Updated 10/17/2025
Over the years of teaching in Port St. Lucie I’ve helped so many students build their first solo routines, and I’ve picked up what works (and what trips people up). Let’s walk through a guided method to create your choreography — simple, effective, and fun.
Step 1: Pick your music
It’s tempting to hunt for the “perfect” song, but here’s what I tell students: don’t stress until you’ve moved. The music won’t save you if your movement is flat. If you’re torn between a few choices, pick the shorter one. I once chose a 4 minute track for a beginner student; she looked at me after month four of practice and said, “I think I liked it better when I thought I could dance longer.” So we trimmed it to under 3 minutes and she relaxed into it.
Look for variety in your music: slower sections, faster ones, shifts in rhythm or melody. A monotone beat is harder to write for. Songs with contrast give you places to travel, stop, accent — good material.
Step 2: Listen deeply and research the piece
Once you have the music, play it repeatedly. Listen to the instruments, the rhythm changes, the lyrical feel (if there are lyrics). I had a student pick a beautifully recorded piece, but when we researched the lyrics we found they were about heartbreak, and she was planning something joyful. So we swapped the track. Knowing what the song says (or implies) helps you shape your mood, your energy shifts.
Find out the style (folklore, Oriental, drum solo, modern fusion). Notice whether the instrumentation is old-school (oud, qanun) or contemporary (synth, electric). This will influence your costuming and movement style. According to recent choreography advice: “Listen to the song as many times as possible… knowing the music’s ins and outs gives you more possibilities.” worldbellydance.com
Step 3: Break the music into sections
I like to map the piece into manageable chunks — 20-30 seconds if possible. Listen for changes: maybe an intro, then a moderate beat, then a drum break, then a slow part, then fast finish. Mark these in your notes: timestamps or descriptors. Let me share a real example: for a 3:45 track I taught last month I wrote: 0:00-0:30 intro (soft melody), 0:30-1:10 rhythm picks up, 1:10-2:00 dramatic middle, 2:00-2:30 drum break, 2:30-3:45 finale. Having that map helped the student feel less overwhelmed.
Write what works for you. You might say “melody drop” or “drum roll here” instead of formal music terms.
Building movement and giving your dance life
Now you’ve got the skeleton. Let’s flesh it out.
Step 4: Plan how you’ll move on the floor
Here’s the best tip I’ve ever gotten (and now pass on): decide how and when you’ll travel before choosing exact moves. I remember the first time I performed solo and I walked straight on stage, music kicking in, and I completely forgot my “spot” and ended up stage-right when I intended center. The audience got a bit confused. So now I tell students: plan your entrance, plan your travel, plan your “stand still” moments.
Give yourself 15-30 seconds before you start your key steps — let the audience settle in, let you settle in. Then choose a big circle or sweep to one side, then maybe a diagonal, then sidle in front. When you spot your main dramatic moment (often about ¾ way through), make sure you’ve worked your path so you’re front center at that moment. Then plan your exit — travel off with grace.
Step 5: Give each section its own character
Label your chunks with feel: “smooth & flowing”, “sharp & percussive”, “travel big”, “stationary accents”. For example: a slow lyrical passage might call for arms reaching, soft hip figure-8s, eyes up. Then a drum break might demand a crisp ribcage drop, strong hip locks, footwork.
I once had a student dance a segment of her routine and when I asked her how it felt she said “like sugar sliding down a spoon” — perfect imagery for smooth movement. We wrote that next to that section. Using words like that helps you feel the shape.
Keep audience in mind: vary your levels (bend, reach high, plug low), change directions, face different sides, maybe even gently turn your back to stage for a moment (it’s dramatic). Don’t let the whole dance look flat or predictable.
Step 6: Fill in steps and rehearse
Now plug in movement: in each section pick the step(s) you’ll use. If you’re traveling, maybe a side slide with hip drop; if stationary maybe a circular hip figure with arm flow. Don’t aim for perfect on first try — I tell students, “done is better than perfect”. Modern advice says the first draft won’t be flawless; you’ll refine as you go. Medium Film yourself doing it once or twice. I do this and see where my transitions feel awkward. I found in one video that I was leaning too far forward and my arms looked tired — so I adjusted to more upright posture.
Then practise until you know it. The aim is so instinctive you can stop thinking and just dance.
Step 7: Keep it real and audience-friendly
Your choreography needs to feel interesting. Yes, you can repeat some steps because repetition gives structure — but change your facing, vary your arms, add a shimmy or a pause for effect. I had a student who loved backbends — she dropped one in just after a settled segment and the audience gasped (in a good way). But we didn’t fill the whole dance with backbends; we spaced them out so they stayed special.
Finally, mind the details: arms matter, head and feet matter, your gaze matters. Ask yourself: where am I looking? Which direction am I travelling? Does my costume support my movement, or hinder it? I’ve seen dancers choose a skirt that tangles when they spin — so we swapped to something more manageable.
Modern tips advise thinking of audience focus: if you’re doing detailed hip work, maybe don’t distract them with wild hair toss at the same time. Let one thing shine. Iana Dance
Step 8: Add expression and polish
Once the moves are set, breathe life into them. Think of your face, your breath, the story behind each motion. The audience connects through your expression more than your technique. Try smiling when the melody lifts, softening your eyes during quiet moments, or adding a playful glance during a drum accent. I tell my students, “Let your face dance too.”
Do a few full-run rehearsals where you focus only on presence—posture, eye line, transitions, how your energy rises and falls. Small adjustments here make your choreography feel complete and emotionally real.
Let your dance speak and feel
When I step on stage or into the studio mirror, I remind myself: this is my voice speaking with movement. I’ve felt the drum, the pause, the release. I’ve travelled the space in my body. You will too.
So pick your music, divide the parts, plan your path and your character, fill in your steps, practise until you feel ready — and then allow the dance to breathe. Let your movements come from a place of listening and responding.
You’re not doing someone else’s routine, you’re crafting your own. And I can’t wait to see what you bring to the floor.
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