Everyone Can Dance

Earlier this month, I thoroughly enjoyed watching an evening of ballet performances, at Edinburgh Ballet Circle’s annual showcase, at the St Bride’s Centre, Edinburgh. 

Edinburgh Ballet Circle

Edinburgh Ballet Circle is an entirely amateur ballet troupe, consisting of dancers who regularly attend one of the many adult ballet classes across the city.  This was set up in 2011 by director Jonathan Burnett and is the first entirely non-professional ballet company in Edinburgh for some 50 years.  I've been attending Jonathan's classes for a couple of years now and I went along to support some of the people from my class who were in the show. 

The production consisted of 3 ballets.  The first part was my favourite, Act 2 of The Nutcracker, featuring a fun circus themed twist together with some fine comedy touches.  I particularly loved the ‘sugar plum fairy tight rope dancers’, with brave tutu wearing amateur ballerinas, showing off pointe work skills.  There were also ‘chinese plate spinner dancers’ with their pirouette free for all.  And I can't omit to mention the small group of male ballerinos who appeared in almost every scene and were game for anything, even a tongue in cheek clown routine.  The second ballet was a dramatization of the Little Mermaid, with wistful and dramatic story telling, ably danced and very atmospheric.  The finale was the ‘Ballet of the Nuns’, a quirky show that lived up to its bizarre title.

Nuns in tutus

I absolutely loved the whole thing.  Overall, the night showcased everything I love about community dance, whatever the genre.  It’s fantastic to see dancers of every ability, age, shape and size giving it their all.  There was always something to look at, whether skill, drama and finesse, or smiles of joy coming from the corps de ballet for just being there. 

It really reminded me how great it is within the Egyptian Dance or Belly Dance community, to have performing opportunities for student dancers to express themselves, whether at a local hafla, festival or community show.  It is so important that these showcases continue, for dancers of every skill level to work hard for, enjoy, and share with friends and family. 

Baladi Blues Live - More photos from the NADA AGM

Here is a selection of my own photos I took at the NADA AGM in Lancashire, featuring Guy Schalom and the Baladi Blues Ensemble. You can also read my previous post with photos of my solo with the band.

Guy Schalom and the Baladi Blues Ensemble

Claire Novis and the band

The Baladi Blues ensemble is led by darabuka (Egyptian tabla) player Guy Schalom.  The regular line up includes Adam Warne on frame drum and riq, Ahmed El Saiidi on saxophone and Sheik Taha on accordion.  Guest artists were Ali El Minyawi on daholla and Abdul Salam Kheir on oud and vocals. 

Melody from Abdul Salam, Taha and Ahmed

Rhythm from Guy, Adam and Ali

All eyes are on...

...Katie Holland

Getting into the groove

Dancing at the NADA AGM and my new Baladi dress

Here are some fabulous photos by Philip Welsby of my performance at the NADA AGM with the Baladi Blues Ensemble, in Lancashire last week. 

Dancing at the NADA AGM, Lancashire

The pictures also show off my new Baladi dress by costumier Wendy Holyer.  I love how it turned out, especially the sleeves.  The main fabric is from my recent trip to Goldhawk Road.  And the blue trim is fabric I bought back form Cairo a few years back.

Performing with the Baladi Blues Ensemble

I performed a solo Baladi progression to Amint Billah, which I chose as I knew Sheik Taha would be playing the accordion, who was instrumental in his contribution to the Ashra Baladi structure.   Although I'd practised to various versions of this song beforehand, the music on the night turned out completely different and so my performance was entirely improvised.  I truly love how with Baladi music, the combination of musicians and dancer brings out a completely different result every time.  It was also a lovely and welcoming crowd of fellow dancers and the whole evening was a joy.   

New Baladi dress

With Sheik Taha and Ahmed El Saidi

Dancing with the Baladi Blues Band

It was an amazing night and a fantastic privilege to dance to such wonderful musicians.  A big thank you to NADA for the opportunity. 

Oh, what a lovely cover up!

Caught backstage at the NADA/Baladi Blues event and AGM in Lancashire, I love these fabulous galabeyas by costumier and belly dancer Beverley Smith from Leeds.  

As owned and modeled by Sandra Thompson and Anne Kingston, these designs are simple, elegant and a great way to conceal the beautiful costume underneath, prior to the big reveal.

Rocking those triangular sleeves

Sandra and her black and red velvet galabeya

Anne in beautiful blue devoré

Miss "Fabulous Bellydance"

The very lovely belly dance teacher and costumier Celia Buchan of Borders Arabic Dance is organising a fantastic event for student dancers.  This fabulous event is coming soon to the small Borders town of Peebles on Saturday 23 March 2013.  

Celia Buchan by stepharia.com

This is an entirely amateur competition and there are fabulous prizes to be won including cash prizes crystal tiaras, sashes, champagne and beautiful bouquets!

There are 3 categories: oriental; tribal; and for troupes of up to 6 dancers.  And after the competition everyone can celebrate a day filled with fabulousness at the after show party. 

Full details and an entry form can be downloaded from Borders Arabic Dance.

This will be an amazing day of dance, fun and prizes and I hope to see you there!

8 Belly Dance Gig Bag Essentials

I confess to being a secret fan of Gilded Serpent's online Gig Bag Check videos.  I so love nosing through the belongings of belly dance royalty and wannabes.  

Gig Bag Essentials

In the absence of a touring Lynette Serpent, I thought it might be interesting to share some of the things that I like to have with me when I'm performing.  So here is my pick of 8 gig bag essentials:

1. Nude ballet shoes.  Although I generally prefer dancing barefoot whenever possible I carry these with me everywhere I go as dodgy floors can appear in all sorts of venue, whether carpeted stages, nightclub dance floors, or uneven concrete...   
2. Mirror.  A small freestanding mirror is brilliant if there isn't a handy one at the venue or for occassions when there are other performers vying for the only one there.  Mine is an aluminium foldaway from Muji - it's big enough to see my whole face and with a bit of fidgeting, I can even check to see if all the bits of costume are where they should be. 
3. Leg warmers.  I'm very attached to mine as I like to keep heat in my muscles just before running on stage - essential when performing in a Scottish winter.  However this does mean I have a bad habit of leaving an unsightly heap of discarded belongings in the most convenient back stage area (next door bar, ladies loos, DJ booth...)
4. Cover up.  Essential for keeping your costume hidden, and generally keeping warm (do you see a theme emerging here..?) My favourite is a galabeya I bought in Egypt that my dressmaker Wendy converted to front fastening by sewing on a line of duvet poppers.  It's so simple and great for a quick change without risk of disturbing hair and makeup.  
5. Flip flops.  More footwear essentials, these are great for pottering round back stage and pretty silver sandals looks so much nicer poking out the bottom of your costume than clumpy boots or trainers.  And no chance of leaving any sock marks either... 
6. Eyelashes.  An artist from another performance style once commented how surprised she was when she saw a dancer performing at a party who just wore ordinary every day make up along with her professional costume.  Once you get the hang of them, I definitely think that falsies make a huge difference to your overall impression. 
7. Assorted pouches and bags.  I always use a variety of these to keep all the bits together.  There are ones that are see-through for jewellery and accessories and I love those canvas/jute reusable shopping bags are fantastic for keeping each entire outfit together - I avoid storing dance costumes in plastic and this also a good system to deploy for costume changes. 
8. Business cards.  I have these close to hand, especially if I have just come off stage, important for generating new leads and leaving a more lasting impression.  

Safely stowed shinies

What are your must have gig bag essentials?
 

More dancing with the Baladi Blues Ensemble

I want to share some good news about another fabulous event being organised by NADA with the Baladi Blues Ensemble.

It's on Saturday 16 February 2013 in Lancashire and the day features dance and music workshops, the NADA AGM, and a fabulous evening show with performances and a chance for everyone to boogie with the band.  The event features dance teacher Claire Novis (from the JWAAD belly dance school) and Guy Schalom - the fabulous tabla player and band leader - will also be teaching and of course leading the band.  Some of my all time favourite traditional Egyptian style musicians will be there including legendary accordion player Sheik Taha and the wonderful singer and oud player Abdel Salam Kheir.  There will also be lots of lovely guest dancers, and oh yes, I'll be performing too!

Guy Schalom by James Campbell

Claire Novis

Thanks to NADA's support, this event is amazing value for both NADA members and non-members alike.  And if you're not taking part in the workshop, you can still come along to enjoy the show.  Anyone who was at the NADA/Baladi Blues event I hosted in Edinburgh last year will know how great this group are.  And if you haven't heard them yet, what are you waiting for?

The event is taking place at the Ellel Village Hall, Galgate, Lancaster, LA2 0LQ.  The first workshop starts at 1:30pm and the evening show starts at 7:30pm (with doors from 7.00pm).  Oh, and for dancers staying for the whole day, you can even book a special 'dancer's tea'! 

For all the information, packages and bookings go to Desna Dances.

I hope to see you there, and for anyone coming along who also follows my blog please do come and say hello!

Oh my eyes! - Stage make-up tips

Here is a review type post about a couple of my favourite products for getting that Arabic eyes look.

In my make up bag I've a few favourites from make up forever who do a great variety of professional make up, including waterproof, which I find works great for performaning.  To line my eyes, there are two products I really like, both from their Aqua range.

The first of these is the Aqua Eyes waterproof eyeliner pencil.  I've got this in shade 0L-Matte Black.  It's nice and smooth to apply, can be smudged easily for a nice effect, or built up to a harder line.  And once it's on, it stays exactly in place, all night, through performing, night driving, everything.  I find it a very versatile product, not only for stage, but also for teaching and everyday wear. If you find it hard to shape your eyeliner, a smudgeable one like this can be drawn on first for the outline shape, then for more drama draw over the top with liquid liner. 

The second product I rely on is Aqua Black Waterproof Creme Eyeshadow.  This is a pot of black boot polish looking colour.  It can be used as a base for smokey eyes stage look, but I like it as a matte eyeliner, applied to my upper lid with a small brush.

I make sure to brush it on really close to the top lashes, almost to the lash line, opening up the eyes so as not to leave any gaps.  This is the best way to disguise any mistakes or gaps from glueing on lashes - as long as the liner goes on first, then the lashes.  A nice angled eyeliner brush would make application pretty easy and help with winging out the liner, although I've been using a discarded lip brush which works okay.  I like this product better than other brand gel liners as it doesn't tend to gloop or clump, and once it's on it's not going to slide around or budge for anything.  It's also easy to wipe off the brush afterwards.  Lastly, the packaging is a compact plastic tub, good for squeezing into my make up bag, and there's no risk of dropping a heavy sphere of glass encased gel liner onto my foot...

Waterproof make up shouldn't be used in inside or waterline of my eyes.  The Aqua Black especially should also be applied extra carefully away from contact lenses, as it's got so much staying power, it'd stick to the lense too given half a chance.  

Finally, something that often comes up in dressing room chat is how stubborn it this kind of make up can be to take off at the end of the night.  My method is to always use a good quality waterproof eye make up remover.  There's quite a few brands that'll work, the trick is to look out for bottle that contains both water based and oil based solvent - you'll recognise this in a bottle which has two liquids inside, one floating on top of the other.  You need to shake to mix the two, put some on a cotton wool pad and then hold this to your eye a count of 10 - long enough for the liquid to soak into the make up.  Then a gentle wipe should take everything off with no rubbing.  I then finish the eye by turning the pad over and wiping clean with the reverse side.  It's quick, gentle and very easy.

Make up forever is a niche brand in the UK, although has a wider distribution in certain countries around the world.  In the UK there are currently two stockists that I know, the PAM store near Shepherds Bush in London (who also do mail order), and Guru in Fulham.

I'd love to know, what are your favourite make up products for stage?  

Kate's Baladi

Kate Deacon is a Scottish teacher of Raqs Sharqi style Egyptian Dance.  She runs several classes in the Borders and Lanarkshire.  She originally trained with my teacher Lorne McCall and I think she's a beautiful dancer.

Kate doesn't perform so often these days, but Susan Tonner of Katra and Twisted Tails posted this video of her dancing in Edinburgh a few weeks ago, in a special event featuring Carolena Nericcio of Fat Chance Belly Dance.  This is a lovely example of the Raqs Sharqi Society style of Baladi - simple, sweet and melodic; with patterns in space and geometric motifs. 

More dance from Morocco

I've added a couple of new clips of traditional Moroccan dance to my YouTube channel.  I filmed these during my trip to Marrakesh last year.  You can read my previous post for a collection of some of the other videos, including Berber dancing and an unexpected surprise during a beauty cooperative tour.

First of all here is the candle tray dance filmed at the beautiful Palais Chahramane restaurant.  I loved watching this dancer for her sense of spectacle without skill.  Possibly even an insight into what might have been the low class street entertainment of days gone by.



The second video is of fun and athletic Gnawa musicians and dancers.  This was part of a brilliant afternoon of entertainment aimed at Moroccan people rather than tourists, in an unlikely location - an outdoor restaurant, behind a service station on the road to Casablanca.  I have still have some unpublished video of the different acts that featured, so either watch this space or feel free to leave me a note if you would like to see more.

Big Dance Edinburgh and Bellydance Flashmob

I've had a fantastic dancey weekend.  I previously blogged about the Big Dance weekend of dance, in Edinburgh Saturday 30th June to Sunday 1st July, connected to the London 2012 festivities around the country.

After Saturday night's eventful gig, I felt spurred to head down to the National Museum of Scotland on Sunday to take part in the bellydance flashmob, organised by Elspeth Swishandhips, as part of Big Dance Edinburgh.  Months of careful and planning and organisation went into this and Elspeth even filmed and uploaded tutorials of all the choreography so that as many people as possible could take part. 

There were about 50 dancers, with Egyptian, ATS and Tribal Fusion styles all featuring.  With so many old and new faces, there was a fantastic buzz about the place and a huge crowd cheering us on - although I suspect not all of them were so unsuspecting.  Congratulations Elspeth, it was a fantastic event and thank you for all your hard work! And well done to all the dancers who took part!

Here we all are dancing in the Museum's spectacular surroundings (thanks to Norma for the photo): 

Big Dance events were taking place all over the city.  Here's my shot of Fife based ATS teacher Elaine giving a taster in the Museum, a bit later on:

And here's my shot of amazing double sword dancer Briar from Edinburgh troupe Twisted Tails under the shadow of Edinburgh castle.

At the end of the day, I even found myself chatting to someone in the crowd who felt inspired to start a new dance class.  Well how about that then for a successful way end to a weekend aimed at getting people dancing?

Here is Emma's video of the flashmob in all its glory:

Baladi Blues Band - Live Arabic Music in Edinburgh

On Sunday 5th February 2012, I am hosting the Baladi Blues Ensemble, live in Edinburgh, for a day of Egyptian Dance.

Day of Dance Flyer

All the details, including bookings information, venue, directions and accommodation info are on my website.

The aim of this event is to bring live music and Egyptian Dance to communities that might not otherwise get the chance to experience it.  That’s why we have arranged a free taster workshop as part of the day.  And that’s also why we’ve kept the cost of participation very low – thanks to the generous sponsorship of NADA, the Northern Arabic Dance Association.

Baladi Blues Ensemble

The Baladi Blues Ensemble plays the urban Egyptian dance music known as Baladi. Skillful accordion and saxophone improvisations, energised by powerful Egyptian rhythms give the Baladi Blues Ensemble its distinctive sound. Their music reflects the sophisticated and fast paced, urban lifestyle of 1950’s Cairo - all offered with a charming and enigmatic stage presence.

Baladi Blues Ensemble

The group is led by renowned percussionist, Guy Schalom, and features legendary quarter-tone accordionist Sheik Taha (Mohamed Abdel Wahab, Ahmed Adaweya, Fifi Abdou, and Tahia Cariocca), saxophonist Ahmed El Saidi (Ali Hassan Kuban, Shams Hussein, Salamat) and master percussionist Hassan Reevis (Abdel Halim Hafez, Ahmed Adaweya).  The band also features frame drum wizard Adam Warne.

Venue 

The venue is the Forth View Suite at the David Lloyd Club, Edinburgh Newhaven Harbour, EH6 4LX.   Venue details, map, transport etc. information is available here.

Day

The day will feature:

• FREE Egyptian Belly Dance taster workshop (2:00pm till 3:00pm)
• Live music workshop for Dancers (3:15pm till 5:15pm)
• EVENING CONCERT and party with live music (starts 7:30pm)

Evening concert and party with the Baladi Blues Ensemble
Starts 7:30, cost: £5! (LAST FEW TICKETS)

This unmissable concert and party will feature authentic live music from the fabulous Baladi Blues Ensemble, along with dance performances and lots of time to boogie with the band!

A fantastic evening of live music, featuring performances from me, Lorne, Espeth, Kerimeh, Anna and Edinburgh's longest established Egyptian Dance troupe Daughters of Isis.

Tickets are selling very quickly for this event, advanced booking is advised. 

FREE Egyptian Belly Dance taster workshop for Beginners
2:00 till 3:00, cost: FREE

A fun, free, accessible dance workshop suitable for all ages and abilities.  This will be a fun filled introduction to Egyptian Dance for complete Beginners, brought to you by Dance Base's Elspeth SwishandHips.

To join the FREE workshop, either reserve your place in advance or simply turn up on the day, 

The Spirit of Baladi - Live music workshop for Dancers
3:00 till 5:00 (SOLD OUT)

I am teaching a workshop for dancers on "the Spirit of Baladi", accompanied by Baladi Blues band leader Guy Schalom on Egyptian Tabla and master accordion player Sheikh Taha - an opportunity to learn to connect with and dance to traditional Egyptian music, melody and rhythm, and to explore moving the soulful sound of Baladi accordion - played by one of the leading musicians of this incredible art form.  

Bookings

To book, go to bookings page on my website and follow the instructions.

For evening tickets, all reservations will only be held if secured by full payment (you can pay via PayPal) and the last date for Advanced Bookings and Payment is Friday 3rd February.

If any evening tickets remain after 3rd February than these will be sold on the day on a first come, first served basis.

Breathing New Life into an Ancient Legend

Dream of an Egyptian Night (Songe d'une Nuit d'Egypte) is a contemporary dance show; which takes its inspiration from the Egypt of the pharaohs, and the goddess Hathor.

(c) Tarab of Egypt

The legend of the goddess Hathor has enabled Béatrice Grognard and her dancers to plunge into the dazzling artistic and intellectual richness of the Egypt of the pharaohs.  Thanks to its musical excerpts drawn from numerous Egyptian repertoires and to the projection of paintings, sculptures, objects and antique sites, Dream of an Egyptian Night aims to celebrate an art which spans two millennia.  The show combines both ancient Egyptian spirituality and sensual pleasure; reflecting Béatrice Grognard’s fifteen years of research and experience of creating performances.  

“A celebration of the powerful femininity of the sun which is a mysterious expression of the beauty of the world and the magic beyond…”

(c) Tarab of Egypt

When the show debuted in Brussels last year it drew critical acclaim and was even featured on Egyptian television’s “Good Morning Egypt” news programme (Sabah el kheir ya Masr) and the Belgian news on Télé Bruxelles.  Here is a short clip from the original show.


Songe d'une nuit d'Egypte - Tarab / Béatrice... by tarabofegypt

You can watch further clips of extracts from the original show (Songe d’une nuit d’Egypte) on the Tarab video channel on Daily Motion.

The exciting news is that thanks to Ellie Atkinson of Zahira Dance and Raqs Sharqi Dorset, and after playing to audiences in Belgium, France and Italy, this amazing show is coming to UK this autumn – to theatres in Bristol in October and Leeds in November! And more good news, both shows will be followed by 2 days of workshops.  Here are all the details.  

Bristol show
Friday 28 October 2011, doors at 7.30pm. 
Queen Elizabeth Hospital Theatre, Berkley Place, Clifton, Bristol, BS8 1JX. 
Tickets are £16.50 including booking fee
To reserve go to www.bristolticketshop.co.uk.

Bristol workshops
Dance Space at the Island (Bridewell St entrance), Bristol, BS1 2PY
Saturday 29 October, 11:30-16:00 - Baladi
Sunday 30 October, 9:30-14:00 - Sha’abi (the rural style from Upper Egypt)
Each workshop costs £45
Bookings can be made by contacting Ellie Atkinson.

Leeds show
Friday 18 November, doors at 7.30pm.
Northern Ballet Theatre, Quarry Hill, Leeds, Yorkshire LS2 7PA. 
Tickets are £16.00 including booking fee. 
To reserve go to www.northernballet.com. 

Leeds workshops
Northern Ballet at Quarry Hill, Leeds, Yorkshire, LS2 7PA
Saturday 19 November, 11:30-16:00 - Classical from the ottoman courts
Sunday 20 November, 9:30-14:00 - Sufi.
Each workshop costs £45
Bookings can be made by contacting Ellie Atkinson.

Béatrice is an inspirational and generous teacher of her own particular style of contemporary and theatrical Egyptian dance. I’m so excited by this that I’m even planning to travel from my home in Edinburgh to both Bristol and Leeds weekends so I can attend both workshop weekends and I’m even thinking of seeing the show twice.  I’m particularly excited by the Sufi style, I’ve only done this a handful of times before with Béatrice and it is an incredible experience, not to be missed. 

Béatrice Grognard is one of the foremost European teachers of contemporary Egyptian Dance.  I first discovered Béatrice Grognard when I started attending her classes when I worked in Brussels for a spell in 2006. Attending her classes twice a week was a wonderful escape from what was a very busy but exciting period in my life. And since returning to the UK, I have continued to train, attending Béatrice’s occasional UK workshops and participating in two of her study trips to Egypt to work with live musicians. 

At the end of last year, I attended an amazing weekend of workshops with Béatrice organised by Diane and Ellie of Raqs Sharqi Dorset.  The learning was deep and amazing.  The Baladi focused on the meeting between singer, musicians and dancer, melting together like hot chocolate into a single melody.  The Ghawazee class helped us to explore strength, femininity and most of all fun, working with signature moves like throwing hips, twists, dynamic movements, wide shimmies, and rhythmic footwork.  And the jewel in the crown of the workshop weekend was Sharqi, the modern and classical form of the dance, almost contemporary in its interpretation.  Béatrice opened our eyes to challenging all our assumptions about how to interpret the music, unpicking many years of learning the “correct” way to dance.

About Béatrice Grognard

(c) Tarab of Egypt

Béatrice Grognard divides her time between Europe, Cairo and Brussels where, in 1998, she founded the "Tarab”, School of Theatrical Dances of Egypt". She has dedicated the last 15 years to the study and research of Egyptian music and dance. Trained as an archaeologist, Béatrice has always had true passion about arts and dance. Since 1991, Béatrice has devoted herself exclusively to dance and choreography and, thanks to her tremendous enthusiasm, has dedicated herself to defending the beauty and the authenticity of traditional Egyptian dances. Her quest today is directly linked to her original interest in archaeology: to bring forward Egyptian dance and the music of the past, redefine their boundaries and breath new life into them with theatricality introduced on stage, therefore ensuring them new life and a future.  For more information about Béatrice, see www.tarabofegypt.com.

www.habibadance.com

An afternoon of Egyptian Dance

Last week, Juliana Brustik together with dance troupe Chic Shake Shock presented a Sunday afternoon of Egyptian Dance and fundraiser for the Raqs Sharqi Society. 

I regularly attended Juliana's workshops for a number of years and was previously a member of her Edinburgh performance group.  Chic Shake Shock I know as a London based dance group that has entertained audiences for 10 years in a variety of arts and community settings.  I have seen this lovely group dance and worked with several of their members at previous Society events and courses, so knew to expect a wonderful afternoon.  Fortunately I had the chance to join them as I was also already down in London, for the Raqs Sharqi Society CPD event for Associate teacher members, which ran the day before. 

Al Malikat

The result was a wonderful informal community showcase, bringing together dancers of all ages to showcase the different types of Egyptian Dance that form the Raqs Sharqi Society style.  Set within the naturally lit space of the back room of the Earl of Chatham pub in South East London, we had cosy respite from the rain beating down outside and a warm crowd of dancers, friends and family across the generations, providing a supportive atmosphere to dance, watch, and be entertained. 

The showcase opened with Juliana's performance group Al Malikat, performing a skillful Baladi choreography with veil to the tune Gozy.  The three young dancers dressed in eye catching block colours moved around the stage with beautiful patterns and shapes and proved a lovely opening to the show. 

Next up, Maggie and Rebecca from Chic Shake Shock in a break from the Society's form, performed a fun Reda style duet.  This was followed by Sara with her first ever solo, performing a gentle classical piece to Raqs El Gamal by Farid El Atrash.

Sara

 Continuing the classical theme were duet Maggie and Sue performing a floaty veil duet to Mohammed Abdel Wahab's Nebtedi Menin el Hekaya (When did the Story Start).  Then it was my turn to take to the stage with my crowd pleasing Baladi solo to Alla Warag El Foull (the Petals of Jasmine), which I have performed on a number of previous occasions.  Then dancer Caterina followed this with her performance of a cheeky stick dance. 

Maggie and Sue

Closing the first half were Pauline and Doreen with a mesmerizing Baladi accordion duet followed by drum solo.  This was easily my favourite performance of the day, with two amazing women enjoying dancing together with their own unique blend of musicality, chemistry and comic timing. 

Doreen and Pauline

The second half opened with a soulful solo from Pauline to a qanun piece by Imane Homsy, fusing together classical technique with her training in Hilal Dance.  Then Doreen returned, this time for a veil duet with dance partner Brenda.  By this point in the evening Doreen had also built up the biggest and loudest entourage of family, including her children and grandchildren to cheer her on.  Al Malikat then returned to the stage and performed a Baladi piece and drum solo.  After this was an incredibly poised and delicate classical performance by Carmen to Farid El Atrash's Zeina. 

Pauline

The penultimate act was a solo from Juliana Brustik.  Dressed in red with Baladi head veil, Juliana's dance was a sensitive and beautiful choreo-improvisation, using all parts of the dance floor, with soft shapes, different levels and poised arms.  This was then fittingly followed by fellow organisers Chic Shake Shock closing the show with a lively Shaabi group piece to Music of the Ghawazee. 

Juliana

I thoroughly enjoyed this colourful community showcase of Egyptian Dance and especially to see a whole afternoon dedicated to the Raqs Sharqi Society style.  Key choreographic themes for the afternoon were connections between duets and groups, fluidity, and use of floor space, shapes and body direction.  All the performers were also connected through their training, every one having at some point taken lessons with Juliana.  But still, every individual found their own style within this and each stamped their own personalities onto their performances.

www.habibadance.com

Dancing to Sun, Sea and Sarasvati

The wonderful Sarasvati girls held yet another fabulous event on Saturday night - their Sun, Sea and Sarasvati Hafla.  This was a fun night out with a seaside twist which raised almost £200 for the Marine Conservation Society.  This is a fantastic achievement, especially given numbers were slightly down after another dancer decided to organise a clashing hafla over in Edinburgh on the same night.  Well done girls!

The Hafla was hosted at La Bodega Tapas Bar, part of Dance With Attitude Studios in Glasgow.  It's a great venue for a party and the resident teachers Karen and Alexis even treated us to Tango and Salsa displays.  There were a number of marine inspired acts through the night and delivered in style, including Dance with Attitude's own belly dance teacher Lorri resplendent with mask and snorkel, a pirate dance by Kaz of Hafla Karimah and Stef from Sarasvati doing the dance of the jellyfish. 

Here's my dance from Saturday.  My performance didn't quite follow the theme, but I did select what I think is an appropriate "seaweed coloured" dress, by Hanan from Farida Dance for the occasion.



Here are some of the photos I took at the event.

Lorri

Stef

Sarasvati

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An interview with Om Kalthoum

I've just come across this beautiful interview with Om Kalthoum, recorded just after her concert at the Olympia Théâtre in Paris, in November 1967.  This was the one and only time in her career that she performed outside of the Arab world.  It's a delightful, if short interview with questions asked by a star struck young interviewer.  The Star of the East herself presents as stately, somewhat reserved, entirely modest, and of course overwhelmingly patriotic.



As for the impact of the concert, judge for yourself.   Here is an extract of Om Kalthoum singing Enta Omri, "you are my whole life".  This is also subtitled in English. 



For any dancers new to Om Kalthoum who want to learn more, I should mention the lovely dancers resource complete with recommended listening and You Tube links on Candi's website.

www.habibadance.com

The Challenge of Glasgow by Gaslight

Saturday night I had the honour of making a guest appearance in Sarasvati Tribal's show the Gaslight Faeries at QMU, Glasgow University.

Gaslight Faeries was originally conceived for the Britannia Panopticon Music Hall - the oldest surviving music hall in the UK - as a show with a connected series of Fusion dance acts, each taking a little bit of inspiration from the era of the Panopticon itself (1857-1938).  The first performance of Gaslight in August packed out the tiny auditorium of the Panopticon in the Trongate, Glasgow, with many people turned away.   The show contained a mix of Tribal Fusion group and solo performances, with the addition of a sprinkling of comedy, burlesque and good old fashioned story telling that featured the Dragon Lady, Cleopatra, the Victorian Gent and Mata Hari amongst its characters.  

About 2 weeks before the Panopticon show premiered in August, Laura from Sarasvati got in touch to say that one of her guest stars had pulled out and ask whether I was willing step in.  The challenge was to create an act complete with music that would look and sound in keeping with the era that the music hall was open.  I accepted.  My first stop was Wendy Holyer of Wen-D Designs to set about creating a period costume.  We settled on the design for a purple silk Ghawazee coat and while Wendy slaved over the dress, I put together a Courtly Classical dance to Farid El Atrache's Kharamana.

Following the sell-out Panopticon show, the Sarasvati girls decided to do the show all over again and I was asked back for another guest slot.  With a little bit more time to prepare, I had the chance to rework my act.  As I've been learning and teaching a lot of rural Sha'abi style Egyptian Dance, this was the style that I had really wanted to showcase and I thought it would provide a real contrast to the rest of the show.  Also, whilst researching I found inspiration in a beautiful film from Serpentine video about the French World Fair in 1889 which described the first European appearance of the famous Ghawazee dancers.  I have studied Ghawazee dance accompanied by Sai'idi muscians during recent study trips to Egypt and this seemed like the perfect opportunity to present a dance and music tradition that goes back centuries, but is still performed (albeit rarely) in Egypt today. 

I settled on my act, "L'Exposition Universelle" (the world fair), to evoke a time when thousands flocked to Paris to visit La Rue du Caire and gain a glimpse of the most unusual dancing you have ever seen.  But there was one further addition I felt I needed to add to the authenticity of the interpretation, sagat.  Sagat, the "metal castanets" described in Serpentine's film are always used by the dancers from the Ghawazee tradition and this was a skill I've always wanted to learn.  So I took the chance to practice and attempt to master the coordination of percussive fingers combined with strong hips.  And, although I wasn't yet entirely proficient at both at the same time, I decided to go for it for my performance on Saturday, at least to try to give a taste of what it might have been like to watch this dance in reality. 

The result, well it wasn't perfect, but the performance went down well and contrasted with the rest of the show.  The Wen-D costume also worked well and characteristics of the dance, particularly the energy and strength in grounded movement were conveyed.  Here is a photo of the end result.

A big thank you goes to Laura and Sarasvati Tribal for inviting me as a guest performer.  It was really a pleasure to work with them.  Sarasvati Tribal is a group of 4 dancers from across Scotland, led by the talented troupe leader Laura Monteith, a well respected Glasgow based Tribal Fusion dancer, teacher and choreographer.  Gaslight Faeries is their second production, following Extraordinesque which debuted last year and played to audiences in Glasgow, Edinburgh and Peebles.

The photos are courtesy of Violet Shears.

Edinburgh Egyptian Dancers Annual Hafla, 21 November 2010

"Hafla" is the Arabic word for party. This fabulous dance event, will feature the best of local talent and further afield.

This is the longest running Egyptian Dance event in Scotland and it's organised by our very own Edinburgh Egyptian Dancers.

The Hafla is at Revolution, Chambers Street, Edinburgh, EH1 1HU.

Doors open at 7.30pm, show starts at 8.00pm and tickets cost £10 and are available on the door.

Here's a clip of Daughters of Isis (who run Edinburgh Egyptian Dancers) dancing at the EED Hafla at Revolution:


I'll be performing again this year, dancing both a solo and a group performance as a member of Juliana Brustik's performance group. 

Edinburgh Egyptian Dancers also arrange regular workshops with visiting Master Teacher Juliana Brustik:
Juliana will be guest staring at the Hafla and will also be running dance workshops in Edinburgh over the Saturday and Sunday of the weekend:
Saturday 20th November, 1.00-5.30pm
Sunday 21st November, 1.00-5.00pm
At Granton Parish Church, Boswall Parkway (corner of Boswall Parkway and Wardieburn Drive), Edinburgh

Hope to see you there!

www.habibadance.com

Photogenic Cairo - Midan Hussain, Beit as-Suhaymi and the Nile

The Friday was a day of tourist delights as we packed in as much as possible before our departure to Luxor the following morning.

We started at Midan Hussein where we listened to the call to prayer and watched the crowds heading to the Mosque of Sayyidna Al-Hussein to pray.  Al-Hussein is the holiest site in Cairo and the most important mosque in Egypt, so sacred that only Muslims are allowed to enter.  Hundreds come to pray every day, and on a Friday this can go up to several thousand - when large umbrella's are opened outside the mosque to provide shade to those who cannot be accommodated inside. 

We then headed back to the streets of Islamic Cairo and Sharia Al-Muizz to see some of the sites in the daytime. 

We visited the Madrassa and Mausoleum of Sultan Qalawun, dating from the 13th Century.

We then visited the beautifully restored Ottoman house, Beit As-Suhaymi.  The most elegant remaining residence in Islamic Cairo, this was another clear highlight to our stay.  We explored room after room filled with beautiful panelled and painted ceilings, delicate wooden screens and ironwork, tiled floors, colourful light filtering through countless stained glass windows, all overlooking lush green courtyards.   

While we were looking round the house a lady with her daughter stopped to talk to us and ended up showing us all the things she learnt from the Arabic speaking tour - telling us something of the history of the place and pointing out the features in the rooms from the table 'just like her mother used to have' to the cupboards where the women used to store their things.

In the early evening, we went to meet Lorna and some of her friends for a sunset felucca ride on the Nile.  It was a wonderful way to spend an hour or so relaxing on the water, having a drink and a chat with the girls.

After the felucca, we went off to the Grand Hyatt to take our third evening cruise of the holiday. The boat was pretty quiet and the first part of the entertainment was bizarrely 2 singers taking turns to sing along to their ipod, karaoke style.  However, things picked up after that.  First of all with a fantastic dinner - the Grand Hyatt boat surely should probably boast the best food of all the Nile cruises - here is my very photogenic plate of dessert.

And after that we were entertained by bellydancer Camelia.  We were even dragged on stage at the end of the show to try some khaleegi style dance.  Here is Camelia with her Shamadan.

www.habibadance.com