Musings on Karim Nagi’s lecture

 

This lecture is very interesting. "Gateway drug", indeed! 10 years ago or so, when I started dancing, I had only a vague idea of the origins of belly dance. While I've always had a fascination with "The Orient", it was exactly that – a sort of Orientalist fantasy of the Arab world. I didn't know any better than that, even my initial visit to Turkey, I viewed it through those eyes. Through learning belly dance, I came to love this culture and its other dances. I've learned about its food, some of its language, its politics, its culture. Part of it, of course, as we come up on the anniversary of September 11^th, was that I wanted to oppose what my country (the United States) was doing in these other countries, the way that people were being portrayed. I'll never forget how everything was being blamed on the Palestinians at first, before they knew – and I was already sympathetic to Palestinians since one of my friends went to work at a relief organization in Israel/Palestine during college, and carried back her stories. I'll never forget my horror as my colleagues at work cheered on the bombing in Iraq, which to me I could see as innocent people being killed for being in a place. I did not want to be part of the ignorant masses who generalized all Arabs as Islamic terrorists. So, not on a conscious level, but probably as some kind of subconscious reaction, I threw myself more into learning about Arab culture than I might have otherwise.

I had to evolve though; at one time, I would have questioned why I would want to do a folkloric dance where I didn't get to wear a "sexy" costume. I had to grow up as a person, as a woman, and through exposure to people like Karim Nagi, Katia, Shadia, and other people who work so hard to maintain these dances in the context of their original culture, grow into the person that I am now. I can't see how any of us outsiders can achieve that without the leadership of natives – Arabs or Arab-Americans. On the other hand, I'm not sure how financially rewarding it can be if you _don't_ pander to the "fun and fitness" crowd. That's something I have been struggling with lately. To invite interest, do you market the dance to the potential audience (let us say, the general American public) in the way that it is most palatable to them? Or do you market it for what it really is – and risk not having a market? I was reading a description of dance classes in an Adult Ed catalogue and noted that Persian dance was being listed as Persian folk dances, and wondered – why do we never see "Egyptian dance" in these catalogues – always belly dance and therefore, at best, it is Raqs Sharqi if it is related to Egypt at all? Would people take an Egyptian dance class that _wasn't_ bellydance? If they would take a Persian dance class, or a African dance class, then why not an Egyptian folkloric dance class?

Of course, this video is mainly about how Arabs need to represent themselves in the belly dance industry. It is not about how I, a non-native, represent their dance; but of course, for me, it is. That's what I have to take out of it – am I helping – or harming – these folk dances [and Raqs Sharqi too] – which do not belong to me?

http://www.youtube.com/watch?v=yPvGkbRd6h0

Just one small thing now, about something mentioned in this video. It's the term "Middle Eastern Dance". I have understood Karim's reasoning for some time, since the Arab Dance Seminar he held in Boston. However, I still believe you need a bucket term beyond Arab dance, and here's why. At least, for Raks Nativity, I can answer why we chose to subtitle it "The Christmas Story in Middle Eastern Dance". It's not just a marketing thing or a fear of using the word "Arab"; it's because I wanted to be able to include a Turkish-style dancer or Greek-style dancer if the show called for it. It has not happened yet, but it could. We could also someday include a Persian dance – perhaps. I like to allow the show to shift and change, depending on the talents of the casts. One day, we may have the three magi representing three countries – India, Persia and China even. Unlike Tchaikovsky's nutcracker, however, I would only want to do this if we could find dancers that were knowledgeable in the dances of those cultures.

Currently the show is mainly Arabic-style folkdances including:

• Raqs Baladi (Egypt)
  
• A Bedouin Dance (??? – I didn't compose this one so I'm not sure which Bedouins it represents)
  
• A Melaya Character dance (Egypt)
  
• A Saidi dance (Egypt)
  
• A fantastical representation of Andalusian (which was based on a fantasy dance created by an Egyptian, since no one knows what the Andalusian Moors danced like)
  
• Raqs Sharqi (for the Angel Gabriel and the North Star)
  

In our past incarnations, we also had the horse dance, which was modeled after a dance I had seen on Youtube and folkloric videos, going back again to Egypt. Plus there is plain old bellydance, in the form of the street performer balancing a tray of tea on her head, or the villagers at the end dancing to a drum solo (though that, I might argue, could also fall under Raqs Baladi). The focus on Egypt is probably due to my personal attachment and love of Egyptian dance in particular.

Overall, one of my goals for the show – beneath the ultimate goal to entertain – is to share the _other_ folkdances, beyond Raqs Sharqi, with a more general audience.

Cocktail: A Cabaret Bellydance Workout

I am reviewing the aforementioned World Dance New York DVD release. It is another line in their dance workout DVDs. I own the trio Luscious, Love Potion and Hard Candy and you may have read my reviews of those products. My main complaint was that the music used was not at all bellydance music. Cocktail not only meets that need with true bellydance classics, but it also keeps it exciting by following the American Cabaret 5-Part routine. The thirty minute workout has two full routines, with everything from the chiftetelli to the drum solo and even a karsilama. There is an optional 60 minute beginner's drill section to learn the movements. A non-beginner may want to review just to get the cueing as Tanna Valentine may use different terms than one's own training, but as a 9-year veteran of bellydance classes, I was able to pick up the workout choreography on the first runthrough just by watching and following along. Because it is short, easy to follow, and has a lot of variety, I can see myself picking this DVD out of the workout DVD pile more often than its sister DVDs.

I was totally flashing back to my many years of classes with Amira Jamal, with the music and many of the movements – to the point where I wondered if Tanna and Amira come from the same New York American Cabaret lineage (and it turned out that they did share a number of teachers though they wouldn't have crossed paths as 20 years separate their dance careers in New York).

It was easy, as I mentioned, to follow along to the simple choreographies, suitable for a beginner class recital piece. The DVD covers a full range of movements from percussive hip hits to lyrical arms. I was actually sweating by the end, during the rousing Mastika finale. Let me repeat how thrilled I was that this workout DVD brings the real bellydance music and the 5-part routine to a broader audience. I also liked having the real music because I found it more inspiring and fun to dance along with – the choreography was simple – yet musical. Tanna managed to keep it clear and easy to follow while also following the phrases of the music.

This DVD also includes a bonus make-up section, a selling point for me. I had also won a gift certificate from my workplace that made it possible for me to buy this lighthearted, but not necessarily essential DVD. Overall, I would say that it's a great DVD for a beginner – far superior to the Neena and Veena DVDs. However, for an advanced dancer, it would not provide enough of a challenge. Nevertheless, sometimes I just need a no-brainer workout. I could also argue that you could – as I did – modify the workout by adding your own style and flair, putting a shimmy on top of movements, or ornamenting the hands.

Fabulous Faten!

Here in Boston we were lucky to have Faten Salama come and teach us a portion of her Almassreya curriculum. We sure packed a lot into a single day: Nubian, Saidi, Ghawazee, Mohammed Ali street, Beledi, Melaya Leff, and Khaleegy!

It was nice that we spend a significant portion of time on Nubian, as not many people teach that. Not that I see much opportunity to perform Nubian, but it's always good to expand my education in Egyptian dance. Nubian uses a similar step to Khaleegy, and the music has a distinctive sound to the voice and the drumbeat. I could definitely see the African influence (well, being that Egypt is IN Africa, I suppose it's all African dance), with the chest and the posture. I feel like we don't see a lot of Nubian dance in the USA and it does make you wonder why this particular folkloric dance has been so neglected here. Because the Egyptian stars are doing it – Dina, Leila, Yasmina – they all do Nubian pieces in their sets. Often the CDs created by dancers contain a Nubian song, but to this day, I had never learned it. Again, I don't see myself performing it as it really seems geared towards group folklore and I don't have an opportunity for that, but it is great to expand one's mind.

I enjoyed learning some new cane moves, as well as a new look at some familiar ones. When we got to Mohammed Ali street (Awalim style), that's when I really got into it. I love the gumption of this style – it takes no prisoners! Of course, you could say the same for the Saidi style, in a different way – it is strong and proud and you never forget that the stick is first and foremost a weapon. We learned a bit – not enough – about the Ghawazee and their use of the cane vs. the Saidi style. You could say that about every topic - not enough! I wish we really had the three days that she normally uses, but then I never would have gotten to do it (family obligations and all).

Melaya leff was surprisingly difficult – just learning to manipulate it – get it wrapped quickly and unwrapped. Faten could go from a full melaya wrap to having it over her arms swinging it while she hip-dropped in less than 5 seconds. It is going to take a lot of practice. But I got some great tips on how to wear the melaya and hold it, that I hadn't gleaned from the melaya leff video I own (it's a Dr. Mo choreography). I would also like to know more about why melaya leff and eskandarany are so different – usually they are presented together – even in Egypt when I saw a folkloric show. I wish there had been more time to ask questions about that.

We also learned how to apply these movements to pop music. Most of the pop music today sounds just like our Brittney Spears and Katy Perry – I can hardly detect the Arabic music in this pop, with their 4/4 Western beats. The lyrics are in Arabic, but that's where it seems to end. So, I guess you could say I am not a fan of pop music. If I'm going to dance to pop music, it will be sha'abi. However, overall, the idea that these folkloric movements are the basis for dance – and appear in our dance – came home again and again. Steps I had learned in other choreographies were revealed to have folkloric roots and meanings.

The Joys of Live Music

My teachers would always tell me how superior live music was to recorded music. It took me time to come around to their way of thinking – live bands generally scared me – all that uncertainty. But that same uncertainty that can strike fear in one's heart can also bring wonderful little surprises. Not to mention – tarab – can only happen with live music.

Today was a perfect example. Za-Beth hired some wonderful musicians for the post-workshop in honor of Faten Salama. A number of them were musicians that had danced with her in the days of El-Morocco - the Legendary Udi Joe Kouyoumjian Enssemble. Joe played the oud, with Hago. Garo was the drummer and he did a great job tonight accompanying the music with great enthusiasm and fast fingers. John joined him on the Riqq. The violinist played soulfully – believe it was Harry Papazian, Garo's father. Hagop Garobedian skillfully played any tune we dancers requested on the keyboard, and sang. If I got any of these names wrong, it was because I had to remember them from the introductions!

We only had 5 minutes, so I requested Raks Leila, originally played for Samia Gamal, but made famous here by George Abdo's version. So it's an Arabic song that most bands around here are familiar with. And, as people learned, it's better to choose a song that the band knows how to play than a song they don't! I usually hesitate to request it because it can be easily confused with the Khaleegy song "Leyla Leyla". But I sang the melody and got my request.

The song and melody was exactly how I expected it, but the surprises came in the middle! I had asked for one taqsim, as Raks Leila customarily has a chiftetelli. I received not one, but two (and possibly three) taqsim breaks! I danced with the oud and I danced with the violin. And I think there was a time when the two instruments wound themselves together, along with the constant accompaniment of Garo's drumming. Having recently been working with Ranya Renee's Taqsim DVD, I felt incredibly lucky to have this chance to experience the taqsim with live musicians. My teacher, Amira Jamal, talks about when you stop thinking when you dance and all you do is feel – I can remember when in this performance I said to myself – "Oh, I'm just going to feel the bliss now – not worry about what I look like!"

The band did a wonderful job playing for everyone today. I love live band performances – even if you aren't thrilled by a particular dancer, you can still dig on the music. And if the dancer and the music are in sync, it's perfection. At the end, they gave us "one final song" that turned out to be a medley of the greatest hits of Arabic, Turkish, and Armenian music – from Mavi Mavi to Ya Mustapha, Ebaad ("Leyla Leyla") to a beautiful chiftetelli.

They announced that they play at Basha Café on Wednesdays and Shiraz in Watertown on Fridays. I hear the food at Shiraz is great, so I may have to make myself a date to go out for music and food!

Hubris

Around the time that we began the Raks Nativity project, I learned the word "hubris": exaggerated pride or self-confidence. In other words, "who do you think you are?" And secretly I would tell myself – this is hubris, doing this. Who do I think I am? I'm not an established choreographer, a well-known teacher, or even someone that has put on a small hafli. So what am I doing? But, I told myself – I had this vision, this idea, and so, who better to do it? If I don't do this, who will?

Nevertheless, I planned for small things, a small theater with a small financial investment, small expectations for the event, and small demands on my cast. I didn't want to overextend. After all, it was the very first time I was doing many of these things. Sure, I can dance – but I had never choreographed for more than two people before. I hadn't written and directed a show aside from that time in sixth grade. I hadn't even acted in any community theater since I was eighteen. I certainly had never asked people to put their faith in me, first the performers who agreed to put in hard work and effort into this newborn show, and the audience, who had never seen a show like this – and not from me.

With encouragement from my co-producers, we forged ahead, even when things seemed darkest, like when our original choice for roles were injured, when we lost the full involvement of one co-producer for a time, or when only a few people showed up for auditions. At the very beginning, we even got rejected from a charity! They did not want our money, I kid you not. Bravery was required when I signed the contract with the lighting/sound technician, knowing that my nightly anxiety attacks would end (and they did) once I knew that we'd have that taken care of – but committing a large portion of my expected proceeds to this cost – the first one I couldn't just pay out of pocket.

I do credit my own project management experience in some of this. I evaluated the risks – running late for example – and tried to mitigate them. I kept endless documentation and sliced and diced the show data in dozens of ways, providing documents for different people according to their needs. I organized a collaborative website to communicate with my co-producers. I used my technical skills to create the website and set up the online payment, and then my writing skills to write press releases and occasional email blasts. So, that's the special thing I have brought to the table – the skills I use daily in my completely unrelated day job – that not every dancer or show-organizer has. So who the heck am I? A technical project manager AND a dancer, and I needed both to pull this off. Cool.

Of course, our cast members all came to the table with their own talents, from graphic design, to stage management experience, musical theater, a collection of Middle Eastern clothing, local knowledge, and technical writing. Everyone contributed in ways more than their performance alone. For the scenes themselves, it's important to note that while the broad framework – and in some cases the choreography – was set forth for the performers – the performers brought their own ideas, choreography (or improvisation), and creativity.

So it is with some amazement that I look back at Raks Nativity two weeks ago. That thanks to the hard work and diligence of all involved, we had a seamless show in a nearly sold-out hall. Friends came through and played our bit roles, in some cases, becoming the stars of the show (hellllo sheep!). We raised more than my meager expectations for the charity, adding to that number with the DVD sales. Now I must face one of my greatest demons – math! – as I calculate for the expenses versus the profits, and the money which is stored in various formats – cash, PayPal, checks – and try to bundle it into a single donation for Cradles to Crayons.

Happy holidays to all in this cold and yet generous season and here's a toast to things to come in 2011!

Just Two Weeks Away – and I’m Amazed at How Far We’ve Come To Get Here

I'm in a state of amazement right now. The show is two weeks away. I got a call today from a reporter, looking to write a preview on the show. I gave an interview, which I was totally unprepared for. Ticket sales are starting to pick up, and like I said, the show is only two weeks away. It's all coming together, as I reflect now on where this started. From the germination of an idea, first guarded then shared with friends – who encouraged me and added to my idea. The burst of creativity as each dancer and actor who has joined the show has added something of themselves. Whether it's been the creation of an interesting costume, the development of an initial concept into a full-blown scene, or even just a suggestion on how a scene could be improved – I am reeling from the generosity of my fellow artists. I really couldn't have done this without them. It's really a collaborative effort – and I wouldn't want it any other way.

On the same topic but a different feel, I also want to express amazement at how much I've learned in this process. The challenges have been huge. I've had to learn a lot of new skills, promotion and publicity, graphic design (for the flyers), stage directions, building props and costumes, music editing, and even learning a bit about lighting/sound options. I've had to use my project management skills in a way I've never done in my personal life before, sending countless emails, making spreadsheets, lists, checking on due dates and checking in with people. It has also pushed me to be more assertive, though I can still see I need more improvement in this area. I've had to do such things as make decisions between two options, make a stand on something I want if it matters to me, and even navigate the uncomfortable waters of selecting people for the show. Actually due to our low turnout at auditions, it wasn't too difficult – many people are playing 2 roles!

If we do this – or another show – next year, I will be able to take these lessons forward. If we do the same show, I will be able to take a lot of things forward, from the script to the choreography to all the promo materials. I will definitely need a break from Production after Raks Nativity, but I have to say – I'm already thinking of what we could do next year – and even of the plot of another show. The main thing I need though for these narrative productions that I want to produce? More men. Most stories involve at least one man, especially love stories! At any rate, I never dreamed I would be this close to realizing a dream of mine (to produce a bellydance show with a narrative storyline), and here it is. It's happening. It's for real. Thank you to the people who believed in me – and in my idea – and helped make it what it's going to be. In just two weeks! *squeals of excitement*

Trying the Tabla

I recently bought a drum. I've wanted one for a while, but the reason I finally bought one, was that I wanted to learn to stand on top of it ala Tito.

But now that I have it, I've found it's really hard to stand on top of it – especially without getting any help to get up there. I am afraid it will fall over at the point where I only have one leg up and need to pull up the other.

So, instead I've been learning to play it. It's actually quite fun! I had some trouble at first with some of the sounds, particularly the "ka" with the left hand. Also I have trouble distinguishing my sak from my dum. But it's coming along with practice, which I've been doing every day. I got both Rhythms of the Arab World from Karim Nagi, and Doumbek Rhythms and Technique from World Dance New York. Karim's video is as engaging as the man itself, and has a helpful closeup of his hands. However, it moves quite fast and a beginner like me would probably be best served by repeating the early drills over and over again. The latter video moves slower, with many more drills, and adds another sound technique called a "pop". Amir also describes the different types of tablas, which was interesting. I think the World Dance New York DVD is very detailed as they tend to be, and is great for a beginner like me. That's exactly what most of the Amazon reviews said! I think it's always good to get instruction from two perspectives, as one might hit on something the other doesn't – or sometimes someone's explanation makes more sense to an individual than another.

Anyway, as if I needed a new hobby that takes away from my existing limited time where I need to work out and dance and prepare for the upcoming Raks Nativity show I am producing – here I have a new hobby. At least it is something I can do while I watch my son play – it doesn't require a lot of room and while it takes concentration, I can keep my eyes on him. In fact, this morning he was taking to swinging my cane around (it's way too long so it's very funny – about twice his height) – as I was playing. It's like a belly dancer's dream to be sharing Arabic music and dance with your child!