a dancing sword, the majority of the time these swords will probably be old military swords, ceremonial swords from fraternal organizations, or marital arts swords and they just won’t work for what you are trying to do.  You will do better to go to a reputable dance vendor to buy your sword

Always try to buy a sword in person so that you can inspect it yourself.  When buying a sword try balancing it on the palm of your hand first, this way you can see that it will balance properly.  You want it to stabilize in a completely vertical position.  It should not lean. If you cannot get it to balance on your hand DON’T buy it. Likewise if the merchant, or any friends who are with you at the time, cannot get the sword to balance while you stand there, than you probably won't be able to fix it somehow after you get it home to get it to balance.

You do not necessarily need a scabbard for dancing or storage to go with your sword.  Not all swords are sold with scabbards.  In fact, I don’t even think scabbards are made for scimitars or other swords with curved blades.  However, if you do have a sword with a scabbard you can make unsheathing it as part of your routine.

I would like to caution you about chromed swords.  Chromed swords look great; however, chrome is slippery so these swords are more likely to slip on hair or fabric.

Tips for Using a Sword

When using your sword always hold it by the hilt with the hand you write with, this is referred to as your dominant hand.  You should do this because it will enable you to have more control over your sword.  Your other hand should be in what many refer to as “danger hand” poses.  This helps convey to the audience the sense of danger, mystery, and drama that you want them to have as you dance with the sword.

Always remember that even though these swords are made with dull blades, they are still weapons.  Sometimes the best thing you can do if you are losing your sword is to hop out of the way of its fall.  It’s better to get out of the way than risk cuts, sprained wrists, broke toes, or worse.

As a showmanship tip you should always treat your sword as a deadly weapon.  Never grab the blade forcefully or full handily (i.e. wrap your hand all the way around the blade).  Remember your “danger hands”!  Handling your sword improperly will just pull the audience out of this mood that you are trying to create because they will know there is no real danger.

The biggest hurtle to a sword dance is the sword slipping.  So you must think through the surfaces that you are going to try to balance your sword on.  If you are going to balance your sword on your head beware that clean hair is slipperier than hair that has not been recently washed.  There are a few ways to get around this.  You can use a little hair spray on your head where your sword rests.  You will want to do this before you perform because this will make the hair sticky and the sword will be less likely to slip.  If you are more of a traditional or tribal style dancer you have the added advantage of using head scarves and/or turbans that can also help keep the sword in place.  Although, again, you have to be cautious because if your headdress is not anchored properly it will slip and the sword will go with it.  If you decide to try a headdress use a cloth one instead of ones made of chains or coins.

When balancing the sword on other parts of your body you will need to consider costume concerns.  Is your costume made of some material that is really slick?  If so you will probably have problems with slipping.  Does the costume have a lot of trim, beads, fringe, or coins at the place where you are going to try to balance it?  If so again you may run into problems of the sword not being in a secure place.  Always practice in your costume with your sword before you go to perform.

If you are still having problems with your sword slipping try rubbing an inexpensive votive candle or beeswax on the edge of your sword that rests on your head.  Again this will cause a more textured contact point that will help prevent slipping.  Keep this with in your dance supplies (in your sword bag).

Think twice, even three or four times before agreeing to do a sword routine outside.  Even if your sword is the heaviest one in the world and there’s just a teenie tiny breeze, your sword can still be thrown off balance.  If you are dancing outdoors give serious consideration to using a headdress (see above).

If you are traveling via air you can not carry your sword on board the plane (the airlines just frown on it for some reason).  Place your sword in a rifle case to protect it as you will have to check it with the rest of your luggage.  You may even want to investigate having it shipped rather than taking it on the plane at all.

Consider making or buying a cloth carrying case with a shoulder and hand straps for transporting your sword.  You should put extra padding in the end where the point will be for protection.  You may also want to put small pockets on the outside for keys, zils, and other paraphernalia.  All this will leave your hands free to open doors, pass out business cards, or even sign some autographs!!

If your sword does not have a scabbard, consider putting a cork on the point so you won’t accidentally poke someone while you are carrying it.

Before dancing with your sword you should really exam the construction of it.  Pay particular attention to how the hilt and the blade are attached.  Some swords are one entire piece of metal that has been shaped into a sword.  However, other swords are two separate pieces one the hilt and the other the blade.  If yours is two pieces make sure that they are attached securely.  If your sword has a knob (or bolt) at the hilt that piece can often screw off.  To help secure this fit you can get o-rings from the plumbing department of a hardware store.  You do not want to dance with a sword when it has loose fittings.

If you are having trouble balancing your sword and it is the kind where the hilt can be screwed off you can try turning the hilt the other way on the blade.  Often this will tweak the balance of the sword in your favor.  However, I find that this makes the sword difficult to handle when you are not balancing it, because now the handle is on backwards.

So you’ve finally got the sword up on your head and it’s not slipping but its starting to rotate on your head.  Well obviously you don’t want that to happen.  There are two tricks you can try in this case.  First the less obvious is to only move your eyes so that you are looking at the tip of your sword.  Do not move your whole head or tilt your chin, this could cause the sword to slip off entirely.  If your sword does not stop rotating with this trick, very carefully get your dominant hand behind the hilt of your sword and hold your hand up in a “Stop in the name of love” pose.  The sword will softly bump into your hand and its movement will stop.  Then graceful move your hand back down away from the sword.

One thing that dancers often do not think about is how the sword will affect the rest of the body while you are dancing with it.  You know all those beautiful poses you do with your arms extended in the air above your head.  Well you can’t do those the same way with a sword on your head.  When the sword is on your head you must carry your arms in a more forward position to avoid getting in the space of your sword and accidentally hitting it and knocking it off.

If you are daring you can “dress” your sword up a little by tying a tassel to the hilt.  There is an advantage and a disadvantage to this.  The disadvantage is that the tassel might affect the way your sword is balanced, so you might have to play around with the weight of the tassel you use.  The advantage is that you can use the tassel as an indicator to you of what your sword is doing, especially if it is on your head where you can not see it.  You can feel if the tassel is hitting you toward the front of your shoulder or the back of your shoulder so you will know if it is rotate any.  If the tassel suddenly hits you lower on your shoulder than it normally does than you know that your sword is slipping down.  You can also change the color of the tassel to better fit your costume.

So your lucky enough to go to a two hour sword workshop.  You start out alert and excited ready to go then you dance through the first hour.  You find yourself getting a little tired and your neck is killing you, at this point you might try practicing the balancing tricks with the scabbard which is lighter weight.  If you do not have a scabbard, take a cane or a lighter weight book to use when you get tired.

Dancing with a sword requires your full attention. NEVER perform or practice sword dancing when you have a hangover or lack sleep.  Balancing sharp, heavy objects can be dangerous.

Caring and storage

The biggest issue of care for a sword is yucky rust.  The good thing is that rust is easily prevented and controlled.  To prevent rusting keep your sword in places that water cannot get to it.  Also always keep the sword coated with a thin layer of rust resistant oil.  You can pick this up from any knife store or hunting supply company.  You don’t need to get a big bottle of it either as a little goes a long way.  If your sword does rust a little brass polish can restore the shine.

Never allow audience members to hold or touch your sword.  For one if you have made any alternations to your sword they may see them and think that’s the “trick” to sword dance, when actually these things only help a little.  The second, and the more important reason, is that you do not want to open yourself up to any liabilities.  If a child just so happens to get a hold of your sword and an accident follows you do not want to have to deal with angry parents.

As far as storage aspects, swords are one of the easier props to deal with because they are made of metal which is a medium that does not require a lot of specific care.  Your sword can be stored either laying flat in is scabbard or just on a shelf.  If you do not have a scabbard you may want to line your shelf somehow so the sword won’t scratch the shelf.  If you do not have shelf space you could hang it from a hook by its hilt.  You may consider padding the hook so the hilt does not get scratched.  Or you can set up a system of hooks so that your sword can be hung parallel to the floor.

Fire: Candles - Shamadan

Fire can be an excellent prop when you want to add an element of danger, mystery, drama, or intimacy.

     Candles

Selecting Candles and Holders

When selecting a candle holder remember that elaborate is not always better. The audience will be impressed by the concept of a fire dance alone so there is no need to get really fancy with your candle or holder. Remember sometimes simple is better.

For inexpensive holders and trays try looking at garage sales, second-hand stores, and antique shops.

You want to select a candle and holder that have a low center of gravity because it will balance better. Shorter candles and holders have lower centers of gravity than taller ones. This also means that you need to try to balance the candle and the holder together to make sure that the combination of the two will result in a low center of gravity.

You can use holders with stems that your fingers can fit around, or that have flat bottoms. The main thing is to try a few moves with the holder in your hand while in the store. Depending on the shape of your hand one type of candle holder may work better for you than it does for your friend.

You can choose holders that have designs molded into the glass or mirrors on the sides which will allow the flames' flickering to be enhanced and reflected. But again try a few moves with these before buying them to make sure that you can hang onto them and they fit in your hand.

Tips on Using

Practice, Practice, PRACTICE! Go through your routine many times in private with an unlit candle in the candleholder before dancing with a lit candle. Next practice in private with a lit candle for a while and then you can perform your routine in public.

Always make sure that there is a fire extinguisher handy. You never know when an accident might happen. If the place you are performing won't supply one bring your own. And ALWAYS make sure that your candles are really put out when your piece is finished.

When you start to practice with lit candles do not go straight into your whole routine. Try some simple moves one at a time and slowly add on more and more moves until you work your way up to the full routine.

DO NOT practice with empty candleholders. You need to start getting the feel of the correct balance right way. An empty candleholder balances a lot differently than one with a candle.

When using a tray of candles arrange the candles so that the tall ones are in the middle with shorter ones towards the edge. The candles should be space evenly. This will help to balance the tray.

Also you must hold on firmly with both hands when you are using a tray of candles to help ensure that you don't drop them and accidentally start a fire or burn yourself.

A small globe holder in each hand while doing different arm/hand movements is a beautiful sight.

Balance a single candle in a holder while doing floorwork. You can balance it on your hand, and then move it to your head, or even your foot!

Balance the candle on her head while going into a backbend and then move it to your stomach. While you are in this position try some stomach rolls or flutters.

In a Pharaonic mood? Hold a glass globe with votive candles in them in the palm of each hand. Now, strike a pose reminiscent of Egyptian Hieroglyphs and slowly move your arms from one pose to the next.

If your candle holder is simple and a little plain and you would like to dress it up consider gluing small mirrors to it in order to reflect the light of the flames. But be aware of how this will affect the balance.

To help keep candles in place you can use a little sticky tack or candle adhesive.

Keep two means of lighting your candle in your bag (i.e. 2 books of matches, 2 lighters, or a book of matches and a lighter). When one runs out replace it. Never depend on others for a light.

Don't try to do a tray dance with clean hair as objects slip more on clean hair. If you have problems with the tray slipping you can try to use a small, thin piece of gripping foam material under the tray.

Always make sure to check with a venue representative that it is ok to perform with fire in their space.  And keep yourself informed about various fire safety codes.

If you can't use a real open flame at your performance venue try using electric candles.  True it's not the same, but it might be better than nothing and these days they are getting better and better at making electric candles that look real.  And they make electric taper and tea light candles.  If you take this option make sure you have extra batteries in you dance bag.  Also be sure to practice with these at home just like real candles so you can get use to the way they balance.  This is especially important as these electric candles can be quite heavy.

Caring For Candles and Holders

If you are using metal holders be sure to clean them off if they start to tarnish with the appropriate cleaning agent for the type of holder you have (i.e. brass or silver polish).

Always clean the wax off of your holder between performances, particularly if you are using a tray. Wax build-up can get cracks in it that you cannot see and cause what you thought was a secure candle to slip out of place.

Keep your candle wicks trimmed to the appropriate length for easy lighting and always use a candle that has been pre-burned. Never try to go into a performance with a brand new candle because they are sometimes hard to light the first time.

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