Quote:
Originally Posted by cathy
Dear Brea,
This seems to be an area where my teacher Morocco and A'isha differ. Morocco says that playing zills is an integral part of raks sharki (not only raks beledi) and one of the hallmarks of a polished professional and a complete performance, with dancer taking part in producing the music. When she sponsored Nadia Hamdi's trip to the US, Nadia confirmed this too. Also we see evidence that many of the top stars in Cairo from the older days played zills on a regular basis during Sharki numbers. Naima Akef, for instance. We often don't see them playing zills in the films from the 40s and 50s. Morocco says this is because of technical issues in the film business then (synchronizing sound and motion) and also very loud sets but I think A'isha disagrees about this.
I CAN'T PLAY ZILLS and I AM NOT AN EXPERT in the subject of the history of zills and raks sharki or raks beledi by any means but just trying to summarize what I have heard these two authorities write and say on the subject to show that opinions differ. I don't think people who agree with Morocco will necessarily think you aren't a professional if you can't or don't play zills. That would get into the whole issue of what is professional. More like there was a notable hole in your training. I have also heard other (younger) professional dancers in NYC say that lack of being able to play zills has actually prevented them from getting jobs at certain nightclubs. I don't know any more details about that.
Morocco also recommends little "mufflers" on the zills for practice BTW.
Cathy
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One of my student's Ariel, within the past year, has started dancing publicly. All of the establishments she has worked in are Egyptian owned and they all have been presuring her to play them. She does know how, but she doesn't want to play them in her show util she feels she has mastered them. I know that the owner of my primary venue, also Egyptian, didn't hier her because she didn't play them. That and the fact that he's crazy.
I think it has something to do with the venue in Egypt. What i mean, is that I think there are different expectations of the dancers who perform at the local weddings as versus the ones in the upscale nightclubs and venues. In the latter, they seem to be considered "old school", where as on the wedding and moulid circuit they are common place.
In the clubs here in NEw York, we no longer have the types of venues with live music and a dance floor. We are in amongst the customers creating atmosphere and enlivining the crowd. The cymbals deffinately add to the felling of excitement and raises the energy level in the room, which is why owners tend to favor the dancers who not only play them but play them well, over those who don't.