Intro-Extro Improvisation

JOIN ME for this short and practical recorded workshop, for lifetime access.

Is it easier for you to be an INTROVERT or an EXTROVERT, in improvisation?

Transitioning between these points can be tricky, but you don't have to limit yourself to just one. You can BE it all... and then have it all.

In improvisation or prepared pieces, are you...

- looking down more than you'd like?
- looking outward, but with your eyes moving around?
- looking outward, but with your smile a little frozen?
- not sure whether to focus inward or outward, for different sections of the music?
- shifting between outward and inward, in an abrupt way?
- having challenges with initiating or maintaining eye contact?
- feeling bored or distracted when performing?
- experiencing social anxiety in dealing with a live audience?
- craving techniques to keep you calm and in the present moment?

This workshop focuses on creating smooth transitions between internalized and externalized focus.

Using eyes, hands, breathing, and your presence and energy...
you can guide yourself, in a polished way, through introversion (literally, "turning inwards") and extroversion ("turning outwards").

I share a physical and intentional "shuttle" concept to make moving between these states less intimidating.
Because it can otherwise feel vulnerable, when we want to look and feel powerful.
This method helps.

We practice linked breathwork, visualization, and muscle activation techniques so you can seamlessly guide yourself between these inward and outward modes.

These techniques can be used in online or in-person performances, or even in your own practice in class, or on your own with a mirror. Or if you are a teacher, with your students or company members.

When YOU are in charge of how you support yourself in improvisation and how you convey your energy, you are unstoppable.

GET ACCESS to this practical and powerful workshop, on demand now, for lifetime access.

1.5+ hours of workshop time includes:
- pre-dance mental prep and visualization
- Breathwork for Performance techniques
- dance to different kinds of Egyptian dance music
- post-dance discussion and Q&A

Recommended add-on (below): Breathwork & Baladi on demand

Add Breathwork & Baladi to your order

Just $19 with your purchase today (regularly $25)

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This is my online video training on breathing well with different sections of the baladi, with LIFETIME ACCESS on the Ginger City members’ website.
Dance-along practice drills and demonstrations/explanations of how to breathe for different rhythms so you can stay calm, oxygenated, and comfortable through your baladi, for more natural feeling, facial expression and presence. It also addresses the transition from introverted to extroverted over the course of a baladi progression, where the speed of the music gradually increases.

The material in this compact 42-minute program applies not just to baladi, but to all your Egyptian dance breathing needs! Rhythm- and tempo-based, it's applicable to other dance styles too. Breathing the right way can help you stay calm even while using your abdominal muscles and doing faster steps. You can't hear how the famous Egyptian dancers are breathing on their YouTube videos, but they are breathing, and they look relaxed even while doing complicated movements. This short program puts you on that path too.

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This is some of the feedback I've gotten from this workshop so far:

"One thing that came to mind is that this class is the beginning of a lot more to come! I like the branding (shuttle) because I am a visual person. ...I also liked that it was not stressful and somewhat relaxing... When I was done, I felt refreshed." -Carrie Robinson

"As an introvert who is on the autism spectrum and has trouble projecting extroverted energy outward Ranya's workshop was super helpful. I liked the analogy of giving a piece of cake to people, ie, you're sharing something wonderful with them. I also liked the tips regarding facial expressions, which is something I have trouble with. Definitely would recommend her to anyone who struggles in this area." - Lauren Thorkatla

"Some very good points there [in the workshop], 'shuttle' and breathing and a (different) explanation of why most of the mejanse are "too much" for me: the energy level of the dancer is too high. I used to think it was because the audience can't breathe or digest (no pauses)... Thank you for thinking about those often neglected but so important things." - G.