Gilded
Serpent presents... I receive questions everyday by email from students both
in and out of town or country, and if I do not have the answers,
I usually find the appropriate expert who can answer the question.
It is my hope to share these answers with as many readers as
possible through this monthly column as I find many have the
same questions. My 28 years performing in the Middle East, teaching
around the globe, and directing a Middle Eastern Dance company,
orchestra, school and conference has fostered a deep love and
respect for this awe inspiring art form that I love to share.
I hope to be inclusive of different styles of Belly dance and
offer different points of view on controversial issues. If you
have a question, please ask. 1. Question: Do you think Bellydance is evolving? Should it?
Sometimes, there will be a very dramatic transformation, so dramamtic that a completely new dance form is created as was the case in the evolution of Ballet to Modern Dance (which incidentally, Middle Eastern dance played an important role) and perhaps Bellydance to Tribal. Many Ballet companies today are inspired by the Modern Dance approach while the foundation technique of Modern Dance is in Ballet. It may be that Bellydance and the Tribal approach could have a similar relationship as well. Even within Egyptian Style Bellydance (the one I am most familiar with), there is a basic technique and aesthetic but how dull it would be if Samia Gamal, Naima Akef, Sohair Zaki, Nagua Fouad, Fifi Abdou, Saha Hamdi, Dina and now Randa Kamel had not all added their personal contribution to its evolution. 2. Question: Hello, I am a dancer in Canada and I was wondering what your rules were on covering up before and after a performance. Answer: I am not sure what you are asking but if it is concerning what your attire should be when you arrive to a performance in a night club or wedding reception etc., then here are some thoughts. It is best not to reveal your costume or even your face before the performance. This way, you do not loose the impact on the audience when music, dance and costume all come together with a big impact. Likewise, it is best not to show your costume after the performance as well because the magical memory of the show will be destroyed. It is generally best to stay out of sight of as many of the audience members as possible before and after the performance. Whether in costume, street clothes or gallabeyah on top of your costume, try to leave the audience's last memory of you as the magical Bellydancer. As long as mystery surrounds you, they are more inclined to want you back, again and again. A side note....it is also best not to socialize with audience members, ever. This is looked down upon in the Middle East for a wide variety of reasons and a huge topic on its own. Just because you are asked, doesn't mean it is a good idea to do it. Hope that helps. 3. Question: Is a dance artist only of a certain caliber allowed to dance to the music of Oum Kalthoum and are there some pieces of music held with more reverence that should not be danced to at all? The following are some issues to take into account on this subject. The music of Oum Kalthoum is often quite difficult with rhythm changes and thus a beginner dancer will find it difficult to apply short cut elements like combos that can easily be used with pop music. The music is generally slow and emotional, often in a sad maqaam so emotional expression is an important factor. Dancing to an original recording of Oum Kalthoum singing live may seem disrespectful to some who revere her, it is best to use a recording by another singer or a musical arrangement. Many of her songs are 1-2 hours long so often the musical arrangements that are popular are only a small part of the song, often the beginning or just the musical parts which do not include the melody of where her voice would be. Non-Arab dancers should note that when an Arab audience is listening to the musical arrangement of Oum Kalthoum music, they hear in their head the memory of the original version with her live voice and the profound lyrics, just like you hear Robert Plant's voice when a cover band plays Stairway to Heaven. Thus it is important to listen to the original before dancing to the musical arrangement so the dance artist can portray the same emotion and musical nuance the audience is experiencing, otherwise the audience may feel the dance artist does not understand the music. To know more about Oum Kalthoum, see the film "A Voice Like Egypt" Have a question for Yasmina?
Send her a letter! Ready
for more? 5-21-08 Saturday
Gala Peformance Part 1 of the International Bellydance
Conference of Canada video and photo report by
GS staff 9-26-07 Lifting
the Veil by Yasmina Ramzy 11-13-07 Where
Have All The Cover-ups Gone? by Ashiya and Naajidah 8-1-07 The
Summer School of Khaleegy Dance, Dance Style from the
Saudi Arabian Penninsula, by Yasmina Ramzy 5-18-07 A
Report on the First International Bellydance Conference
of Canada Part One- Lectures, Workshops, Panel Discussions by
Diane Adams Photos by Lynette 11-26-08 Bellydancer
of the Universe Competition 2008, photos by Carl
Sermon 11-20-08 Winning
Bellydancer of the Universe by Mia 11-17-08 So
You Want to Dance in Cairo? by Leila 11-15-08 Bellydance
Fashion, American Style: The 2nd Annual Decotach Fashion
Show Report by Tanna Valentine photos by Brian
Lin |
Answer: The
answer is "yes" to the first question and "of
course" to the second. Any kind of art by definition,
is in constant evolution. Bellydancing has been evolving since
it began - whenever that was - and I am sure it will continue,
hopefully forever. My own personal 28 year journey is nothing
but a constant evolution. My style, technique and approach
has always been in a state of flux. This flux is influenced
by other inspiring art like music, a painting, a movie, and
by personal life drama. Most of all, by other dance and movement
art, even martial arts. Every dance form evolves. This is what
has kept me interested for 28 years.
Answer: It
is relative who has the where-with-all to dance to Oum Kalthoum.
It also depends upon the audience. An Arab audience will have
a more discerning eye for the artistic interpretation of this
music and a much stronger emotional investment. All of her
songs are of equal importance - some are more famous and popular
and many have been adapted for Bellydancers. It is said only
a Maalema (Maalema = dance master - feminine -, sometimes a
teacher and/or director of an ensemble) can dance to the
music of Oum Kalthoum but that does not mean it has ever stopped
anyone and everyone dancing to it. Who does the music justice
is in the eyes of the beholder. 
