Region: Egypt - Move to teach art in state institute triggers controversy

A plan to create a government institute to qualify belly dancers has raised eyebrows and drawn criticism in this predominantly Muslim country, where this art once thrived and enthralled the world.

By Ramadan Al Sherbini, Correspondent
Published: 22:52 July 16, 2009

Cairo: A plan to create a government institute to qualify belly dancers has raised eyebrows and drawn criticism in this predominantly Muslim country, where this art once thrived and enthralled the world.

This plan "seriously challenges the Egyptian society's traditions and glaringly violates the constitution", which states that Islam is the official religion of the country and that the sharia is the main source of legislation, said Farid Esmail, a member of parliament.

Creating such institutes threatens the society with the spread of depravity, he said. "What we need are vocational training institutes, not belly dance schools."

Esmail predicted that the parliament would not endorse any plan to establish such "immorality dens".

Officials contacted by Gulf News declined to comment or elaborate on the plan.

A wave of Islamisation has recently swept Egypt, manifesting itself in the majority of Muslim women in this country of 80 million wearing the hijab or the niqab.

Official television no longer broadcasts belly dancing, which is frowned upon as unIslamic.

In recent years, fewer Egyptian girls have taken up dancing as a profession, a matter that has cleared the way for nightclubs especially in Egypt's tourist spots to recruit performers from other countries, including Argentina, Brazil, Russia and Ukraine.

"I see no problem in setting up an institute to train belly dancers," said Dr Mohammad Abul Ghar, a medical professor.

This would cause no harm to society. On the contrary, this move would keep this traditional art alive and stop intruders from damaging its reputation, he told Gulf News.

Abul Ghar is a member of the March 9 Movement, a protest group pushing for the independence of Egypt's universities from the government control.

Pharaonic temples are inscribed with images of dancers, he said. So dancing is part of our tradition, which we should protect from extinction.

He blamed interlopers for making belly dancing synonymous with debauchery. The suggested institute is likely to help groom local dancers to revive the refined face of this genre and stop invasion by foreign performers of this native art.

Until a few years ago, belly dancers were usually recruited to perform at Egyptian wedding parties in fashionable and working-class areas alike.

Source: Gulf News

With Willing Spirit, a Reprise for Ailey Dancers

By SARAH LYALL
Published: December 24, 2013

The voice on the phone belonged to Masazumi Chaya, the associate artistic director of Alvin Ailey American Dance Theater, and he had a startling proposition. Would she — Elizabeth Roxas-Dobrish, 55 years old, former Ailey superstar and current artificial-hip owner — come out of retirement to dance at a special performance on New Year’s Eve?

“Are you kidding me?” she responded.

No, he was not kidding, and eventually the answer was yes, she would do it. And it was yes, too, for a handful of other Ailey alumni who received similar calls, among them Linda-Denise Fisher-Harrell, 43, who teaches dance in Maryland; Dudley Williams, 75, who joined the company in 1964 and remained for 31 years; and Donna Wood Sanders, 59, who has spent the last 20 years raising a family in the Westchester suburbs.

Andrea Mohin/The New York Times

It could almost be a plot from one of those movies in which legendarily gifted jewel thieves or grizzled special-forces assassins are lured out of retirement for one last impossible heist or against-the-odds mission. But this is different, more of a reckoning, a coming to grips with the passage of time. “Revelations,” a classic of American modern dance set to gospel music and spirituals, is Ailey’s best-known and most-performed dance, a thread through the history of the company and a work every Ailey dancer knows intimately. “It’s in my DNA,” Ms. Fisher-Harrell said by telephone. “Even if I wanted to forget it, I couldn’t.”

But knowing how to do something doesn’t mean being able to do it the same way you did it before. The dancers spoke of thinking one thing in their heads but having something else, perhaps, happen in their limbs. “Does the body do what it did when it was 20?” Ms. Fisher-Harrell said. “Maybe not.”

Ms. Roxas-Dobrish, who left the company 15 years ago, was assigned a particularly difficult portion of the piece, a pas de deux set to the music of the spiritual hymn “Fix Me, Jesus.” She was suffused by doubt. Her hip-replacement surgery had taken place at the end of 2012. “I also don’t have any A.C.L. in both of my knees,” she blurted suddenly about the state of her ligaments, almost as an aside, in a post-rehearsal interview. The veterans’ one-time performance Tuesday at New York City Center (where the company is in residence through Jan. 5) begins at 7 p.m.

So she got to work. She enlisted the help of a physical therapist, a massage therapist and an acupuncturist; she tweaked her diet; she stepped up her Pilates; and she started going to class again. She began to see the dance from a new perspective, not just as a showcase for technique but as an expression of “all the things that life has put into you.”

And no, she said, she cannot do it exactly the same way she did when she was young: when she arches her back toward the floor while balancing on one leg and extending the other high into the air in one especially hard movement, for instance, she cannot bend back as far as she once did. “Alvin always said, ‘Ponytail to the floor,’ ” she said. “That’s not going to happen.”

She added: “When you’re younger, you have everything — you have the flexibility, you have no fear. But you don’t savor every step, every movement of every fingertip, every beat of the music. I feel like I’m tasting food for the first time.”

Ms. Roxas-Dobrish, who after retirement worked briefly as a real-estate agent (“It was the most horrible feeling I ever felt”), now teaches at the Ailey School. By contrast, Ms. Wood, who uses her maiden name professionally, has truly been away. Retiring in 1985 after 13 years at Ailey, she moved to New Rochelle, married, had children. She was lured back, she said, because Mr. Chaya pointed out that her two sons had never seen her dance.

“For years I’ve focused on family, children and community,” she said. “I thought this would be a one-time thing, a chance for my children to see me perform.”

She went on a diet and increased her exercise regimen, and then took a big gulp and showed up for classes with members of the current company. She wore gym clothes and socks. “I am not putting on a leotard,” she said. (She has been cast in a section of the dance known as the “yellow” section, for the flowing dresses the dancers wear.) Still, she said, being in the building took her breath away.

Ms. Fisher-Harrell, who teaches at Towson University, has returned several times to the Ailey company since she retired, and still performs. She stays in great shape, and said that age — for a dancer, 43 counts as old — had its benefits.

“At a young age, you look at it physically: how can I do these steps, how can I bend back further, how my leg can go up higher?” she said. “But the older you get, the more you’re comfortable with yourself. I know where I stand and how I feel.”

Robert Battle, Ailey’s artistic director, said the dancers were of course being held to a high standard, but the spirit was just as important as relative perfection. “Maybe they might feel that they can’t do it exactly the way they did, but maybe that’s not the point,” he said. “The point is to be where they are.”

At the rehearsal the other day, the petite Ms. Roxas-Dobrish danced with her partner — Jamar Roberts, 6 feet 4 ¼ inches tall and 31 years old — for the first time. The “Fix Me, Jesus” portion is intimate and grueling, requiring the woman to push her body to extremes and put absolute trust in her partner.

Afterward she said she felt an immediate connection — “The dance just kind of flowed,” she said — but she worried that Mr. Roberts would feel he was “dancing with his grandma.”

Not at all, he said in a telephone interview. “I felt like I needed to be delicate, but not because I thought she was old, but because she really is a jewel,” he said. “She’s legendary. I didn’t want to do anything or say anything that would make it a bad experience for her.”

He said that before Ms. Roxas-Dobrish, he had never danced this piece with a partner who looked him directly in the eye.

“It wasn’t flirtatious, it felt a bit” — he paused — “wild, and it opened up a new dimension of the work to me that I want to explore. I was a little taken aback.”

The dancers said it was hard not to be wistful about the past when you are reminded of the person you once were. But while you give up some things as you grow older, so you gain others.

“Do I admire those bodies?” asked Ms. Wood, speaking of the young dancers in the current company. “Absolutely. But I know who I am.”

A version of this article appears in print on December 25, 2013, on page A1 of the New York edition with the headline: With Willing Spirit, a Reprise for Ailey Dancers.

Source: The New York Times

Be a Smart Dancer: 10 Qualities of Smart Dancers

In workshops and at your classes, you often hear, “Be a smart dancer!”
Being a smart dancer will help you, your fellow dancers, the choreographer and the performance piece much stronger. Let’s break down what being a smart dancer includes.

Photo: Greta Hodgkinson gets ready backstage before performing as the Sugar Plum Fairy in The Nutcracker. Source: The Ballet Blog Tumblr

Being Spatially Aware

Being spatially aware means that you understand you’re dancing in a 3-dimensional world. Smart dancers know about body directions and how they relate to the space around you. Being spatially aware means you know not to stand too close to other dancers, how to use your space, how to travel upstage, downstage, stage right and stage left. It means you understand how a combination will travel so that you can properly set up, thus not running out of room before being able to finish the combination. Being spatially aware means you won’t run into other dancers while going across the floor, and it means you understand how to not be in the way of other dancers. Being spatially aware helps everyone.

Body Directions:
Croisé devant: Crossed and in front.
Croisé derrière: Crossed and in back.
Effacé devant: Open and in front.
Effacé derrière: Open and in back.
Ecarté devant: Separated and in front.
Ecarté derrière: Separated and in back.
À la quatrième devant/En face devant: To the fourth front.
À la quatrième derrière/En face derrière: To the fourth back.
À la seconde: To second.

Staying Focused

Smart dancers know how to make themselves focus and find their centers even on bad days. Through exhaustion and frustration, smart dancers can pull it together under pressure. They are ready for anything at any moment. If a choreographer needs you to perform a role because someone is injured, you have to be ready. You have to be able to push the chaos away and focus on the current space and time. Smart dancers know how to override stresses in order to get the job done.

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Understanding Patterns

Smart dancers know the importance of identifying patterns in combinations, in phrasing and in choreography. The faster you pick up on patterns, the easier it is to comprehend and memorize. Once your mind has absorbed the pattern, your body can embody the movement making it easier to mentally reverse the patterns or combinations. Understanding patterns helps with speed, coordination and reversing. It also helps with communicating and notating movement to other dancers. If you can identify which part of the pattern you’re discussing, it will help other dancers know where in time and space you are.

Understanding Music Theory

Smart dancers learn music theory. They understand the difference between rhythm, tempo, melody and timing. They understand different time signatures (or meters), and how that will effect the dance. They know how to count using numbers and letters to signify different accents and movements. (For example: 1-e-&-a, 2, 3-e-&-a, 4). Being able to read music helps a dancer understand and flesh out what a composer is trying to get across. The more you understand music and can hear rhythms inside of rhythms the more detailed your dancing will become.

Musical Terms to Know:
Rhythm: Regular re-occurrence of the accented beat.
Tempo: The rate of speed of the music.
Melody: A succession of notes forming a distinctive sequence; the tune.
Timing: Ability to put movements to the tempo of the music; counting.

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Observation: Picking Up On Details

What makes a smart dancer is being able to pick up on details without being told. A smart dancer knows what to look for and how to transfer the knowledge into their memory all at once. For example, being able to pick up what the arms, head, hands, body, legs, feet are all doing at what tempos in what directions and not missing a detail is a learned skill. Smart dancers watch with the intention to digest the information and commit it to memory.

Source

Anticipation: Thinking Ahead

The ability to anticipate is an extremely useful tool for dancers. For example, in ballet class if you want to hold your arabesque a little longer, than you have to anticipate speeding up the transition move following it in order to stay within the phrasing of the music. Or perhaps there is a surprising shift of weight, you have to anticipate this happening so you are not late on the timing. The same goes with anticipating how a combination will travel. You have to think ahead so that you are not in the way. Anticipation also becomes useful when preparing for auditions and rehearsals. You never know what is going to happen or what you will be asked to do, so you have to prepare for everything.

Making Connections

Smart dancers know how to make connections. This can include making connections from class to class to cross-training, rehearsals and observing others. Smart dancers are always learning and they are always keeping an open mind about how to approach movement and training their bodies. Smart dancers also know the dance world is small, and they know how to interact with different people in order to stay successful. Making connections and understanding how their bodies work and how their field works is what keeps them on their toes.

A ballet teacher instructs her students at the Iraqi Music and Ballet School in downtown Baghdad. Photo by: David Furst. Source

Self-awareness: Knowing Your Body & Emotions

Understanding your body and your mental and emotional status is not always easy, but smart dancers know themselves and their weaknesses. They know what muscle imbalances or structural challenges they are working with, and they know when they are having days where they are fighting muscle fatigue. Knowing how to take care of yourself is important. Understanding how to prevent injuries or care for injuries when they occur will get you back dancing faster. Understanding your emotions and how you deal with stress, long rehearsals or certain types of people will help you evaluate situations and how you function within them. Smart dancers listen to their bodies and they take the feedback seriously.

Understanding Different Techniques

Smart dancers are open to learning different techniques, and they also educate themselves on the different techniques. For example, Martha Graham’s technique offers different focuses and skills than Cunningham’s technique, and vice versa. Learning how to fuse the benefits of different techniques will make you a well-rounded dancer, and you’ll be more prepared for whatever choreographers or teachers throw at you.

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Showing Respect

Smart dancers show respect without questioning. They take it upon themselves to learn their dance history and know the people who have shaped dance. They understand the responsibility that falls on their shoulders to dance and dance well; to train and train hard. Smart dancers learn where they’ve come from in order to anticipate where they’re going. Smart dancers respect the art, the studio space, their teachers, their fellow dancers and the creative process. They know how to provide constructive criticism without hurting someone or killing an idea. Smart dancers place their hope in each class and every day in order to protect the art we love so much.

Source:  Ballet Shoes & Bobby Pins

Going Through the Motions Improves Dance Performance

July 23, 2013 — Expert ballet dancers seem to glide effortlessly across the stage, but learning the steps is both physically and mentally demanding. New research suggests that dance marking -- loosely practicing a routine by "going through the motions" -- may improve the quality of dance performance by reducing the mental strain needed to perfect the movements.

The new findings, published in Psychological Science, a journal of the Association for Psychological Science, suggest that marking may alleviate the conflict between the cognitive and physical aspects of dance practice, allowing dancers to memorize and repeat steps more fluidly.

Researcher Edward Warburton, a former professional ballet dancer, and colleagues were interested in exploring the "thinking behind the doing of dance."

"It is widely assumed that the purpose of marking is to conserve energy," explains Warburton, professor of dance at the University of California, Santa Cruz. "But elite-level dance is not only physically demanding, it's cognitively demanding as well:

Learning and rehearsing a dance piece requires concentration on many aspects of the desired performance."

Marking essentially involves a run-through of the dance routine, but with a focus on the routine itself, rather than making the perfect movements.

"When marking, the dancer often does not leave the floor, and may even substitute hand gestures for movements," Warburton explains. "One common example is using a finger rotation to represent a turn while not actually turning the whole body."

To investigate how marking influences performance, the researchers asked a group of talented dance students to learn two routines: they were asked to practice one routine at performance speed and to practice the other one by marking.

The routines were relatively simple, designed to be learned quickly and to minimize mistakes. Yet differences emerged when the judges looked for quality of performance.

Across many of the different techniques and steps, the dancers were judged more highly on the routine that they had practiced with marking -- their movements on the marked routine appeared to be more seamless, their sequences more fluid.

The researchers surmise that practicing at performance speed didn't allow the dancers to memorize and consolidate the steps as a sequence, thus encumbering their performance.

"By reducing the demands on complex control of the body, marking may reduce the multi-layered cognitive load used when learning choreography," Warburton explains.

While marking is often thought of as a necessary evil -- allowing dancers a "break" from dancing full out -- the large effect sizes observed in the study suggest that it could make a noticeable difference in a dancer's performance:

"Marking could be strategically used by teachers and choreographers to enhance memory and integration of multiple aspects of a piece precisely at those times when dancers are working to master the most demanding material," says Warburton.

It's unclear whether these performance improvements would be seen for other types of dance, Warburton cautions, but it is possible that this area of research could extend to other kinds of activities, perhaps even language acquisition.

"Smaller scale movement systems with low energetic costs such as speech, sign language, and gestures may likewise accrue cognitive benefits, as might be the case in learning new multisyllabic vocabulary or working on one's accent in a foreign language."

Story Source:

The above story is based on materials provided by Association for Psychological Science.
Note: Materials may be edited for content and length. For further information, please contact the source cited above.

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Journal Reference:

1. E. C. Warburton, M. Wilson, M. Lynch, S. Cuykendall. The Cognitive Benefits of Movement Reduction: Evidence From Dance Marking. Psychological Science, 2013; DOI: 10.1177/0956797613478824

Source: Science Daily

'Silver Swans' taking to the barre later in life for ballet lessons

By Emma Ailes, BBC Scotland

More pensioners are taking up ballet in a bid to stay fit and lead a healthier, longer life

More and more pensioners are taking up ballet, according to the Royal Academy of Dance. It is putting the phenomenon down to the popularity of TV programmes like Strictly Come Dancing.

In a locker room at Scottish Ballet, a group of dancers are lacing up their ballet shoes. Only one thing marks them out from the other dancers here.

These dancers are all in their 60s and 70s.

Today, they are rehearsing Swan Lake.

Among them is Alicia Steele. She danced when she was young. Now, nearly 80, she's back.

"I went to keep fit classes, but I found them a bit boring," she says.

"And I love the music with the piano. I just love it and it makes you feel a bit young again. It doesn't make you look young, but it makes you feel young inside."

There's been a 70% jump in the number of adult dancers signing up for classes in recent years, according to the Royal Academy of Dance.

Some, like Alicia, danced when they were young. Others are complete beginners.

Their oldest ballerina is 102.

'Amazing thing'

Preston Clare, teacher of the Scottish Ballet's Regenerate group, says he has been astonished by the change he has seen in his older pupils.

"The amazing thing with these ladies is they've grown," he says.

"They've stopped slouching now and it's just fantastic to see the difference in them.

"They're opening up completely and able to feel more confident in themselves."

The lessons at Scottish Ballet have proved so popular, they have added extra classes, and they still have a waiting list.

Ballet is good for muscles, balance and memory, but 68-year-old Alison Templeton says it is not just the physical challenge she comes for.

"A number of the ladies have lost husbands this year, including myself, and the support of the other ladies is just remarkable," she says.

"It does help, and it gives you a focus to go out in the week and do something."

Marlene Gillespie, 71, says she absolutely loves the experience. "I can't wait to come," she says. "I love the music. I love the exercise.

"We have good days, bad days, we've all been through different things. And I just think it's a wonderful way to exercise, especially for elderly people."

Renee Gillespie, 75, adds: "You know you can't really do what you're asked to do but you have great fun trying. And so it's good exercise, it's great fun and it's wonderfully sociable."

 

 

While some senior citizens are taking on the classics, Dr Anne Hogan, from the Royal Academy of Dance, says for others there is the more gentle option of armchair ballet.

"Dance is something that can be modified to all ages and all levels of experience," she says.

"In the programme recently, when we trained people to work with older learners, they went into situations in some of the care homes where you had people who had to be seated the entire class, but had a great dance class.

"There's lots of movement that can be adapted to people's needs."

Following the Genee, the world's biggest dance competition, held in Glasgow last month, the Royal Academy of Dance is holding a week of free ballet lessons across Scotland in January.
They hope it will get even more people spend their twilight years at the barre.

Source: BBC News

Belly Dancers in Egypt Worry About Possible Islamist Takeover

Prohibiting Women’s Dancing Ends a Once-Sacred Art

By: Kamel Saleh posted on Wednesday, May 23, 2012
Translator: Naria Tanoukhi

Fears of an Islamist takeover in Egypt are not only limited to the secularists, leftists and moderates. They have now extended to a large segment of intellectuals and artists, notably dancers.

Katya, a belly dancer, performs at an oriental dance festival in Cairo June 27, 2006. (photo by REUTERS/Tara Todras-Whitehill )

There are clear indications that some are terrified at the prospect of a rise of Islamist fundamentalists to power. One Egyptian dancer called Sophia expresses her concerns, saying it would not only affect her, but the tradition of belly-dancing as a whole.

Another dancer named Sama al-Masri discusses the issue more equivocally. She defends the Muslim Brotherhood, claiming that the Brotherhood will support her art career. She says she “knows a group of Salafists and Brothers personally, and they treat her with utmost kindness, tenderness and humanitarian compassion without displaying any worldly desires,” as she put it.

The contradictory positions of Sofia and Sama are reflective of the concerns of large segments of Egyptians. Some have grown worried as the Islamists and Salafists have made their positions increasingly clear through a number of actions, including the prosecution of actor Adel Imam for some of his movies. Some of them have also demanded that dance and kissing scenes be cut out of all Egyptian films.

This has resulted in some ambiguity surrounding the future of arts in Egypt should the Muslim Brotherhood take the presidency. One observer raises the question: “How can a revolution be on the right track if women are prevented from dancing?”

Some link dancing to the concept of ​Eve’s ​seduction of Adam in paradise. Others liken it to the old game of snake charming, where a magician plays the flute and a snake emerges out of his basket, swaying. Others refer to the original snake, which sowed the seed of disobedience against the divine directive forbidding the picking of fruit from the tree of life.

Dance — which, according to mythology and cultural heritage, has played a dynamic role in  human societies — took on divine characteristics through its exercise in rituals at temples and holy places to please the gods. However, in our present era, dance has become an art in and of itself, with diverse schools and special garments. Let us not forget the dancer that seduced Enkidu in the myth of Gilgamesh, and the high price paid by John the Baptist after Salome asked Herod, King of the Jews, to behead him after having danced for him. Here in particular, it cannot be said that “a dancer has never won over a Prophet.”

Thus, along this path, dance gradually moved from being a sacred ritual to a human ritual. It is to a large extent similar to what happened to the art of poetry, which broke away from the literature of priests and the sacred texts to take a separate, human path.

Is it possible to separate the tenets of utilitarian philosophy — which dictates that humans are constantly seeking pleasure and the avoidance of  pain — from that  pleasure brought about by dance? The female body must sway to a rhythm, which leads to pleasure — including the pleasures of sight, hearing, smell and, sometimes, touch.

The Islamists have no right to ban the arts produced by humanity. They also have no right to empty religion from worldly aesthetics. Like other arts, there are both sublime and lowly forms of dance. It is the same with religions, which, throughout history, have entailed interpretations, readings and behaviors that were sublime and served higher purposes, while at other times serving as justification for lowliness, bawdiness and murders for despicable purposes.

Therefore, it is no exaggeration to say that dance is an original human act. It is a legacy of the civilizations that have accompanied man in all times and places, especially in Egypt, whose forefathers, the Pharaohs, were as keen to draw dancers on the walls of temples as the gods and kings.

Source: Al-Monitor
Original article in Arabic: As-Safir (Lebanon)

TIPS: Making the Most of Your Classroom Experience (by Mirah Ammal )

Good tips, with the bellydance student in mind...

Maybe you've just started taking dance, or maybe you've been studying for years, but in any case, you've decided to brave the exciting world of group dance classes. How can you make the most of your classes and see improvement in your dancing? A few important tips:

1) Pay attention what your instructor says to the whole class. Treat corrections or clarifications directed at the group as though they could be directed at you personally, and look for ways to adjust your own body/dancing. Generally, in a group class if an instructor makes a broad comment, it means that many or all of the people in the room can use hearing it (some to a greater extent, but most everyone can get something out of it.)

2) Develop a thick skin. When your instructor corrects you, she’s not picking on you. She’s trying to help you get better! Sometimes she may be trying to help you correct a critical flaw, but sometimes, she may see you’re very close to getting something well and she’s trying to help push you to the next plane. It’s hard to take correction or criticism, but it’s the only way we can get better. Avoid making excuses, and ask for clarification if you're not sure what she's telling you.

3) Seek out feedback. Ok, so now you’ve worked on thickening that skin…now ask for the tough feedback. Don’t just fish for compliments, actually ask to know how something is going and (if you’re ready for it) let the instructor know you’d appreciate her honest assessment. (Remember, not everyone takes feedback well, so your instructor may be a little nervous about hurting students' feelings or angering people. Letting her know you *want* honest feedback lets her know she can give it to you, and that helps you get better.)

4) Avoid moving up a level for social or ego reasons. Be sure your technique development matches your class level. When in doubt, ask your instructor’s opinion. Also, when moving up, consider taking two classes simultaneously for a session or two—one at the lower level (where you feel confident and can continue to really master techniques)—and one at the higher level where you will feel challenged. This is good for your technique, and it can help for you emotionally. When you move up to the next level—to a class populated at least in part with people who’ve taken that level before—you may feel clumsy, awkward all over again. But in your old class, you’re the old pro.

5) Try not to compare yourself with others. Everyone comes to the dance with a different set of experiences, different strengths, and a different biology. Every dancer had her movements she struggled to get, and some that came to her easily. Be patient, give yourself permission to not be perfect right away, and remember, it's not a contest.

6) Train your eye for detailed observation. Train your eye to watch movement carefully. Notice where your instructor places her weight. Which muscles are working and which are relaxed? What are her hands, feet, arms and hips doing? And how is what you're doing similar or different? Being able to observe the details and observe specifically what you need to correct in your movement is the first step toward being able to do the movement properly.

7) Recognize that the darkest hour is often right before dawn. Sometimes you’ll hit plateaus where you feel like you’re not moving forward quickly or at all. That’s ok. We all go through periods of this. Also, recognizing what you’re doing wrong is a huge step toward being able to do it right. So, when you see what you’re doing wrong but your body won’t correct it just yet, don’t despair and don’t give up—change is coming!

8) Practice ALWAYS! Practice in the shower, the office, the grocery store, or anywhere you go. Not all practice needs to be a serious 60 minute concentration session. The shower is an excellent place to practice your undulations. Pumping gas? You can get several minutes of shimmy practice! Waiting on line at the grocery story? Dainty hip-drops! Alone in the bathroom at work? Three-quarter shimmy and Tunisians! Look for little moments throughout the day when you can practice the moves you're working on. A few seconds here and there (tummy flutters on a conference call….) can help you get better, and can give you a lift during the day. (Note: if you're too weirded out to dance at your own local grocery store, go to the Chicago Ave. Kowalski's in Minneapolis. They're used to it by now.)

9) If you don’t know what the most important parts of a movement are, ask. I once substituted for a Level 1 class that was working on a choreography. They were doing very well, but at one point in the dance, the ladies did something I can only describe as "the chicken walk". I watched, baffled, for several moments. Then it hit me. Their instructor had shown them a walking movement…but they'd focused on her kicked-up foot (a particular stylization of hers), not the "core" of the movement (which was in the core of the body). They were so focused on this stylization that they had missed the actual movement entirely! It was an understandable error (and easily fixed), but it serves to illustrate the point—recognize what the important parts of a movement are, and what is just optional stylization. You'll never be worse off for asking, and one question might prevent hours of public chicken-walking.

10) Take classes from more than one instructor. Of course you'll develop a taste for your favorite instructor and it's good to have a primary relationship, but if there's more than one instructor in your area, take advantage of your good fortune! Different teachers have different styles and methods, and you can learn from them all. Plus, sometimes you can hear the same comment 500 times from one instructor, but simply hearing it in a different voice makes it hit home. So challenge yourself to try out someone in addition to your regular instructor (and be wary of instructors who don't want you to go to anyone else!)

(c) Mirah Ammal, 2006

Source: Mirah Ammal's website

Adina Gamal Shimmies Her Way Out of Belly Dancer Stereotypes

June 27, 2012
By Bonnie Caprara

Belly dancing. Cabaret dancing. Burlesque dancing. They all evoke visions slim, seductive and exotic women whose movements glide through a room, stirring the visions and souls of wanting men in a seductive, teasing way.

They’re the fantasies of many women, too. Housewives. Students. Even teachers like Jeanine Wilson.
They’re fantasies of the women they want to be.

“When I went through my second divorce, I was looking for things to do to make myself happy,” Wilson says.

However, Wilson put off her exploration into belly dancing for a month “I thought I’d be the only African-American and the only big girl in the class,” Wilson says. “But I’m not a quitter. I believe in seeing things through. After my first time, I thought, ‘Wow! I did this. I did this as well as anyone else.’”

Not only did Wilson see things through, but as her alter ego, Adina Gamal, she and business partner, Zaniah Amairah are tantalizing audiences as teachers and performers of Detroit Shimmy.

After several years of learning, Wilson brings a philosophy to primarily belly dancing that speaks to non-Middle Eastern women or women with perfectly proportional bodies.

“I am constantly trying to help the girls because I know what they’re going through,” Wilson says. “You strive to be the best dancer that you can be with belly dancing. You are too beautiful no matter what size you are.”

Since taking up belly dancing, Wilson has dropped from 280 pounds to 226 pounds in a regimen that also includes dieting and water aerobics. And since she and Amairah have taught and encouraged women of every size, shape and color to embrace, accept and express themselves through belly dancing and other forms of dance, what had once been a hobby is now a busy performance schedule, which has included performances at Ferndale Pride and River Days.

As for breaking down the myths that professional belly dancing is only for slim Middle Eastern women, Wilson says, “The people in the Middle Eastern community really love me because I can really dance … I’m not doing it to get anyone hot and bothered, I’m doing it for me.”

Source: The Urbane Life

Egypt: Owner of belly dancing TV station arrested

Published: May. 17, 2012 3:27 PM ET
By SARAH EL DEEB, Associated Press

CAIRO (AP) — Egypt's vice police on Thursday arrested the owner of a belly dancing TV station on suspicion of operating without a license, inciting licentiousness and facilitating prostitution, a security official said.

The station, ElTet, broadcasts videos 24 hours a day of scantily clad belly dancers giving sultry performances to live in-studio music. Available on satellite TV for more than a year, the station has gained a dedicated following, in part because it shows a quintessentially Egyptian art form that has grown increasingly inaccessible for many people in the country, having been largely relegated to expensive clubs and hotels as the country has grown more conservative in recent few decades.

Still, mothers and grandmothers traditionally teach young girls belly dancing at home, particularly by watching old black-and-white movies that made earlier generations of belly dancers household names in Egypt.

Early Thursday, Egyptian vice police raided an apartment in central Cairo where the station's owner, Baligh Hamdy, had been running the operations and recording most of the videos, the security official said. Police confiscated tapes and video equipment and arrested Hamdy.

The official said Hamdy would record the videos and send them over the Internet to his partners in Bahrain and Jordan, who would in turn broadcast them on the station's satellite TV, making it accessible in Egypt and elsewhere.

The raid was prompted by complaints from viewers, the official said on condition of anonymity because he was not authorized to brief the media.

Besides the belly dancing, the station also carries advertisements for sexual enhancement products and matchmaking messages.

Hamdy is accused of airing ads that offend public decency, the official said.

While Egypt has grown increasingly conservative over the years, many rights groups fear an Islamist political class growing in influence may push for more censorship and use laws that vaguely define offending public decency to clamp down on the arts and freedom of expression.

Source: Associated Press

Randa Kamel of course - Interview with the Egyptian Star

Tuesday, May 01, 2012  

by Isis Zahara

Tutor 1: What does it feel like when you're dancing?
Billy: Don't know. Sorta feels good. Sorta stiff and that, 

but once I get going... then I like, forget everything. 

And... sorta disappear. Sorta disappear. 

Like I feel a change in my whole body. 

And I've got this fire in my body. I'm just there. 

Flying' like a bird. Like electricity. Yeah, like electricity.

Billy Elliot (2000)

This interview was not possible without a help. Some weeks ago Mohamed Shahin gave me a chance to write few questions to Randa and he did the interview himself in Arabic, than translated to English and sent to me. Most of the pictures here are from Dave Halley who gently gave me the permission to publish on the post.

 

Randa Kamel is an internationally acclaimed Oriental dancer and teacher with a following across the globe. She trained and toured for several years with the world-famous Reda Troupe before going solo.

Her first highlight was at the Cairo Meridien, were she shared a week with - no more than - Fifi Abdou. After the Sheraton closed the nightclub Randa moved to the Nile Maxime. 

Her unique and energetic style of belly dancing is legendary - her shimmies have been described as 'earthquakes'. Randa's worldwide success has led to her opening dance schools in Egypt, Brazil and France. Her performances feature in a series of DVDs and she has started her own fashion label designing high quality costumes. She continues to dance and teach in Cairo (Randa Kamel of course) and in cities around the world.

"When I see dancers present my dance

 or my culture in the wrong way 

I feel bad about it.  I want to scream out

 loud and say “No this is wrong!"

IZ - To be a star in Egypt you must to have a talent like you have. You have this special gift that makes dancers unforgettable. Do you believe that you are already a legend in the Egyptian Belly dance history?

Randa - I wish to God to be like that.  But the audience is the critique for that.  I can’t answer this question for myself.  What I can say is that I work hard, very hard, and I love what I do, and of course I would love to be considered a legend one day. 

IZ – Which dancers have been influencing your dance or who inspires you the most?

Randa - Since I was very young, I loved the dance and it captured my soul.  Everyone predicted I would become a belly dancer.  At this time, I adored Samia Gamal.  She was my fairy tale  because she was dancing beside Farid Al Atrash.  I was one of his biggest fans and I would love to be Samia Gamal for dancing beside him. Samia Gamal always inspired me with her elegance in the dance, in addition because she has a high sensitivity to music which I always like to have that in my work. I also love her hands, shoulder movements and facial expressions.  As I grew I started to appreciate Naima Akef another beautiful dancer.  Until now even when they show movies on TV with Samia Gamal and Naima Akef my family excitedly calls me to tell  they are on TV. Until today I derive inspiration from both of them.   I watched so many times their performances that I know exactly all the steps they are doing during the scene. 

photo by Dave Halley

IZ - Sometimes I hear people say: “Randa is from the old school, she dances with the heart”.  Do you think the dancers are actually missing spontaneity and/or electricity?

 Randa - There is no old school or new school in dance, the most important thing is feeling.  Oriental dance without feeling is not oriental dance and this is what a lot of people are missing.  When you go to see a technical dancer with no feeling, she can lose her audience because she can’t capture no one without feelings.  In Eastern dance you are not a machine, there is no 1-2-3-4.  When you miss the feeling and the soul then you are not producing belly dance you are just dancing.  Anyone that became a star if receives a gift from God.  He gives the feeling, talent and charisma of dance.  This is not about Egypt, this pertains more to people abroad.  Every time I travel I speak about feeling as being the most important part of this dance.  You must also understand the music and have the lyrics translated so you must to know what you are dancing too.  

When I teach I explain the feeling and lyrics of the music.  It's one thing when my students can learn the technique and it’s completely different when I turn around and face them and they can see my emotions and expressions.  I see people that think they are belly dancing, but they are not.  They are far from being belly dancers because they don’t have feelings in their dance.  Belly dance is way bigger than this, you as a dancer need to present all that you have.  If you have only technique the audience will be bored within 5 minutes of watching you.  You must to have technique, feeling and expression, you must to have the whole package to perform the real Oriental dance. 

"There is no old school or new school in dance,

 the most important thing is feeling.   

Oriental dance without feeling

 is not Oriental dance and this 

is what a lot of people are missing."

IZ - When you are not dancing with your body are you dancing with your mind?

Randa - Everywhere I hear music I dance.  Yes I always dance with my mind. My life is only about my son, my family and the dance. I could be sleeping at night imagining movements.  I jump out of my bed dancing with my body.  When my family see me doing this they think I am insane.  Even when I’m driving, walking, or going to my daily life the dance is in my body.  If I don’t dance with my body I’m always dancing with my mind.   

"I see people that think they are belly dancing,

 but they are not.  They are far from being 

belly dancers because they don’t have feeling in their dance." 

IZ - What makes you passionate about dance?

Randa -There is nothing specific that I can say that made me fall in love with dance.  The dance is in my blood. I guess I must have been born with it.  I love dancing so much because I really had a hard time with my family about my choice to be a professional dancer.  The obstacles I had to face with wanting to be a dancer have made me more passionate about it. 
When I was younger my family used to beat me because came to my neighbors houses and dance at their weddings and parties.  I was born in a very conservative city called El Mansoura and it’s so difficult to be a dancer in a conservative city.  I really don’t have an answer about why I love dancing so much but if you want to make me happy, just put on music and I will dance. There is something also which I always remember: When I was a child, I would go to parties and sit to watch everyone dance.  I always loved it when people came to me and begged me to dance.  It made me feel loved and appreciated, and maybe those are the reasons why I am so passionate about dancing. 

photo Dave Halley

IZ - Which music style do you like to perform? I have heard you like more of the Classics such as Um Kulthum. Why?

Randa - When I first started performing I loved dancing Um Kulthum and any music that was difficult to dance too.  I always picked the music that was more difficult so people would say that I had an excellent knowledge of music.  After a while I started dancing balady style* and I felt in love with balady also.  (accordion and tabla musical progression  considered balady).  Then I started dancing modern oriental and felt in love with that as well.  So basically, I’m in love with the whole package of Oriental dance music.  I love Um Kulthum specifically because everything in her songs is beautiful: the lyrics, the music,  there are much feeling inside or something unusual about her songs that just grab at my heart.     

IZ - What do you feel right before going on the stage?

Randa - It’s different every time and changes with who I’m dancing for and what I’m dancing to. There is a difference when I dance for dancers, or when I dance for regular Egyptian people. Each audience requires me to be a different performer and if I make them happy I am happy.  

"To be a great teacher,

 you must be TAUGHT how to teach.  

 You have to know what you are doing, 

you must know how to present the proper 

information in the correct manner. 

 This also requires a talent, just as dancing

 and performing require a talent."

IZ- Do you notice anything different when you dance outside Egypt?

Randa - When I dance outside of Egypt I feel like I’m a messenger of my country and my culture.  I want to present my message about the country where I’m from in the right way and I take it as a huge responsibility to be true to my culture.  When I see dancers present my dance or my culture in the wrong way I feel bad about it.  I want to scream out loud and say “No this is wrong”.  On the other hand if I see dancers present the dance in the correct way I feel like I’m flying and I’m so happy. 

IZ – What is Randa like offstage? What makes you happy?

Randa - I’m like anybody.  I’m a very simple person, most of time I am at home with my son and my family.   Sometimes I go out with my son and that makes me happy. What I really love to do is go back to my birthplace and spend time with my childhood friends, this really feels my heart and soul.  I usually consider this my vacation time, and the other thing that makes me happy is to be successful in my career and my personal life.   

IZ - What do you believe is the future of Egyptian belly dance in the coming years?

Randa - My opinion is that Oriental dance IS Egypt.  There is no difference between the two.  Egypt will always be considered the mother of Oriental dance and the land of Oriental dance.  About the current political problems, I think this is a temporary situation and will not change the history or the future of belly dance. 

IZ - Being a belly dance performer with a live band, does this make you a good teacher or does teaching require a different talent in of itself?  

Randa -  Dancing with live music is not enough to make you a good teacher and it certainly doesn’t give you the proper skills to teach.  To be a great teacher, you must be TAUGHT how to teach.  You have to know what you are doing, you must know how to present the proper information in the correct manner.  This also requires a talent, just as dancing and performing require a talent. You must not be a person that takes from the dance, you must add to the dance.  You must leave your own fingerprint in the dance.  Not every performer can be a good teacher, and every good teacher may not necessarily be a good performer. Please keep this in mind when you are considering who you learn from and when you decide to teach. 

"Belly dance is way bigger than this,

 you as a dancer need to present all that you have.  

If you have only technique the audience will be bored 

within 5 minutes of watching you.  You must to have technique, 

feeling and expression, you must to have the whole package

 to perform the real Oriental dance."

IZ - Who do you consider an Egyptian Star? Why?

Randa - Egypt is full of stars, some stars have passed away and some that are still alive.  There are too many stars to name, Samia Gamal, Naima Akef, Tahaya Karioka, Nagwa Fouad, Nahed Sabry, Fifi Abdou, Dina, there are too many to name. For example a dancer I know a lot about Samia Gamal, she’s a real star because she really loved what she was doing and she added a lot to Oriental dance.  She had her own signature style that she created and she worked really hard and studied for.  She gave so much to this dance for so many years.  Every star that I mentioned also had their own signature style and that’s why they are considered stars and legends of the dance.    

photo Dave Halley

IZ – There are rumors that so many foreign dancers are in Egypt because not enough Egyptian dancers, where are the Egyptian dancers? And - do you think there will be new Egyptian bellydance Stars in the future?

Randa - First of all, Egypt is for everyone to dance it’s not only for Egyptians.  It’s normal and I’m happy to see foreigners dance in Egypt.  But we must consider how much real Egyptian dancers are loosing their jobs because the owners of some venues prefers the cheapest person to work at the place.  Now, most of the boats are full of foreigners and the Egyptian dancers are forced to go to lower class venues on Haram street and they are getting really frustrated.  But still there are many Egyptian dancers and of course I believe there will be new Egyptian stars in the future.  This will not be the end of Egyptian stars.  The dance is in the blood of Egyptians, must be new Egyptian stars in the future. 

Source: Oriental Limelight