sedoniaraqs

This is a choreography by Maleeha of Iowa that I saw so long ago, that credited the music to Marcel Khalife. I have been searching for this music but can't find it. I emailed Maleeha but have not received a reply. Anyone know where I can get it?

Sedonia

Kharmine

Adiemus, I'm betting you have some great talent down there in performing and teaching -- possibly it's not so well-organized and advertised as in the States. When was the last time there was a belly dance convention Down Under? You need something to pull dancers and fans outta the woodwork!

As for individual styles -- I can only voice my own opinion. My teacher specializes in Egyptian styles. I've watched and tried to study a lot of belly dance and, IMH0 there truly is far more in common than what arguably makes them distinct.

I think it's more important to enjoy the individuality and soul that any good dancer brings to what we call "belly dance," then to focus on arguable style differences.

Here, BTW, is the only video clip I've found of Dahlena, one of the earliest pioneers of American style belly dance. She's probably come a long way since her early days -- but then so have we all.

__________________
What if the hokey pokey is really what it's all about?

Kharmine

One thing essential to a superior belly dance performance, IMHO, is great theater, and Rhea certainly presents that, Maria!

__________________
What if the hokey pokey is really what it's all about?

Aisha Azar

[quote=Kharmine;58733]One thing essential to a superior belly dance performance, IMHO, is great theater, and Rhea certainly presents that, Maria![/Q


Great theatre is a quality that certainly marks western offshoots of belly dance and is one of the differences between eastern and western dance. I have an article on my website in which this element is a part of the discussion. In authentic ethnic belly dance, the dance is usually as large as life itself and in western fusions it seems to follow the line if most western theatre and dance, and is somewhat larger than life, full of extra drams, etc. In the the Middle east we might say belly dance is a slice of life; in American stylings. it becomes a fantasy of sorts, if that makes sense. Arabs tend to be more emotionally demonstrative, and westerners have been sort of taught to hold their feelings in check and let them out only in "make believe". This is one way in which culture is reflected in the realities of the dance.
Regards,
A'isha

adiemus

Don't get me wrong Kharmine, we do have some great dancers and wonderful teachers - but the variety of live performers and workshops is pretty limited. I guess it makes us appreciate what we do have.
And thinking about what A'isha said about 'theatricality' - yes! that's what the difference is, finally got to put my finger on it. The Egyptian dancers seem to be just breathing the dance, they stop for a moment or two to walk around, laugh, interact with the audience, their movements are natural; while there are a lot of vids I've watched where the dance is a 'performance' with all that it entails, almost as if Every Movement Must Count.

__________________
He wahine, he taonga- Every woman is a treasure(Maori proverb)

Kharmine

Yep, I know what you mean. I suspect the difference is between what one grows up with and what one has been introduced to much later. There's a feeling of being "comfortable within one's own skin" that can be lacking with American dancers who are brought up with such an overwhelming feeling of physical self-consciousness.

Little Egyptian girls may be encouraged to dance very naturally from a young age (although they may be get discouraged later in life by more conservative families), while a lot of American girls would be strongly dissuaded from even trying anything like that and usually only get introduced to dancing in formal classes. That's a definite cultural difference that can result in a different "accent."

__________________
What if the hokey pokey is really what it's all about?

Kharmine

Have you tried Rashid Music in New York? They've got a huge archive of recordings. You might see if you can email 'em with the video and see if anyone recognizes it.

__________________
What if the hokey pokey is really what it's all about?

PriscillaAdum

Hi Salome,
I talked to Yemaya a couple of days ago and she'll be coming in to town in a couple of weeks for more privates and to do another workshop, so I'll tell her you said hi.
Kameal is also here right now, so she's planning a workshop soon as well, which we are all looking forward to!

Regards
Priscilla

TribalDancer

Wow, I would never classify Tina as "American Cabaret". I always think of Ansuya when I think Am Cab. I agree witha previous posted, in that I think of Am Cab as Turkish based.

Tina is most definitely Modern Egyptian to my eyes (note I have not looked at hte clip referenced earlier, but I have seen Tina perform more times than I can say, and hey style is definitely rooted most strongly in Classical Egyptian, but I would say she herself is Modern Egyptian because she does fuse with her jazz background, especially in her troupe choreographies.)

I love Cassandra, and I would call her Modern Egyptian or Modern Oriental as well, in her primary style, but she does a lot of fusing herself, and is kind of beyond definition sometimes. She is a stunning dancer and a rock awesome teacher and person to boot!

Salome

Wonderful. Kameal is great. A generous and beautiful spirit and she is such a class act. She's got that great old school American Oriental style i just adore. Please send her my love too and I would definitely recommend taking her workshop