My Blog

thank you, Kismet!

maureen-theresa — Mon, 23 Jun 2008 01:36:16 GMT

Thank you to Sarah and Deana (Kismet) for a wonderful Sunday workshop( ATS ) I think my beginner students have grasped a lot of he fundamentals- they just looked great dancing together in confidence, even having a go at the zills. Thanks too, to those Nottingham girls, (Denise, Jenny and the rest) some whom i haven't seen for probably more than four or five years. Thanks for coming and making it so enjoyable and fun and stimulating. It was also lovely to see new faces and dancers learning this art. it's always good to go over the basics, as we pick up bad habits that are very difficult to shake off. The teaching was thorough, answering all the questions we could throw at them ( they didn't seem to mind!), they both never missed a trick, correcting weaknesses and faults, zaghareeting our best bits, giving sensible and practical advice, useful learner imagery, and they were actually gentle but firm, but PERSISTENT. They were both full of humour and seriousness. They both work very well, together- complementing and supporting each other. Before, we knew it, the workshop had finished. A wealth of information and practice given, in a short 3 hours , Energising, productive, intense, motivating and friendly. Thanks too for your thoughts and ideas on the Dance and the philosophy which people often forget. This is not just about the technique and the performance, but it stills speaks about empowerment, health, ftness, friendships and community. I think sometimes, this has been lost on us, so we need reminding...... .....Deana and Sarah- Keep the Faith xx

Homage to Vashti ( Cathy Selford) a British Middle Eastern dancer of Note

maureen-theresa — Fri, 28 Mar 2008 23:55:14 GMT

"There's a wonderful dancer in England named Vashti (Cathy Selford) who could probably give you chapter and verse on who's learned from whom ....." (Morocco, speaking to Kajira Djoumahna, Jareeda magazine , September 1998, www.casbahdance.org/KAJIRA.htm ) ***** As with Afra Al-Kahira, every bellydancer in the UK should know about International Middle Eastern dancer Vashti (Cathy Selford). Uk ( London- based) she has been dancing for at least 40 years, having performed and taught in about 35 countries. She started at a time, when there were no videos, dvds, workshops, no weekly classes, perhaps a smattering of books- but it was nothing to what it is now. But Vashti trained and studied hard, learning from the source: either by going to the countries themselves and seeking out , master teachers and dancers or learning, as she did initially by watching dancers and performers. She was also part of the dance scene in London, in established and pioneering Arab clubs such as the Omar Khayyam , where the most experienced and best Middle Eastern dancers performed, during the 1970's. London was a very important meeting place and base many Middle Easterners. Vashti originally was training to be a pianist, and then one day, on seeing her first belly dancer perform, that all changed. Her life changed. *********** With such a wealth of experience, Vashti has so many vivid, amusing and inspiring stories, with a huge appreciation of excellent dancers, a respect for the past masters/mistresses of this art. Her experience leads her to be one of the most versatile dancers and teachers in the UK: she has specialisms or expert knowledge on Egyptian, Turkish, Turkish Rom, Khaleegy, Moroccan Schikhatt, Persian/Iranian, Rai, zill work, Turkish spoon........... for starters: what she doesn't know , isn't probably worth knowing..... it's incredible- in painstaking detail, context, nuance. She is a very generous, fun, and excellent teacher , checking for health and safety and well- being, as well as drawing out the historical and cultural/spiritual backgrounds. She puts you at ease, and yet she is very serious about what she teaches. She's sharp and doesn't miss anything. To boot, she is a linguist, well- a read, an academic, thoughtful, sensitive, warm-hearted and humorous, refined, sophisticated and elegant. She's also a funny mimic and natural actress, who with her many accomplishments and achievements, she is very down- to earth and humble, I think. She's contributed to dance magazines and reviews and so on, applying much of her knowledge, common sense and generosity. Vashti, whose name, is that of a Persian/Iranian queen ( mentioned, I believe in the Biblical book of Daniel) has taught at many establiished Uk Bellydance festivals such as Celebrating Dance, Fantasia, Majma, plus numerous workshops, classes and private classes around the Uk. She's currently holding dance classes at the British Museum, for staff there. This is something she derives much pleasure and satisfaction from. In addition, she gives excellent lectures on dance styles, Middle Eastern rhythms and music, costuming, customs, etc: a woman after my own heart! ******************** Her dance performances are electric, energising, sensuous, utterly feminine, smooth , lyrical, with a strong stage/theatrical presence, which as with Afra. suggests an acting background, too. With her big , expressive liquid brown eyes and flawless complexion, she is very beautiful, physically and commands attention: Queen Vashti, indeed. In fact she could just casually walk on stage, and still command applause! She performs regularly at events such as Planet Egypt (in London) organised by another well- established Middle Eastern dancer Anne White, which showcases some of the best known and professional bellydancers. Vashti's craft and standards are every high, which accounts for why she still teaches and performs and shares her knowledge. *********** I spent an invaluable and priceless afternoon with her, more recently, trying to get to grips with the Baladi style. I think I learned such a lot in say a space of half an hour, with her showing me an overall view of the style ( different dancers) and the essence of the style, along with working with the music, the spirit of the moves, posture and arm carriage, facial expression and so on. We all think she should write her memoirs, as she has such much to tell and teach to the new generations of dancers, and none of it should be forgotten. ************** Contact her for detail on classes, workshops and performances via Afra ( www.afraalkahira.com). You won't be disappointed...... Photo of Vashti ( Cathy Selford) taken by Derek Lee.

More Updates on the Zambra Mora - a new link

maureen-theresa — Wed, 20 Feb 2008 02:48:30 GMT

I have had a new contact concerning the Zambra Mora style, today, for all you devotees of this beautiful and elusive style. It was from myspace! It's from Ana Ruiz, whose website link www.geocities.com/alahabibi provides probably the most to up to date information so far. I am updating my own research here, as I write this blog. Some aspects of it will be similar to Ana's and other areas won't, as some of this information is very new to me. I'd like to share it ;). Ana also has another website : www.geocities.com/anaisha2002/ , with more details about herself and dance interests. Needless to say, I was very excited about it.! Ruiz ( who has obvious Spanish links) has travelled to Spain, where she was able to access library research, dance in Sacremento (Andalucia) at Gitano festivals. Ruiz dances both flamenco and Middle Eastern dance and has also been able to communicate with Morocco, the dancer, and Amaya of New Mexico ,which I thought was wonderful. She mentions Puela Lunaris' own contribution to the Zambra dance development. Ruiz perhaps was able to penetrate the mystery and elusiveness of this so-called dance, further than anyone else has been able to do so far. In a nutshell,the Zambra as a dance form,doesn't actually exist, she concludes (and other researchers/dancers/writers certainly concur on this), but is a description of the music style/palos: Zambra, a 4/4 beat, with a more Oriental sound- with a slow tempo. In addition, the zambra was a description of a theatrical music 'song styling popular during the mid- 20th century ( Ruiz , 2008), with songs composed by Quintero, Leon and Quiroga. Their music is used in Puela Lunaris'( Pilar Sanchez) video : Zambra Flamenca. Sabicas (1912-1990) composed many "Zambra pieces, called "Danza Mora"/Danza Arabe". There is agreement that zambra refers to a party or festival,originally and formed/forms part of the Gitano three-part wedding rituals ( Ruiz and Navalon). Because the Gitano communities , who stayed behind after the expulsion/conversion of the Moors , ( which ever happened first) continued to develop and evolve Moorish music, language references/culture , etc, any song/dance /art etc, which remotely resembled Muslim or Jewish styles, was forbidden by the Catholic Church, 16th-17th century. ( Ruiz) Hence the label "Forbidden Dance" given to the Zambra festival ( and the dance/music etc by this association) - see the Zambra video by Puela Lunaris, for an introductory commentary on the Moorish presence in Spain, and the result of invasion from the Spanish North/Queen Isabella and King Ferdinand, and including the expulsions of/ conversions of Moors/Moriscos ( also known as La Reconquista) . Other points of interest: although it has been mentioned by commentators that Carmen Amaya popularised the Zambra, Ruiz ,(2002) points out that Carmen only danced in a Zambra ( festival) with other Gitanas, as opposed to performing this dance style. Ruiz , who is Madrid born , agrees that La Chunga danced barefoot with scarf tied around her waist, but she didn't use finger cymbals. Ruiz's own parents actually witnessed La Chunga dancing, so here is something from a primary source, which is very important! There are some splendid Youtube video clips of Carmen Amaya ( type in Carmen Amaya) and a lovely Flamenco Arabe fusion number by Ana herself, which I think most of you will love: ( type in Arrinconamela- flamenco arabe ) . Ana welcomes the variety of creative Flamenco/zambra fusions out there, and warns us not to try to pass this dance off as an ancient dance since no one has real proof of it truly existing, or where it all started from- which is very fair comment indeed. Catch Ana's weblink and see what you think. I apologise (!) if there has been any inconsistencies or contradictions in the research presented about the Zambra Mora- i've used many different sources, in an area where information has been absolutely minimal. Hopefully, the picture is a lot clearer and people will be able to share with confidence , more of what they know about this. I'd like to thank Ana for being so very generous. She has just written a book "Vibrant Andalusia, " available form Amazom.com, which explores Spain's Moorish past, with something on music, art, dance, culture as well as her research on the Zambra. She describes dance movements that she saw, while in Spain researching. Thanks once again, Ana! ;) References: Navalon Susana www.esflamenco.com ( Zambra) Ruiz Ana 2008 www.geocities.com/alahabibi ( The Truth about the Zambra Mora )

UK bellydancers to watch: Afra Alkahira

maureen-theresa — Tue, 19 Feb 2008 02:10:10 GMT

This is the second of an occasional series of Uk bellydancers of note and ones to watch out for. I wanted to write something about prominent Uk dancers, because British Bellydancers have somehow acquired a reputation of having poor technique, or are "just hobbyists" . Even if some of us are "hobbyists" or have poor technique, there are some excellent teachers, dancers and performers out there, who have out there a long while, and who should be mentioned with pride. Afra Alkahira, is one of my many respected teachers and role dancers. She has been a dancer all her life and a bellydancer for around 30 years. She is a pioneer , to my mind, warm, generous, cultured and fiercely intelligent with great integrity, innovation and creativity. She has ballet, ballroom and jazz experience which reflects profoundly on her sense of discipline, dance education, teaching methodology, health and safety, performance and stage skills . Her website is www.afraalkahira.com. She organises Celebrating Dance every Autumn, in Torquay, ensembling together a range of experienced Middle Eastern/bellydance teachers/performers, here and abroad, for one weekend, where one can participate in the various workshops and dance styles. Afra also offers an in depth and comprehensive Middle Eastern dance teacher training programme, which details can be looked at, on her website, or by contacting her directly. Her website has some well-written, thought-provoking articles, from body fascism, to male bellydancers ( yes, they exist and they are here to stay!), different Oriental dance styles, Standards in dance, for starters. She has an interest in dance anthropology and is always interested in looking at the background to and evolution of Middle Eastern dance, dance and art in general. And her dancing is graceful, ethereal/betwitching, fiery and dramatic. I don't know how old Afra is ( and I would never ask a lady her age!) but she has such a youthful presence, in turn mischievous and audacious, daring and always strong. Her oce speciality is her word and sagat number. My heart is always in my mouth, when I watch it, every time. Is the sword going to slide off, as she zills nonchalantly away, or glides into effortless floor work.? of course not!!!! But she keeps you on your toes, everytime....... Her specialities are Egyptian (Danse Orientale/Modern) wings of Isis ( she was the first to bring these over to the Uk, and perform with them,) she also performs the Zambra Mora, and uses a wide range of props with great expertise. With her extensive dance background and acting training, she does a lot of experimental / fusion. This experience means she can successfully and dramatically fuse ideas together with skill and creativity, with a fluidity of some one who knows styles inside and out. This is important, s successful fusion is the in depth knowledge of two or more styles. She teaches workshops, as opposed to weekly classes, here and abroad,( she's done a fair amount of work in the USA, namely New York) and often hosts teachers from other countries, exposing British dancers to newer techniques, fresh ideas... She's always encouraging and up to date , enthusiastic and a tower of strength for a lot of new dancers around. if you haven't heard of her, you should do by now. Check out her website too! painting by Jean Leon Gerome ( France, 19th Century)

Tribalondon (Shoreditch, London, 8-10 February 2008)

maureen-theresa — Mon, 18 Feb 2008 00:31:10 GMT

This was a compact and well-organised set of workshops, open stage performances and a truly beautiful evening professional show on the Saturday night. I think a wonderful time of dance, training, study, hard work and shopping(!) was had by all. I didn't see many of the open stage performances, which was a great shame. I managed to watch Neo-hips, and I was totally entranced. It was a circus-themed choreography, which was so unusual and different. I loved it. The comments on the workshops were that they were excellent, of a very high standard. I did Wendy Marlatt's Flamenco Fusion and Dawn O'Brien Floorwork and Bellyrolls. Wendy's workshop was well-paced, well - thought out and explained, providing us with plenty of drilling and a chance to improvise and cue with the newly learned combos. I adored the music, it seemed to go with the slow and fast combos. There was a useful review at the end of the workshop, and we covered so much. Wendy's got excellent flamenco technique- i think she ought to take up flamenco again, at some point. The rewards are many ; D. Dawn worked on strength training to prepare us, for the floorwork, and also covered different types of bellyrolls. She worked us hard, and again we covered a lot., she reminded us about health and safety: warming up adequately, wearing knees supports when practising and working on strengthening muscles in thighs, stomach ec before working on backbends). It was well-paced, organised, and everyone managed to a fair bit of the floorwork techniques: Berber or floor walking or attempting to backbend once on the floor. We worked with partners, to help with safety and knowing one's limits. And everyone could do a lovely set of bellyrolls- top to bottom roll, bottom to top, horizontal and the cheat's way ( haha!). The Saturday night performance was amazing- so much innovation, strength, creativity and beauty- the first part was reserved for the British/Irish-based instructors, ranging from more experimental Tribal Fusion, ATS, ATS with Fusion. I hope that there are some photos out there to capture this. ( Kismet, Dawn O'Brien, Joyleaf, Wendy Marlatt/Rashani etc- I'm sorry if I've missed any one out). They all pulled out the stops here. The second half had Sam Hasthorpe, Sharon Kihara and Kami Liddell, being their usual excellent selves- very high standards as usual- a rotation of trios, duets and solos . I loved the set up of the show- it seemed to keep to moving and no one was disappointed. Understated and powerful I'd say. It was a good weekend. I'm not sure if more are planned, but it was a great sample of some excellent teaching and performances.

Happy Christmas, Happy New Year. Eid Mubarak, Chanukah....etc... ;D

maureen-theresa — Tue, 25 Dec 2007 13:57:23 GMT

Happy Christmas to all my tribe friends. Thanks too for all your support and care. And those who have been celebrating Eid and Chanukah, Special Wishes to you, too!!! Have a fabulous new year 2008, too ;) XXXX

Orientalism- a summary of A European Art Movement

maureen-theresa — Sat, 24 Nov 2007 23:03:59 GMT

Orientalism "Like meets Unlike" ( Christine Peltre , p.11) 1. This was an artistic movement that had its roots in Europe, from the 18th century onwards, reaching a peak in the 19th century, after much sustained contact with the Near, Middle East and Southern Spain. It has to be said, that there were two competing strands to this movement: that of the obvious colonialist /racist /fantasist/ and Other attitudes towards the East, and the second, that of creativity, exploration , faithful documentation and openness to cultures different from one's own. ( Two French artists such as Delacroix and Etienne Dinet were profoundly influenced by their travels, on a deeper level. Dinet, for example, converted to Islam, emigrated to Algeria and married an Algerian woman. Dinet's paintings are amazing examples of sensitive and warm renderings of North African life. Delacroix, an essentially Romantic ** painter, brought raw passion and fire to his Oriental paintings) The ability to travel , obviously helped this movement. "While clearly marked these (early) influences (... e.g Rembrandt's paintings inspired by both the Old Testament and the Jewish community, from Amsterdam...) Orientalism truly blossomed in the 19th century, when steam navigation and the railroad made travel easier and facilitated hose contacts with t he other landscapes and people-that help define one's own existence...." (Peltre, 2004, p.12) There were some incredibly, realistic and life-like paintings done of the Orient (city scenes, landscapes etc), which brought comments of either incredulity, or admiration or a desire to go there. "A typical response is that of Theophile Gautier, on seeing one of Prosper Marihat's early view of Cairo in 1834. 'His landscape seems to me to err on the side of heaviness and crudeness of tone. It might be accurate, but does not appear to be. To judge competently, one must go to Egypt. I shall go"(Peltre, 2004, p 12 ) And he did. I believed he travelled there, with fellow country man and writer Flaubert, three years before his death, at 61. The British Lord Frederic Leighton, a talented and multi -skilled artist painted some very impressive and detailed interiors, on his travels to the Middle East. Orientalist painters from Germany, Spain, Italy, for example, often produced detailed portraits and scenes, reminiscent of the Neo-Classic ** period (18th century to early 19h cenury) with its emphasis on line, bold stature and dramatic posture and poses. ** The Neo- Classic Period came before the Romantic Art period. The Romantic Period ( more early 19th century) gave birth to the Gothic Novel (Frankenstein and others) artists and writers who extolled the power of nature and emotion. 2. As mentioned before, travel opened up the world to the seeds for the art movement. With it, through military, diplomatic and scholarly channels (Peltre). The whole of (western) Europe became involved with this Romance, with a diversity of art "schools", producing their own take on "Orientalism". Orientalism often captures however, as stated earlier, a specific perception, which has to this day, ravaged both European and North American consciousness, affecting too, the attitudes of people from Middle Eastern cultures and non-European cultures, which have been previously colonised by European powers. These are seen in the shape of stereotypes, exoticism, and choosing not to see detail, but only fantasy, that has no basis in truth, but IS seen as the truth. 3. Edward Said's seminal book "Orientalism" (1978) asks us, on a deper level, to look beyong colonialism, fantasy making promoted as truth and Othernesss. He asks us to look deeper to create a multi-layered human/humane understanding and contacts between different cultures and group, without making them Others. It is important, however to give credit to works and genuine anthropological contributions and knowledge, that many Orientalists made to understanding a time and point in history , but also to be aware too of the eroticism of the "over-voluptuous Scheherazade," (Peltre) many European painters and artists, even audiences "were fond of" ( Peltre, p14) In the context of the world of dancers or even consumers of Middle Eastern dance and art, in the West and in other cultures, how far removed are we from stereotyping and making fantasy as the truth? Are we blinded by the other , untruthful side to Orientalism, rather than be open to genuine understanding and knowledge and experience ... But do we know the difference? References Peltre Christine (2004) Orientalism Published by Terrail Said Edward (1978) Orientalism Thornton Lynne (1994) Women as Portrayed in Orientalist Painting Published by PocheCouleur A list of some European Orientalist painters for further research: ` Jose Tapiro y Bara Fabbio Fabbi Gaston Saintpierre Alfred Chataud Jean-Leon Gerome ( Sword Dance in a Cafe)- He is also seen as a Neo- Classic painter. Luis Ricardo Falero Vincent Stiepevitch Georges Clairin Jean-Auguste Ingres ( seen as a Neo-Classic painter) Andre Sureda Edouard Richter Frederick Arthur Bridgman Eugene Delacroix Etienne Dinet

Tarab, November 10th 2007, Birmingham, W.Midlands, an evening of dance and music by Rashani International, Pedralta Dance and Phil Thornton: A Review

maureen-theresa — Mon, 19 Nov 2007 03:38:50 GMT

This was a lovely evening, where every dance member ( Rashani International and Pedralta Dance ) shone. Each had her own dance personality, who all work wonderfully as a team. It was a combination of traditional ATS, and Tribal Fusion, plus Fusions with Flamenco, Saidi, Turkish and so on. Phil Thornton provided haunting , thought-provoking and sensitive music. The backdrop was excellent , complementing the dancers and ambience very well. All dance members, new and established had plenty to say. Wendy' Marlatt's always a pleasure to watch- and it was very mesmerizing to watch her herself and her troupe's skilful execution with sword in the opening parts, very dramatic and strong. Loved the floorwork. Their tribal fusion number towards the end was lovely to watch, with their use of gliding footwork, precise isolations and dark undertoned moves. Plenty of gems with dynamic variations of chorus line work : with vibrant interaction and seamless improvisation, with some innovative, well thought out and feisty flamenco combos and well-worked saiidi stick work , flowing veil work, ( Lez and Donna, who dance very well together and complement one another) as well as the afore-mentioned dramatic Tribal fusion choreography, (Wendy and Rashani members ). There was a cheeky Spanish /flamenco-styled piece, and also a very competent ,crisp and articulate Tribal fusion solo , both by Wendy, an uplifting, grounded and charismatic West African piece by Deirdre, not mention some of the new comers such as Amanda, who projected brilliantly , danced very well, and seemed to having such a great time, well-supported and show-cased by Lez and Donna. The other newer dancers danced like the pros, they were, projecting sheer enjoyment and skill , great timing and cuieng, strong with their upper bodies , swfit hips and the most beauitiful smiles Katherine was very inspiring as a lead dancer, tall and commanding wearing the most warm , attractive and sunny colours to brighten up an Autumn's night. Did I forget the adorable Bollywood number? That was a marvellous! trio! And the finale showed very confident and bold dancers, constantly swirling and interweaving to a very infectiously catchy melody. The stage space was well filled. It was nice to watch the detail on the arabic shimmies, tummy flutters, choo-choo and arc arms (one of my favourite moves), spins, the eye contact between dancers and the different swapping of leads between them. The costumes were just gorgeous, very well-designed, moving well and complemented all the dances. All in all, well- organised, well-rehearsed ,improvised and choreographed, tight and organic. The only down side, was the theatre was half -full. It had been well-advertised for some months before, so maybe it was the cold weather that deterred people. They sure missed a treat............ ; D M xx

www.strongdancer.com : Elizabeth Strong (California, USA) bellydancer

maureen-theresa — Sun, 30 Sep 2007 02:14:33 GMT

Elizabeth Strong (USA) is a dancer, I've admired for a very long while. I guess " strong dancer" is the most apt and true name for her. She's had a life-long appreciation of Middle Eastern music and dance, starting her formal Middle Eastern dance studies at 18, in 1996. 'Her amazingly emotional and personal style has captivated audiences in the Bay Area "(San Francisco, California) and abroad" : www.strongdancer.com (biography). What's more, Elizabeth has travelled to countries to get to the sources of these dances, Norh Africa/Middle East , including Turkey. Elizabeth is especially famous for her Turkish Roma interpretations ( see Youtube for some beautiful examples). In Turkey, she studied with many Turkish Romany men and women, and dancers such as the Roman Reyhan Tuszuz and daughter Meltem. Elizabeth is considered an up and coming specialist in Turkish Rom dance; maybe she'll take up the mantle of Artemis Mourat and Dalia Carella one day, on Turkish/Turkish Rom dancing. Elizabeth is also in demand as a Tribal Fusion artist and teacher. Catch her on the Evolution Dvd, for her amazing sword dance and floor work. Her dance heroes/heroines have included Rachel Brice, Jon Compton ( of the Legendary Habi'ru troupe, and former student of Jamila Salimpour) Suzan Tebilek ( Turkish dance), Sahra Saeda, Suhaila Salimpour. Her website is www.strongdancer.com. She definitely inspires me ;) A great and empowering title for a dancer's website.......

Uk Bellydancers, Performers and Teachers to watch: Dawn O'Brien

maureen-theresa — Sun, 30 Sep 2007 00:59:12 GMT

Dawn O'brien is my dance teacher. She has been dancing for something like 10 years or so, specialising in many styles, including cabaret, ATS, Tribal Fusion, Cyber Fusion ( a style that she's pioneered) sword, zill/ sagat as well as Middle Eastern drumming. She's also got DJ skills, up her sleeves, and a wonderfully melodic voice ( she used to sing in with a band and she has beenknown to break out in song, once in a while),. Dawn has also studied capoeira and keeps herself challenged to the limits of physical endurance: with yoga, poi and gymnastics and has a love of break dancing. She's a versatile natural.... Dawn's first teacher was Janet Keates ( now retired) at Park Hall community school, Walsall, West Midlands, England, Uk. Janet introduced ATS to the Uk and is truly a pioneer. Janet co-directed Khalgani, her troupe with Dawn, who's now taken over this responibility. Dawn has had many other teachers and mentors from various workshops and also networks which she has made over the years. Mentors include Rachel Brice and Geneva Bybee. Dawn has truly excelled in her art and has a powerful style which is fluid, smooth, vibrant, physically strong and confident. She has a strong visual impact, an independent and charismatic presence on stage, infused with a whacky sense of humour, cheekines and "what is she going to do next?" feel. You can guarantee her timing is impeccable. She isn't afraid to take chances in style, direction or costuming. Never a dull moment! Her own Cyber Fusion style has brought her new realms of fans, as well as help raise, with other talented established teachers raise the standards of UK bellydance technique, creativity and dedication. She is also warm, witty and enthusiastic to boot, with serious and clear views on spirituality and the world. Dawn is very much in demand and is coming into her own as an established and recognised teacher and performer in the UK Catch her on www.myspace.com/dawnobrien , www.myspace.com/khalgani , and on tribe.net too: stardawn This girl is master/mistress of what she does and is a true professional... This first appeared in www.myspace.com/khalgani blog, but I thought it would be lovely to share it with my tribe friends! :)

A Short History of Turkish Bellydance

maureen-theresa — Sun, 23 Sep 2007 02:04:20 GMT

1. Origins. Like the Ghawazee (Egyptian Roma) Turkish Roma groups have had an enormous influence on bellydance, particularly Turkish bellydance. The story probably has its orgins around 1493, with the conquest of Istanbul ( formerly Constaninople of the Eastern Roman Empire / Byzantium) by the Turkish Sultan , Fatih Sultan Mehmet ii ( Ottoman Dynasty) . The Turkish Roma are associated with this date, since many were settling or arriving in Turkey , around the same time ( Cooper 2004). The Roma , (men and women) since their arrival and interaction in Turkish society, were recognised as being skilled in arts and music, especially as Turkish women were not allowed to perform in public. The Roma female artists would therefore perform for the women in harems, hammams (public baths) and weddings. The Chengis These female artists formed dancer/musician troupes known as "chengis" or "cengis", meaning a harp-like instrument, or a Roma person ( from the Turkish word "Chingene", compare other words for the Roma such as "Tsganie", " Sinti ',etc). Although many of the Roma, may well have been Muslim, (adopting their host countries' customs) they were very much outside the margins of conventional societal rules and retained at the same time, much of the customs and rules from their ancestral home land of India. From the chengi troupes, we get what we would consider Turkish bellydance with its veil dancing, complex hip work, shimmies, zill-playing and expressive faces, amongst other moves and styling (Cooper 2004). The chengis also enlivened the Ottoman Court dance repertoire, noted for its sedate femininity, in want of Roma energy, sensuality and vivacity. (Vashti , 2005). We have to bear in mind, too that the Roma had adopted many dance styles on their travels from India. So they too would have probabaly observed different dance styles in the Royal Palace harems, in Turkey itself and also from the women who had been transported to the harems, from other countries in the Ottoman Empire. These moves must have been incorporated into the Turkish Roma dance vocabularies and presented back to the Turks. End of History: The Republic All in all the chengis were highly valued ans respected for their enormous skill and artistry. They worked right up until the end of the 19th century . From then on, decline and changes within the Empire, led to the set up of the secular Republic , with its first President, Kemal Attaturk leading the "modernisation of Turkey" ( discarding of the veil and the fez, the adopting of the Latin alphabet, the breaking down of harems, industrialisation, etc . Women were encouraged to take on more public roles, such as going to work, leaving the world of the harem behind.) With these changes, the chengis eventually disbanded, their work patterns changed forever. Many of them sought alternative employment, such as teaching dance privately to women. Thus the dance did not disappear. The context in which the dance developed, happened to be different. Modern Turkish dance For a start the two-piece bedlah was adopted ( as it was in Egypt) and rising talenetd Turkish dance stars , encouraged by the more public female role, appeared: Ermine Adalat Pee (1920's) and Nergis Mogol. These two were early international stars (Jasmin Jahal) . Melike Cermai, Saliha Tekneci and others followed throughout the 20th century: notably the 1950's. More recently Sema Yildiz ( retired 1991) Nesrin Topkapi, Princess Banu and others made their mark too ( Jasmin Jahal). Turkish dance is lively, bold, big, sensual, with hops and jumps, influenced by the Roma, as well as flexible backbends, floor work, more usage of floor space (than seen in more contained Egyptian dance), hand to hip/body gestures. Artemis Mourat's recommended Turkish Style Bellydance DVD explores many of these moves and feeling, adding that while Turkish dance is different to Egyptian Dance , it is still equal to Egyptian. The Tourist Industry Of late, the Turkish tourist industry, probably has damaged Turkish dance reputation, by playing up to the stereoype of beautiful, unskilled and just sexy, scantily -clad dancers, where " artistry can easily be overshadowed by sexuality" (Cooper). Although, it has to be said, attitudes are changing and Turkish dancers are now being encouraged to train and work hard, evidenced by many talented Turkish dance teacher/performers travelling to and working in the West. All in all , Turkish dance is indebted to the Chengi, as we are too. It is a dance style worth pursuing, for it brings tremendous accomplishment, joy and skill, and a real sense of liberation and exuberance. Turkish male dancers have played their part in Turkish bellydance, for which they deserve an article all of their own. Bibliography/Reference Cooper Laura (2004 ) Bellydance Step by Step Green Ozlem and others (2005/2006 ) Turkish Dance Workshops (Sutton Coldfield, West Mdlands, England ) Jahal Jasmin www.jasminjahal.com/02_01_topturkish.html or www.jasminjahal.com (click on newsletter and then scroll down for archived articles) Mourat Artemis (DVD) Turkish Style Bellydance Vashti ( Selford Cathy) Turkish Dance Workshop (Celebrating Dance Festival , Torquay, England, October 2005)

A Summer with Sam - Tribal Fusion Workshops with Samantha Hasethorpe, July 2007, Whittingham (Pedralta Dance ) Staffordshire, England

maureen-theresa — Sun, 23 Sep 2007 00:24:05 GMT

" We shall become masters of this art form" ( source of quote unknown) A Review: In a set of workshops, over a weekend in July 2007 (hosted by Donna Gardner/ Lezley Hogg: Pedralta Dance) Samantha Hasethorpe (UK/Canada and in Bellydance Superstars ) shared with us, what she had learned from the States , on her dance journeys. An amazing treat, since Sam has studied with the originators and pioneers of ATS and Tribal Fusion. Sam is a lovely, down to earth person and teacher, incredibly centred, focused and mature for her 26 years- an uncanny blend of seriousness, impishiness and genuine humility . Warm-ups, yoga and core- strength training Her workshops focused on safe warm-ups, with yoga asanas (the Dog, the Lunge, the Cobra, the Child's Pose, as well as the obligatory hard-core strength training ( yes, they were killers!) working on upper abdominals, upper back, arms, obliques. Then there was the infamous Suhaila Salimpour glute squeezes, plus layering work, drills, done with figure of 8's rib circles, undulations. Posture was well- explained and Sam always came around to check , help and encourage. She reinforced much of the Fatchance Bellydance methodology and moves. Combinations, ATS , Zill Drills She introduced some creative combinations, using a mixture of Jamila Salimpour's moves, a "drunken circle" step, which reminded me of Jill Parker and Dalia Carella styles, Tribal fusion undulations, and torso work, taxeems, interior hip circles and shoulder rolls. Beautiul and challenging. I absolutely adored her zill drills, which were broken down very well, with walking moves, then actual ATS moves, so most of us could at least do the bare minimum. The energy was electric as we moved in two lines, meeting at the top and cascading down ( probabay messing it up!) - we had such fun, and there was plenty of laughter. ********************* There were moments when Sam could almost double for Rachel Brice- it was quite spooky, but it was wonderful to be taught someone who knew her work and anatomy so well (she showed us books of muscles to define which muscles we were using doing our drills ). Sheer determination can certainly get you places.... Sam, at one point, got Donna up on stage, to show us how to move our shoulders in that strong ATS snake arm way, a la Carolena Nericcio. (" Donna !" ) A lot of the work covered reinforced much of what was covered by Rachel Brice/Sharon Kihara and others at BDSS, and also talented dancers/teachers such as Geneva Bybee (currently on A British/European Tour). This work/drilling can be used and recommended for cabaret style dance too, since one becomes aware of developing sharper isolations, fluidity, and strength, as well as health ans safety, since stronger muscles reduces the danger of dance injury. And finally, thanks...... Thanks for that, Donna and Lezley, and of course Sam! I forgive you the achy muscles I had the next day. It was worth it. Resources: For those who want more , there's: Kraftsow G, Yoga for Wellness Long R, The Key Muscles of Hatha Yoga Salimpour Suhaila DVDs Technique level 1 and 2 ( www.suhaila.com) ( taken form Sam's class notes ) Salimpour Technique - Rachel Brice, Geneva Bybee et al workshops etc www.fcbd.com ( of course!) ATS technique and improvisation 'We shall become masters of this art form.........."

Castanets and Kasiks......the adventures of........

maureen-theresa — Sat, 22 Sep 2007 23:36:20 GMT

OK- sad person that I am, I spent much of the summer, working on playing or aiming to perfect playing castanets and kasiks (spoons) ... the consolation is my fingers and hands are getting quite strong ( yeah, quite handy for opening tight jam jars ) It's taken me something like three years to get my fingers to express that rolling, even galloping sound on the right- sided castanet ( I exaggerate not!) and play something even remotely complementing the Sevillanas rhythm.... Generally speaking, the right hand fingers tap fan like, one after the other on the wooden surface, to create that characteristic, punctuated sound, while the fingers on the left maintain a steady anchored beat. Both thumbs are esconsed tightly in a cord (holding two pieces of the castanet together) while you maintain your arms , elbows and posture. Even your hands have to be held elegantly. No slacking.... Of course there are variations to rhythms and finger patterns, which no doubt, i'll spend an entire lifetime trying to crack (maybe there's hope for me, yet). M'mm, then it eventually progressed in arm movements AND castanet playing together (don't quite remember how it happened), then walking around with them, while inanely clacking them. Then six months later (fits and starts, you understand) the marking step and castanet playing. So during the summer, I was trying to consolidate all of that. ( Guilt was also behind it, since one of my flamenco teachers, Don reminded us to practice, and I couldn't let him down....) The most frightening bit was when Don, casually mentioned that we would be playing castanets in the new choreography, we've been learning recently : The Huelva. I hope he's joking.... because where am I going to hide with the castanets- unless I pretend to play them.... But , hey, I'm having a ball with the spoons (kasiks ) thanks to the great advice and information from tribe friends and a peek at one of Veda Sereem's dvds ( www.vedasereem.net ). The spoons are meant to be played back to back, between thumb and first finger. Like zills and castanets you are manipulating four pieces of material. It was fun goofing around and making crazy, un co-ordinated noises and moves, awkward stops and starts and then getting the fingers to move the kasiks, when they seemed to have developed a paralysis, then dancing with them!!!!!?? But the delight in finding that the same Middle eastern rhythms such as the baladi, maqsoum, triplets, 3-7-3, 3-5-5, singles, doubles, blah, blah can be played too!! And then there's the kashlama- wow!!! Think it's time to work on the Turkish Kashlama , the dance and the kasiks .... ;) Bit sad....

Dalia Carella and Artemis Mourat - why I love their styles and passion!

maureen-theresa — Thu, 19 Apr 2007 23:54:05 GMT

For me, Dalia Carella has been so influential and inspiring to many bellydancers in the West. For me, personally, she's expanded my ideas on what you could do within Oriental Dance. More so, she has, with her considerable knowledge of oriental and flamenco dance, developed fusion styles with Flamenco, Turkish, Indian/Kathak, North African, Caribbean, etc dance styles. When I discovered the Dunyavi ("World") Roman ("Gypsy") style (Flamenco/Andalucian, Indian /Kathak and Turkish Roma) at one of Raheesha's workshops (Leicester, UK) some years back, i realised this was something quite special and very powerful. The diversity and power of Rom dance really hit me, as up till that point, it was so frustrating to see "Fantasy Gypsy" (Rom) or styles deemed Rom, when they weren't anything but stereotypes and fairy tales. I knew this couldn't be Rom dancing, especially about what I'd read about Roma cultures, before, and with my own involvement as a Flamenco dance student. It seemed that at last, I could find a way to find teachers who knew about different types of Rom dance. And I learned about the Turkish Kashlimar 9/8, which was so rewarding to grasp and work with, at a time, when Egyptian rhythms were the most widely taught.... For me, Dalia led me to find out about Rom cultures and dance, and politics and history, and search out the work of important dancers and researchers on Rom dance- such as Artemis Mourat, Laurel Victoria Gray, Eva Cernik. I appreciated my Flamenco studies even more, and sought out ways to learn more about different types of Rom dances, lives and beliefs. Not so long after, I found a dancer from Turkey, who taught (Turkish) Oriental and (Turkish ) Rom. Artemis Mourat is absolutely indispensible as a Turkish Rom/Oriental expert and artiste( and as a teacher of many other dance styles too) Her writings are very informative and educational- I am sure much more would be lost, to Western dance readers, without her contributions . Her website (which she shares with talented bellydancer Yasmin) www.serpentine.org is , in my opinion one to be treasured with the on-going and dedicated researched.(Artemis whose ancestry is Greek, had grandparents who lived in Turkey, before the Greek population were forced leave that country. So Artemis has a lot invested in telling the truth and preserving these traditions. Further more, she puts her money where her mouth is. She is an activist for many causes, of which one is to work towards breaking down prejudice against the Roma. One can obtain research and dvds/videos from Artemis' website. I had recently read on Morocco's website ( www.casbahdance.org) that the Sukulele district in Istanbul, where a lot of the Roma dancers, musicians live and create their art and work, is going to be demolished. While no one should live in slums/decaying areas, it means that community will have to move on, and perhaps many of the traditions will go for ever. (similar analogy, perhaps when moving people away to new areas/ blocks of flats/apartments.... ) I think it is important that people don't forget. Dalia's extensive flamenco background inspired me to look at the creativity in flamenco, and from learning her Dunyavi style, I somehow stumbled upon Amaya (of New Mexico) and her intrepretation of the Zambra Mora, which Dalia had danced herself. Dalia shows that to be a successful fusion artist, one needs to know individual dance styles, so intimately and in detail, that it's like a fluent second language and automatic to the brain, that one flows in and out of one style into another, retaining one's own style and character, with an accent that does not impede understanding or presentation...Only depth can underpin successful fusion. And only the hard work from Artemis , Dalia et al, can inspire commanding respect. They have passion and dedication, which we benefit from. Dalia, Artemis , Laurel and Eva etc have inspired many ATS dancers, too. Dalia's had a beautiful influence on dancers such as Paulette Rees- Denis, and the Romany Trail realy rings true for ATS dancers, in presenting the fusion and profusion of related dance moves from India to Spain. It encourages many people to find out how dances are truly danced , as opposed to not doing the homework and the HARD WORK. This is where the integrity is. Dalia's website is www.daliacarella.com Incidentally, Elena Lentini , in the poster , below Dalia's , has done some long standing work on the Zambra Mora ( see Amaya's Gypsy Fire, Vol 2 )

African, Berber and Indian Spiritualities- Combining Chakra work with the Moroccan Schikatt dance (hip, lower body moves)

maureen-theresa — Thu, 12 Apr 2007 22:27:03 GMT

By working on the (first) Base Chakra and (second) Sacral Chakra( from the Indian/ Hindu system) , as a method, we can perhaps develop a deeper feeling for the Moroccan Schikatt style: conveying sensuality, eroticism, cheekiness, strength, self-power/awareness and self-definition. In doing this, the Moroccan Sheikhas (dancers) are helping educate the audience, as well as the bride and groom about the power of eroticism, in a holiistic way. Moroccan Schikatt is NOT burlesque, nor on another level, a westernised media / mainstream concept of sexuality. 1. Moroccan schikatt and the relationship with other Berber/African group dances ( e.g the Guedra) Moroccan Schikatt dance stems from living Berber/African traditions of feeling comfortable with women expressing their sexuality (originating, maybe from previously existing matrilineal societies and values of Berber and many other African groups). Berber groups such as the Touareg and the Ouled Nail (dancers until the Algerian War of independence) , Moroccan tribal groups, for example , have allowed women , great automony in emotional, sexual and financial matters ( Nawarra, March 2007, The Guedra and Other North African dances, Majma Dance Festival) Ok, the wedding audiences at a schikatt performance may not quite deem the dancers as socially equal and acceptable, to themselves at this present time, but they (the audience) can't but help recognise the power and pull of these dances, and the ancient philosophies behind these customs. This is why the Sheikha is asked to dance..... The Guedra dance is another Moroccan Berber dance, and can be danced at weddings, festivals, get togethers, by women, sitting down, on their knees, standing ( Nawarra, 2007 ). This dance gives thanks to the universe, the ancestors, life in the present and the life to come in the future, with a flick of hands in different corresponding directions, to express thanks. The women sit in a circle, sitting or standing, with their heads covered in blue veils. Shuffling steps ensue, with the head swaying or the body circling or swaying to the beat. The women get up one by one and dance, almost in an absorbed trance, receiving encouragement , terms of endearment and zaghareets from other dancers. This dance can be described as far more joyful than the more spirit-cleansing Sudanese- origin Zaar (which probably needs more supervision, if a dancer really goes off into a trance ) The Guedra allows a male dancer to be invited into the circle of women; he dances with them one by one. He spins holding a blue veil,; he shuffles and dives, interacting and interweaving with the women. It can be very uplifting and spirited, with everyone just having a good time. Conclusion, So one can see the connections and links wih the dances are done. A letting go, and sheer earthy enjoyment of dance and movement, yet connecting spiritually and physically, remembering the past, present and future, and the cycles of life and bringing communities together. All this is echoed in other African cultures, of which North Africa forms a continuum. 2. The Lower Chakras Exercise There are hundreds of chakras, but for a lot of purposes, seven chakras are used. Using the Base and Sacral Chakras exercises, one hopes to expand awareness and depth to each individual Schikatt hip and lower body movement. Chakras act "as if" for , there is no evidence to state they actually exist, but are seen as energy centres over the main glandular areas of the body, and have been used, as therapy, with great success for centuries. The Base Chakra is visualised as a vibrant red vortex, spinning at the base of the spine, and corresponds to the kidneys legs, feet, rectum and immune system (lymph nodes etc). This is the chakra for survival, realism- in its red vortex building the basic foundations of life (job , family, beliefs, finding shelter, finding food, eating food etc. The Key words here are : "I am grounded, strong and down to earth, I know my essential needs and can feed them." If the Chakra is deemed unbalanced ( seen to be dirty, spinning too fast, or too slow, too large or too small etc) one can be materialistic, or insecure. The Sacral Chakra, with its orange vortex visualised as being between the navel and the lower stomach is about creativity an sensuality , control and acceptance or rejection. This Chakra is associated with the reproductive organs. When this Chakra is balanced, we are spiritual and creative. It is also about controlling excesses which could be detrimental to one's health and life. The key words here are: "I am creative, powerful and sensual". With these exercises, one can visualise the colour of the vortexes becoming clearer and sparkling and repeating the key words. For each chakra, one can imagine a white light moving from one chakra to the next. linking up to the crown (top of the head) and taking the white light back down again through all chakras down to the ground, to be grounded and balanced (This is very important) . 3. You are ready to dance. Imagine how the Schikatt dance really is now- with thre body energised and visualising power of grounding and creativity, with the purpose of communicating educating, and enjoying the dance, for the sheer pleasure of it...... References: www.healing.about.com/ (type in chakras) Meridian College (2003) Chakras - a five part course www.ameltafsout.com ( Always worth reading!) www.casbahdance.org/ ( Morocco the Dancer's webiste- with information on Berber dances) Morgan, Lawrence (1956/2001) Flutes of Sand - a fascinating account of the Algerian Ouled Nail dancers, Algerian Arab and Berber desert cultures, in post Second World War and pre-Algerian War of Independence era. Nawarra ( March 2007) The Guedra and other Dances of North Africa ( Majma Dance Festival, Glastonbury)

The Zambra Mora (also known as Danza Mora)

maureen-theresa — Fri, 23 Mar 2007 00:46:56 GMT

Introduction: Research I have been doing some research into one of the earliest forms of flamenco- the Zambra Mora- for two and a half to three years now, and if there are any passionate Zambra Mora enthusiasts/dancers and researchers out there, do come out and share ideas , thoughts and experiences. I have written some short articles about Zambra Mora, (history, dance vocabulary, music, costuming, websites/links etc) on my myspace account : www.myspace.com/qurtubiyya . (Click on blog archives) Information is indeed scarce, as it seems such an elusive dance and no one seems to know what it's supposed to look like! It is clear, however, this dance has Moorish/Maghrebi origins, as suggested in the name. Given the fact, that it was very dangerous to be Moorish or Jewish, post 1492, it's not surprising many passed themselves off as Gitano (Moors and Gitanos being dark-skinned were seen as interchangeable ethnicities/identities- Morocco et al), nor was it surprising it was danced in secret ( deemed the "Forbidden Dance"- Puela Lunaris)-so it is no wonder, any one had any idea what this dance was! In many ways, the Gitanos who adopted the Zambras and flamenco , are inheritors of Moorish culture and history. 1. Types of Zambra However, there are several types of zambra, also called Danza Mora (Moorish Dance), which I've tried to pin down and analyse , during my research. I've understood that there is the zambra, which is traditionally danced at Gitano (Rom) weddings and for tourists in the Sacramento Hills/Caves of Andalucia. The caveat here is , how one dances for the public, and for the tourists, can be two very different things...... The word " zambra" can mean "party" or " music" (from Arabic) and found its way into Castilian Spanish ( Robin Totton, Song of the Outcasts). In this form of dance, a group of dancers, (often women) singers, musicians sit and perform together. Dancers come out one by one and dance, and are encouraged by each other and the audience. Footwork is used here ( see Amaya's Gipsy Fire Vol 1 dvd, for examples of Zambra in the Sacramento Caves). In www.esflamenco.com , Susana Navalon says that the Zambra is not part of the Flamenco canon, which is pity, since it could afford the flamenco dancer many opportunities for artistry and expression. On youtube, Estrella Morentes dances a very beautiful Zambra , which is definitely flamenco. 2. Zambra/Danza Mora ( flamenco/bellydance ) Then there is the second category, which many dancers and commentators describe as very oriental, undulatory and "hippy" , softer in form- a flamenco belly dance- which was danced alongside the more "flamenco" version, from the start. In fact ,this form of Zambra was made very popular, in its resurrection, by flamenco dancers and artists such as Carmen Amaya and La Chunga (Morocco) during the 1940's/50's, with some fine music composed and eloquent, fiery dances choreographed especially for this dance form. I think the second form has generated much interest and fascination amongst bellydancers, for obvious reasons... The costuming for this zambra, is blouse tied under the bust, with a skirt with frills on the edges, a scarf tied around the waist; danced barefoot, (Morocco, www.atlantabellydance.com et al) and danced often with zills/tambourine. Morocco of New York, Amaya ( New Mexico), Elena Lentini, www.sabihah. net, Puela Lunaris etc all have done extensive research on this dance form; Dalia Carella, Dondi, Amaya and others have all danced some powerful and evocative zambra/danza moras. Mesmera uses Moorish stylings in her Rom -inspired dances ( Gypsy Bellydance video), www.sabihah.net lists possible zambra mora dance vocabulary to use. 3. Learning the Zambra In the UK, there are bellydancers such as Afra al-Kahira, Al Warner, Lucy Tanner, Raheesha, others and myself, who are at the moment developing flamenco- rooted dance, since many of us are flamenco dancers as well. I think to dance the various forms of zambra, one needs to work on one's flamenco, either through regular flamenco drilling, flamenco classes, flamenco workshops- in order to tap into the reservoir of feeling,emotion and vocabulary. It needs that strong proud posture, (Amaya) that doesn't let up, for even one minute, floreos ( isolated wrist rotations ) strong torso, spins, sensuous hips. Otherwise, `i think, without these, it would lose that flamneco edge, purpose, and poise. Suffice to say, it takes years to perfect! 4. Puela Lunaris' Interpretation Puela Lunaris , of New York (www.puellalunaris.com) produced a video in 2002 , called Zambra Flamenco, and it is, I think quite an invaluable and wonderful look at an interpretation of the zambra mora. Spanish born Lunaris (real name Pilar Sanchez) grew up in Andalucia, and danced the zambra as a child. She went on to study flamenco with the great flamenco Master El Farruco. Puela passionately says, that this dance form is dying out, and the more people become involved and interested in this dance, the future for it, remains exceptionally bright... So I guess there is one more burning question- in light of all this, just when did Moorish dance eventually become flamenco proper? Now , that would be an incredible answer! Resources: www.maria.amaya.com (Gypsy Fire, Vols 1 and 2 - Zambra/Danza Mora/ Gitano-Arabe dance) www.casbahdance.org ( Morocco's website) www.esflamenco.com (articles on flamenco styles /palos, and flamenco artistes, with Susana Navalon) www.emmapyke.co.uk (review of Dondi's Zambra Mora dance workshop ) : see also www.afraalkahira.com for the same review) www.flamenco-world.com www.mesmera.com ( for the Gypsy Bellydance video) www.puellalunaris.com ( Zambra Flamenco) www.sabihah.net Totton Robin Song of the Outcasts Any books on Moorish/Sephardic/Gitano/Spanish histories/cultures/language or visits to Spain, all of which give this dance a great context. If I have left anyone out, I do apologise. Many of these sites have good links as well.

Empress Carolena and Queen Megha!

maureen-theresa — Sat, 17 Mar 2007 02:08:30 GMT

Well, she came, she saw and she conquered... Empress Carolena Nericcio was amazing at Majma , Glastonbury, 2, 3 and 4 March 2007. She taught an alert, fascinated and hungry crowd of enthusiastic dancers, who just couldn't get enough of her. We couldn't believe she was here..... She taught, performed and spoke the whole truth and nothing but the truth. Megha Gavin (Tribal Pura) also joined her- she was amazing with her winning, open smile and face, vivacious personality and skill. They made a winning combination. I loved Megha's finger cymbal class- she got EVERYONE playing finger cymbals, no matter how inexperienced they were! Carolena, petite, serious and Mediterranean looking, had such authority and deep knowledge. Her experience of dance , anatomy, culture and working towards empowerment for all, simply blew my mind..... She was also very modest, articuate with a fabulous sense of humour, which was delightfully self- deprecrating. I think Carolena and Megha both were in love with Glastonbury, because Glastonbury does that to you! I felt it was of the best Majmas, I'd been to. There was a variety of styles, from Guedra to Flamenco -Arabe, Shaabi, Ghawazee, "Gypsy"(Rom) ATS, Persian...... Oh, yes, Raksan, the German belly dancer and peformance artiste was another amazing person. I loved her work with us on Rom dance. She worked with a small range of Turkish Rom dance vocabulary, and helped us to explore elements of Rom culture and modes of thinking and feling. So invaluable, it has given me a stronger understanding about different types of Rom dance. Thank you, Raksan. It was lovely meeting up with old and new friends. The weather did get a bit gloomy. It was the first time I had seen rain, while I was there ;D. Well, Empress Carolena was certainly worth waiting for. She has certainly conquered many parts of the world, with her ATS, which is why I'm calling her Empress ;D. We're not worthy!!! Until next time. You're both always welcome, here. M x

Saidi Dance Style (Egypt) : the Dynamics

maureen-theresa — Fri, 16 Mar 2007 23:12:19 GMT

Introduction: Says Shareen el-Safy, a long established North America belly dancer, the horse has played an important part of of the everyday routine in Upper Egypt/ the Saidi region (Saidi for the Stage, video by Shareen el-Safy, 1980's). How far this is true , now, 20 years on, witht he popularity of the car and other mdoern conveniences in everyday life, remains to be seen, but in terms of dance style, we see a joyfulness, a cheekiness and a strength which plays homage to the horse. Th infectious and earthy rhythm , " dum tek dum dum " , gets you really moving, and involved, and it is such fun to dance to. The moves are often from horses "playing a key role.. or a vehicles for projection" ( el- Safy ) . Saidi dance is '' robust', "sexy", "tongue in cheek", "parodying the folkloric (el-Safy) often danced with canes and sticks; so it is fun, life-affirming, humorous and social, not often taking itself seriously. However, this doesn't mean, that as a dance student, you should forgo taking this dance style seriously! 1. Health and safety , Posture and Elegance in Dance. One of the main points el-Safy makes on her video, is the health and safety angle: having soft, flexible knees, a strong posture to upper and lower back, with tucked in or neutral pelvis, with stomach muscles held in , pulling up from the waist to give that proud and elegant look. As with all dance, the power comes from the abdominal muslcs and other muscles, never from the skeletal frame. 2. Saidi and Ghawzee Dance moves Saidi dance moves can be danced with Ghawazee dance moves too. The Ghawazee (Rom and /or public dancers in 17. 18th and 19th century Egypt, often danced for the Saidi people at weddings, festivals, holidays, etc, so there is a lot cross pollination of moves and expression. Ghawazee dance , suggests Hobin and others, has provided some of the source to many Egyptian bellydance styles, including folk. So don't be afraid to experiement and enrich the dance style, in this way. More recent footage of Ghawazee dancers (in this case , the Banat Maazin dancers, on The Dances of Egypt Video by Aisha Ali) shows this case in point. The dancers , here, danced with sticks Conclusion Saidi dance uses gestures and moves, whose meanings have been lost over time, but el-Safy stresses, even so students should learn these gestures and moves, as accurately as possible- as they are there to maintain the 'tradition and epth of the dance" (el- Safy). The Mahmoud Reda of the famous Reda Dance Troupe (Egypt) did much to bring and establish Saidi dance on the stage and secure it infectious popularity (20th century) References Aisha Ali (video) Dances of Egypt el- Safy Shareen (video) Saidi for the Stage Hobin Tina Dance of Mother Earth

Short Review of Urban Tribal Workshop and Show in Leicestershire, England UK 13/14 January 2007

maureen-theresa — Thu, 15 Feb 2007 00:49:39 GMT

This was a great weekend of workshops. I managed to get to see the show and do the Sunday set of workshops. I was impressed by the level of work we got through and the sheer professionalism and dedication of Heather Stants/Urban Tribal. Thanks to Nicola Atkins for tirelessly organising it! The Saturday show was well done, very relaxed , with some top notch performances: including Rashani, Shimmy Chick, Gyspy Fire, Dawn O'Brien, the Uzume (Holland) and of course Urban Tribal. I missed Rashani's performance, but I was told how beautiful it was. Next time, I am going to be on the front row, fixed to my seat, when they come to perform again! All worked hard and well, with especial praise for Urban Tribal, whose moves were so polished and well-executed, it really raised the bar on dance standards- the Uzume, who just blew us away. This trio reminded me a lot , of Rachel Brice, with that ethereal, body controlled, sinuous quality. Again, like Urban Tribal, perfection comes with constant dedication and practice, practice, practice. Dawn O' Brien was her usual cheeky Cyber-fusion self, with confident, snaky and gliding moves, done with fluid ease, matching the infectious Jamiroqui track in the background, perfectly and powerfully. This girl is strong and original, her floor work is inspiring and well-executed. Nicky Atkin and her group danced and communicated well with each. They were confident, and Nicky is a reassuringly strong dancer and leader. There were lots of original varieties of ATS dance movements, with great eye contact, strong switching of leads, great dance interaction between dancers, some powerfully strong floor work, combinations and tight controlled moves. It was lovely to see the different types of ATS and Tribal Fusion in this part of the Uk and how it is developing. The workshops were challenging and Urban Tribal worked us hard. A lot of the Tribal Fusion moves were rooted in cabaret dance styles, which was both reassuring and surprising. This suggests that dancers of `Tribal Fusion need to be disciplined in many aspects of Middle Eastern dance, and Tribal Fusion is not an easy discipline, nor a cop out. the link with Middle Eastern dance moves is still very strong. There were many moves I'd encountered in Jill Parker's delightful and fabulous workshops, when she was over in London, in November 2006. So, there was a lot of reinforcement of the style for me, in Heather's workshops. Urban Tribal used demonstrations, drills, instructions etc to get their message across. Also it has to be noted too, that elements of modern contemporary dance, hip- hop,and yoga are all present too. It would be interesting to see how far contemporary dance will be incorporated in Tribal Fusion, in the future. Urban Tribal were lovely to talk to, afterwards, as well. Very dedicated, caring and hard-working. I hope they enjoyed England, and maybe Nicola can arrange to have them back again. It was well worth it!

Happy New Year 2007, to all my friends on tribe!

maureen-theresa — Thu, 28 Dec 2006 00:58:43 GMT

Happy new year to all of you; I hope this year will be a better , happier , healthier and more peaceful one for one and all.... M xxx

A Short Extract from Leo The African by Amin Maalouf

maureen-theresa — Thu, 28 Dec 2006 00:47:01 GMT

This story is based upon the true story of Hasan al- Wazzan, a traveller and writer during the 16th century, an exile from the last days of Granada. Otherwise known as Leo Africanus or Leo the African, his story has been written by Amin Maalouf, a French/Lebanese writer. Hasan begins his life in Granada. This is how it begins : " The Year of Salma al-Hurra 894 A.H 5 December 1488-1489 " In that year, the sacred month of Ramadan fell in high summer. My father rarely left the house before nightfall, as the people of Granada were short-tempered during the daytime. Quarrels wer frequent, and a sombre bearing was regarded as a sign of piety; only a man who was not keeping the fast could smile under the fiery heat of the sun, and only a man who had no concern for the fate of the Muslims could remain cheerful and friendly in a town exhausted from within by a civil war and threatened from without by the unbelievers. "I had just been born, by the unceasing grace of the Most High, in the last days of Sha 'ban, just before the beginning of the sacred onth. My mother Salma was excused from fasting while she recovered, and my father Muhammed was dispensed from groaning, even in the hours of heat and hunger, as the birth of a son who would bear his name, and one day bear his arms, is a mattter of legitimate rejoicing for every man. Furthermore, I was the first born and when he heard himself called 'Abu'l-Hasan,' my father's chest swelled imperceptibly; he stroked his moustache and slid his two thumbs down his beard while glancing up at the alcove on the floor above, in which I lay......... " (Maalouf, p 5.) Abacus Books, London , copyright 1986 Translated from the French, by Peter Sluglett (1986)

The Alhambra, a work of sublime beauty

maureen-theresa — Fri, 03 Nov 2006 01:55:21 GMT

The Alhambra, Granada, Southern Spain, is probably one of the most beautiful and stunning buildings in he world. It is so evocative of symmetry, tranquility, romance, grace, and strength. It is symbolic of Moorish rule in Spain (and earlier on , Portugal) and has truly stood the test of time. The last Moorish dynasty (resident in Granada) before they were exiled in 1492, lived there, for a while. They knew that they were living on borrowed time, (given the fact Christian Spain was reclaiming territory ) and this poignant fact, makes the Alhambra, all the more enigmatic and dramatic. It speaks of solace, paradise, yet palatial and poltical intrigue, corruption and hedonism. If only the walls could speak! * The Alhambra, or The Red Fort, in Arabic, had been built by the Moorish king, Muhammed 1 ( c. 14 century), after he had successfully captured Granada, as part of his kingdom. At this time, life was very precarious for most (Elms), for the Black Plague had ravaged much of the population, the economy was weak and both Spanish Christians and Moroccan were knocking on Granada's borders..... Yet, the Alhmabra still stands. It has two doors, one into the sumptuous courts of the not so distant past (with the "lace-like effect pillars) and the other door to an "abyss" or nowhere. The latter door was used to get rid of suspected assassins. They obviously never came out again......... Thus, the oldest part of the building, is obviously 14th century in age. The Alhambra is made up, surprisngly, of plaster and other relatively cheap materials, but its beauty is unnerving. It has been suggested to visitors that they must simply sit down and take in the splendid view and peace, rather than race around. The Alhambra's atmoshpere has been likened to that of a Zen monastery (Elms). It is hardly surprising, that some of the building had been modelled on Moroccan religious schools. Inside the Alhambra, are lavishly painted textiles everywhere. Elms says that silk production was very common, during the Moorish period, and the intricate tracings replicated architectural design. Elms reveals three types of Alhmabran design: stucco( plaster) with tile work, geometric elements, such as stars and squares; arabesques with coiling vegetation of plaster and stone; calligraphy, beguiling a decorative "virtual stone book' (Elms), with actual messages, as opposed to just pure decoration. While the Alhambra has been updated over the centuries, becoming a popular tourist attraction, for the first time, during the 19th century, the Courts of Lions and of Myrtles are more or less the original designs. The Court of Lions is the most popularly sought after image for book covers and tourist guides....... Queen Isabella and King Ferdinand took great pains to employ Muslim/North African craftsmen to work on and preserve the Alhambra. There have been many residents over the ceturies and each have contributed to the preservation of this palace- with gardens (19th century) and fountains, paint work etc. The Alhambra still casts her spell...........several centuries on........ * Elms and Webster speak of Nasrid hedonism, indulgence with food, hashish, sex, money and other excesses. The Alhmabra, says, Webster was seen as a "Las Vegas of Europe" . This place was certainly flamboyant, stimulating, sexy, colourful and audacious. Sublime. Bibliography Elms Robert (narrator ) The Legacy Of the Moors- Channel 5 (UK) , transmitted Sunday 22nd May, 2005 with contributions from author Jason Webster and Spanish/ Muslim Academics

Middle Eastern Dance ( two quotes)

maureen-theresa — Fri, 03 Nov 2006 00:59:05 GMT

" Middle Eastern Dance is danced by both men and women. It is a ...form of powerful dance and like all dance, African, Indian, Flamenco, folk dance, etc, has its roots in spiritual worship/non-verbal communication/ sexuality /the group identity/ celebration and joy, self-expression, even sadness. "For women, who dance it, it offers them many things" ( Zoraida Catalina Perez-Haddad, Tantra, A Brief Explanation/ Introduction ) "Bellydancing is an estastic celebration of feminine power, creativity and sexual energy... (with) sensual snaky actions... and the breath as a powerful force moving through the body, with the musuclar movements grounding to the earth and the spinning hands reaching to the sky, connecting earth and sky....Also the pelvic motions mimic the birthing process, connecting you to the source of life" (www.tantra.com)

Andalucian (Moorish ) Love Song

maureen-theresa — Sat, 28 Oct 2006 01:23:28 GMT

Classical Andalucian (Moorish Spanish) music has its origins from the 10th-11th centuries, and when the Moorish refugees arrived in , North Africa (Libya, Morocco, Tunisia and Algeria) from 1492 onwards, the traditions went with them. Andalucian dance as performed in North Africa, today, seven centuries on, is an incredibly graceful dance, with sinuous, floaty and brightly coloured scarves weaving through the air and and to the music. Dance is performed at festivals, family gatherings, parties and so on ( www.helene-eriksen.de) This Andalucian song describes "both eartly pleasures as well as the mystical love of God " (Helene Eriksen) "He appeared slim, gracefully swaying to the rhythm, He was so beautiful, as he inclined his slender body towards mine. I asked him, come, let us get closer, but he said, wait until tomorrow.... My heart , do not grieve for what has been, God brings the errant, back to the straight and narrow path, In the depths of night-back eyes, you gaze as one you know like no other ......." (www.helene-eriksen.de ) The above picture shows Helene Eriksen in Andalucian dance costume, performing the dance. wwww.ameltafsout.com is an excellent and recommended resource on North African culture, dance , music, with a bibliography/ reference list

Federico Garcia Lorca and Flamenco (early 20th century, Spain)

maureen-theresa — Thu, 26 Oct 2006 01:18:47 GMT

Federico Garcia Lorca's story is so poignantly tragic. At the peak of his creative powers, he was shot by Franco's Civil Guard. A powerful and eloquent poet, he was seen as a spokesperson against Facist Spain. He had attained much adulation across Spain and South America. Lorca's contribution to the mythology and culture of flamenco is quite important. He had researced Moorish history, as well as exploring Gitano and Sephardic (Spanish Jewish) contributions to create a believable and solid background from which 20th century flamenco could flourish . He offered an explanation on the meaning of Duende- the spirit or deep emotion or possession the flamenco dancer or audience experiences........