Arab Film Fest Features: "The City of Life" and "The Wedding Song"

Films reviewed by Gregory Burke
posted October 9, 2010

The San Francisco Arab Film Festival now in its fourteenth year takes place between October 14 and October 24, this year. Films will be shown in San Francisco, San Jose, Berkeley and Los Angeles. This year over forty feature films, shorts and documentaries about the Middle East will be shown. The entries are from the United States, Canada, Italy, France, Germany and Greece as well as North Africa – Morocco, Algeria and Tunisia, Egypt, Palestine Lebanon, Syria, Jordan, Saudi Arabia and the United Arab Emirates. Many of the entries are feature films that will be shown in local movie theaters here and abroad or may eventually be offered in Amazon.com or Netflix. Two such films in this year’s festival have been reviewed below.

• The City of Life – United Arab Emirates – directed by Ali Mostafa – feature film 2009, 97 min.
• Wedding Song – France/Tunisia – directed by Karin Albou – feature film 2008, 100 min.

The City of Life

Dubai 2009

As the first major motion picture to ever be made in Dubai, this film had huge expectations, a certain leverage of fear and the financial disaster factor hanging over its head. No one would know that better than the director, Ali Mostafa, age 28, a native Dubai Emirati. Mostafa, a recent graduate from film school in England knew that it was going to be tough, he just didn’t know how tough. First, to get the multimillion dollar budget together and then to get the film approved by the censors.

Dubai has lots of extra money, but it is known for placing money in safe investments. Motion pictures are not safe investments. It has been noted that the script had to be taken to the hereditary ruler of Dubai for a go-ahead on the production. Most films made in Dubai have been damning documentaries on a country that is run more like Enron than a nation.

We note Dubai is the key to the seven UAE Emirates. In Dubai about 11-17% is Emirati, most from the founding tribes. They have the big slice of the pie. The other 83% of the population are workers from other countries. Selected groups of highly skilled technical people like the English team that shot much of this film, and the architects that were chosen and brought in to build Dubai’s amazing Palm Islands and great skyscrapers. These skilled workers are highly paid and privileged. The other 81% are simply workers doing the jobs the average Emirati would not choose to do. It is among this diverse group, primarily from India, the Eastern European nations and Asia that this story is crafted. Alas, these folks have a much smaller slice of the pie, in fact, barely a crumb. They are dispensable, like tissues after one use. One of criticisms of this film is that the workers are portrayed living in apartments when in reality they live in much lower dwellings.

The leading players are an Indian taxi driver who lusts after a career in Bollywood films, a Romanian flight attendant looking for love and security, and an Emirati upper-class young man whose love of slumming is an embarrassment to his family. In reality, that seems to be the big family problem throughout the newly-rich Arabian nations, that certain young people would rather jump into their Ferrari and go the Mall or a Night Club and party, than select a career.

This story is woven with multiple threads as these people and others like them meet, exploit each other and cross paths again. It is a world in which 17% of the people are human, a few are visitors with a visa for a project, and all the rest are robots with interchangeable muscles and orifices that are easily replaced.

What is not touched upon in the film are the private lives of the Emirati themselves. How do these people live within the pressures of a simultaneously expanding and an eerie collapsing world? Dubai has dwindling oil reserves. It’s going to run dry in your lifetime, depending how old you are and who you choose to believe. They have selected to be a country with no taxes, attracting money and industry, lax rules on bank accounts, with no accounting on money deposits. It is a paradise for the storage of Blood Diamonds and gold, mountains of gold that has no legal reported origin. To the US, it is a major friend. To Iran, it is also a major friend.
It is the template of the new age in digital bookkeeping law: everything is permitted, as long as it is not admitted. Frankly speaking, there can be no corruption when you dwell in heaven.

We know the true lives of ancient Rome through the eyes of its slaves, and this is the eye-opener value of this film. It is a first-time film, a clumsy film, shallow in places, but it exhibits a brilliant vision that hints at the cruel truth.

Dubai is known for a glamorous yearly film festival which showcases Arabic films. It is the place to be and the place to be seen at this corner of our world. At this event, the film was a big hit and for good reason, the Middle Eastern audience is very aware of the concept of Dubai and is watching carefully the good and bad unfold. Among the 81% of the resident population who live in squalor outside of glittering city of light, there have been rumbling of unrest and riots. Crime is rampant. Hatreds between Indians and among the Arab sub-groups that have existed for hundreds of years are resurfacing among the workers and alarming the ruling caste, and that is the actual setting in which the film unfolds.

Against great odds, one has to appreciate what Mr. Mostafa has created and the questions to be asked by the implications of the film. Mark it to be seen, as it will give you days of thought. Sometimes ideas are much more powerful than entertainment.

Gregory’s Segway- World’s first gold vending machine unveiled in a hotel in Abu Dhabi

The Wedding Song

France/Tunisia 2008.

If it is catharsis you crave deep in your soul, this is the film for you. Director Karin Albou has crafted an arty tale from the dark days of World War II, when North Africa was under the polished heel of the German Army. Much has been written about this film.

If written by a man it seems to have a deconstructionist methodology, that is, to distance one’s self from attacking it and to seek refuge in effusive praise. If the review was generated by a woman, it mostly zeros in on the lesbian aspects of the principal relationship of the two leading characters.

I’m writing this review because I’d like you to see the film and to think about these people and the time in which they lived. In addition, also because no woman could be found on short notice who would touch this job from any perspective.

The French virtually pushed the art of cinema to greatness and along the way, wasted a lot of celluloid. However, there has never been a film anywhere close to "Wedding Song," so let us sing of it now. It is a bit complicated in as it is historically set in Algeria, but Algeria said "non," to the filming, so that brings us to Tunisia as a stand-in. As the camera rarely leaves a medium close-up, it could have been shot in the alleys of Marseille.

Briefly, this is a story of two mopey adolescents; one is Muslim, Nour (Olmpe Bonval) and one is Jewish, Myriam (Lizzie Brochere). They grow up together in an ultra-low budget, lower East Side type of tenement. They are typical pre-iPod young girls speculating on what the future may hold. Their mothers are hugging-close friends also. The director, Karin Albou plays Myriam’s mother.

Early on, the basics are established. The French are the colonial whipping dogs of German conquerors, who have promised the countries of North Africa their freedom, as declared by The Grand Mufti in Cairo. There really was a Grand Mufti who maintained he spoke for all true Muslims. Adolf Hitler made him an honorary Aryan so that he would not be picked up and sent off to a soap rendering factory.

Because both young girls confide in each other, place their heads on each other shoulders and occasionally have sleep-overs, some reviewers have maintained that they have lesbian tendencies. In the big picture of what is happening around them that should not be anyone’s concern. Both girls have been promised to be married. The Muslim girl to an unemployed young man who in addition to lacking a shirt lacks any moral judgment whatsoever. The Jewish girl has been bargained off to an older yet compassionate Jewish doctor. Both girls are far too young to marry, but it’s another culture and another time.

The Germans are the good guys, as they are polite and blonde. The American are bad guys because they are bombing the hell out of Tunis. Apparently we as a nation are extremely good at bombing the hell out of foreign lands, especially Muslim lands.

The Jews are bad because they started the war by trying to take over the world with help of their friends, The Allies. The girls and their families have no way in which a rational discussion of politics can be heard out. Life is simpler; it is a struggle to stay fed and alive.

There are tasty scenes which offer key insights to the world in which the girls live. In the opening premise, the bacheorette party for Nour, the testicles are cut off a sheep and worn in the Dancer-Performers costume as she mimes the stupidity of men.

Nour who is shy naturally declines to play with them, perhaps saving them for another day. There are delicious scenes in the hammam in which girls and women alike mingle, cleanse themselves and gossip. And yes, the woman are fairly naked. My suggestion that the film be premiered in Tunis was turned down by the film’s distributors.

Myriam’s wide eyed gaze carries us through the film. If it seems I’m talking around the film rather than plunging into a synopsis, that is correct. The reason is this is not a film in the normal sense, but a slice of life carried by the strength of each individual actor, all of which are excellent. Perhaps the acting is a bit overdone, like my Grandmother’s pot-roast, but excellent.

I believe when a film hinges on so little story to tell it is a shame to give it away in a sentence or two. I believe the director does have genitals on her mind, if not laced into her belt. Much has been written about the preparation of Myriam for her wedding as her husband-to-be requests she be prepared in the  in the "Oriental" style: the meaning of which sinks in as a mass of goo is used to graphically rip her short and curly from her body bringing her into the world of womanhood. Curiously enough this will have unforeseen but easily guessed results later in the film.

Nour’s husband, needing a shirt even to qualify to be married, finds a job with the Germans turning in all the Jews in the neighborhood. Myiam’s husband is rounded up and sent off to a labor camp. There are disagreements and a falling out between the two friends over cultural differences only to reconcile when they realize that in a world gone mad, they do perhaps have only themselves to rely upon. I’d say it was the prophecy of the ram’s balls that came true.

In closing, if possible, make the San Francisco premier. The audiences’ reaction to certain scenes will be priceless. In a nutshell, this film has wonderful actors pushed into an impossible wedge of history. The Tunisian colonial flag could as easily have been a towel with a bloodstain on it.

If there really were people like this, acting in real life as they do in this film, it would have been an honor to have known them. The soundtrack is wonderful; hear it and weep.

The film wins the Gaspar Noe Prize for throwing caution to the wind. See it and whether you are a Muslim, a Jew or a lapsed Christian, and then clean up your act because the goo of sacred love may come for you.

Resources:

• For further information: http://www.arabfilmfestival.org;
  The Wedding Song will be shown at the Embarcadero Theatre in San Francisco on Ocotober 16 at 5pm, in Los Angeles at the Writers Guild of America Theater on October 23, at 3:30pm
  The City of Light will be shown at the Embaracadero Theare in San Francisco on October 17 at 7 pm, in San Jose at the Camera 12 Cinemas on October 16 at 9:15 pm

The Birth of Bellydance in Indonesia

by Christine Yaven
posted October 6, 2010

Bellydance has spread from nation to nation throughout the decades, one woman at a time. The beauty, grace and elegance of this ancient art form are infectious and women from
all countries, from all walks of life are drawn to this dance.

I was first introduced to this dance while I was studying in Sydney, Australia. After my return to Indonesia in 2006, I was excited to continue my training and looked around for a teacher.

I started searching Middle Eastern restaurants with belly dancers, but after watching the show, I was completely taken aback. The costumes, dancing and whole atmosphere was completely
different to what I had seen and was taught. Costumes were skimpy, almost bikini-like and nothing about the dance resembled bellydance -it bore more resemblance to erotic dance!

Then I searched a few other dance and aerobics studios and found one teacher (she taught everything from modern, hip hop, jazz, salsa, Latin, ballroom, striptease) but when I attended her class, the level of knowledge was basic at best, and she pointedly told me that it was impossible for me to “bellydance” as I am overweight and don’t have strong abdominal muscles.

Bitterly disappointed and heart- broken, I was completely turned off from continuing my training with the local “bellydancers”. However, my friends and family members were excited to learn that I knew how to belly dance, and I started organizing small meet ups at home to share my knowledge and just dance with these lovely ladies.

At that time, I was working in a job that required me to travel around the region. I arranged to meet with qualified bellydance teachers in neighboring countries (Malaysia and Singapore) who helped me train through private lessons, intensive workshops and moral support. Through these mentors, I met Tamalyn Dallal who came to Indonesia to write her book ‘40 Days and 1001 Nights’ – her journey through five Islamic countries. I had the honor of hosting her at the first workshop I organized!

 I was awe-struck that such an internationally recognized instructor would come to Jakarta. With some more training from her, I finally got the courage to start teaching formally.

I was far from being a ‘good’ teacher, but I knew that I wanted to introduce  “authentic” bellydance to the Indonesian public- not the erotically-charged dance that was being identified as bellydance.

I knew that I needed to continue upgrading my knowledge of this beautiful dance form, so I continued my training overseas through workshops and private training. These talented and gifted teachers-Tamalyn Dallal, Hadia, Yousry Sharif, Raqia Hassan, Dr. Mo Geddawi, Aida Nour, and many more-helped me by opening my eyes to the huge world of Middle Eastern dance. It seemed to me, that the more I learned, the less I know. This feeling fueled my desire to learn more about this dance!

I started teaching class once a week, on Saturdays. The road has been difficult. There are many misconceptions about belly dance in my country.

One thing I often encounter is the public’s assumption that ‘bellydance’ will tone your stomach and muscles and that it is for weight loss. Another is that bellydance is a vulgar, erotic dance used for seducing men. I am still trying to get the message to the public that both are untrue.

Classes started to grow quickly. From 1 class a week to 3 classes and before I knew it, we had ourselves a community of bellydancers in Jakarta, simply named Bellydance Jakarta. We welcome all women of all ages, shapes and sizes. Our mission is to promote friendship, community spirit and a love and respect for Middle Eastern dance.

I had difficulty maintaining credibility as other “belly dancers” in Jakarta all claimed that belly dance is for losing weight and losing tummy fat. Some of them even claim belly dancing tightens vaginal muscles. Unfortunately, this mentality still continues in some Indonesian circles today.

Media attention was immediately focused on our community. This was a totally new concept. The first community of bellydance enthusiasts and the first specialized Middle Eastern dance
center in Indonesia. Some reporters even went so far as to call me the icon of Middle Eastern dance in Indonesia. It was a whirlwind of reporters from newspapers, magazines and television.

I wasn’t what the media expected of a “bellydancer” though. It was actually quite amusing to see their reactions upon meeting me in person. Being plus-size in Asia is unusual.  Being plus-size and a dancer is even more unusual!  Some people were quite shocked and openly asked me, "How come you are overweight even though you regularly bellydance?" I had to patiently explain that belly dance is a cultural dance form that does not make you lose weight or flatten your tummy, even though it does burn calories.

It has been over 3 years since I first started the community. Bellydance Jakarta continues to grow. We have about 100 registered students now, of which a small group of them are the heart and soul of our community. From a group of strangers gathered to take a class once or twice a week, these girls are now close confidantes and best friends.

It is wonderful to see my students fall as deeply in love with Middle Eastern dance as I have, and more so when they respect the complexity and depth of it.

Indonesia still has a long way to go. With the popularity of bellydancing booming world-wide, I find more and more gyms and aerobics and dance centers offering “bellydance” classes teaching something completely foreign to me, and media attention on the glamorous, sexy and provocative does not help.

It will be a long road for us, but slowly we are changing the way belly dance is perceived, one person at a time.

Photo at top of pages: Photo taken during a live segment on Good Morning Trans, aired nationally (on TV?)

My Bollywood Princess Birthday Bash: These are my students and friends who are part of our community. It makes me proud that our community fosters friendship and support.
From L-R: Nona, Pauline, Santi, Ita, Fahmia, Joya, Indri, Christine, Iren, Flora, Francesca In the front: Febi (blue) and Cenny

An impromptu shot  of  my troupe and I minutes before  our 2008 recital
L-R:Fahmia, Helen, Lynda, Hanna, Christine, Santi, Febi and Pauline

What is Wrong with My Snake?

by Neferteri Baiddou
posted October 5, 2010

Is your little one laying on his side or maybe he is not lifting his head when you come into the room? If your snake does not seem right to you then maybe it is time to take that trip to the veterinarian. I have been down this road several times, and let me tell you, it can be heart breaking–as well as expensive. I am the owner of 50 reptiles, half of which are snakes. You can’t imagine, that cute little coil of joy will get sick.

Reptiles are good at hiding their illness because in the wild they would be easy prey. This makes it challenging for those of us who have them in our homes.

So by the time you realize they are sick, it is usually pretty bad and it can be hard for them to recover, if at all.

Since my collection is a large one, I have seen it all. I had a lizard that decided he wanted to be a “vegan”. He would not eat any meat but would eat hard boil eggs. (Go figure!). A trip to the vet’s office found that he had a very expensive parasite. I have had several snakes with respiratory infections, which is a serious issue for a snake and the owner.

It usually involves giving the snake a shot, and snakes are worse than little children when it comes to shots.

Here is a favorite of mine: cleaning out a snake’s mouth, due to infections. This usually involves some creative maneuvering as you might imagine. A reptile don’t like you messing with his mouth. Ouch! However, my all time favorite is a snake gut that is impacted with fecal matter. You will have to soak the snake in warm water, and when he finally releases, the smell will kill you!

One of the first tell tale signs that your pet is ill, can be he won’t eat or drink water. I know this may sound strange, but another sign of something wrong is when they have laid to one side of the cage. If you hear coughing or wheezing, there is something wrong; snakes don’t normally cough. This sound means they can’t breathe. If your reptile regurgitates his food, you know that something is wrong.

So who are you going call? You will call “the herp vet” (herpetology veterinarian). I assure you–there is such a professional!

As the snake’s owner, you will have to interview or research to make sure you find the right veterinarian. You will want to ask how much experience have they had with reptiles. If the veterinarian said he is an exotic animal vet, make sure he knows about reptiles. Please trust me when I say you will regret it if you don’t ask! Where do you find such a person? Sometimes word of mouth or a reptile magazine or the Internet is the best place to start your search. One of the websites on which you can find a reptile vet is The Association of Reptile and Amphibian Veterinarians.

A few years ago, one of my Argentine Boas became very sick: would not eat, and became dangerously dehydrated. I took him to what I thought was an exotic vet. The veterinarian was actual an aviary veterinarian. Here is the funny part: he wanted me to assist him because he was afraid! If you think that is bad, you never want to go to a emergency animal clinic with an injured snake. My baby Seiti, is a 6 ½ foot Albino Green Burmese Python, and he got hurt at his show. He got hit in the mouth, and I saw some blood. So, being the good snake-mother, I took him to the hospital. It was a Saturday night, of course (nothing happens during normal hours) so I took him to an emergency 24-hour veterinary hospital. I called ahead to the hospital, so they would know I was bring him in, and I was assured they could handle the situation. Not!

The veterinarian was uncomfortable with him and was not sure where to give him a shot. I had to tell him where to give the shot, and I still had to pay for that.

Oh well, there went my new skirt (but I would do it again in a minute).

I do speak from experience: please make certain the veterinarian can handle your reptile. After a few trial-and-errors, I have found a knowledgeable exotic veterinarian who is also a surgeon, and he really listens to his clients. He knows me and knows what I do with my reptiles, so that helps so much. He always offers me options that I can afford!

You also want to make sure the treatment (if there is one) is one that you can do and afford. I am telling you: taking care of a sick reptile can be quite time consuming and usually takes several weeks (if not months) for them to recover. Therefore, they will be on the disabled list for a long time. My veterinarian knows what I do with my reptiles, so he always tells me how long he recommends that my little friend stays “off it’s feet”. You never want to take a sick snake to a show because they are worst than kids as patients, and taking them out will effect their recovery.

However, if you are like me owning 50 plus animals, you will have to have a stand in; it’s a “Vegas,” thing!

I have a snake that would not eat, it had mites and was allergic to an over-the-counter spray I was giving her for the mites! My vet had me soak her everyday, tube feed her twice a day, and give her a shot everyday. It is a good thing that I work from my home because I have to pace the treatment for her and for me!

I rescued a leopard gecko several months ago. The previous owner (not a good one) did not know how to care for the gecko. It never ceases to amaze me that people buy a pet and don’t learn to take care of it! The little guy had about 5 layers of shed and would not eat.

I placed him in a plastic show box on my DVR (Sorry DirecTV!) because the heat was just right to keep the box warm enough to produce the humidity he needed. I tell you, one has to be creative when it comes to these little patients.

The gecko would not eat as well so I had to become “The food Emril,” of the reptile world. You don’t want to know what was in that protein mix, but I will never use that food processor again!

Oh! Did I mention I had to spoon feed this mixture? I now know why I don’t have any human children because I had to corner him in his cage, and trick him to opening his mouth. Then I had to clean him, the container, and myself. When all was said and done, 2 weeks later he was eating on his own and now is a health aggressive eater. He will do his first show next week!

If you want to own a snake or any reptile, be prepared and inform a vet if they get sick. You will be giving up that new costume because the vet bills can be expensive, hence, that is why I don’t have a brand new car. I am always concerned that I need to have funds for my animals’ care. So I will dancing until I am 90 at this rate.

There is an insurance for veterinary visits for reptiles, but I only know of one company that will insure them. A few years ago, I had my albino Burmese python insured because he was in a show on “The Strip,” in Las Vegas. If I remember correctly, the monthly fee was $18.00. It works like any other insurance: there is a deductible amount and you have to go to a veterinarian in the network. (Good luck with that!) I lucked out because my veterinarian is in the insurance network.

The History of Shaabi

by Amina Goodyear
posted October 4, 2010

In February and September of 2009 Amina Goodyear and Debbie Smith gave workshops on Shaabi. We called it Keda? Keda Ho! (Like this? Like this!)

What is Shaabi?

• As a word, Shaabi has multiple meanings in Arabic: “folk”, “popular (of the people).”
• As a musical form, Shaabi is the voice of the street, an urban expression full of feeling, double entendres, and social commentary.
• As a dance, Shaabi reflects a true and authentic expression of the Egyptian people and their humor and playfulness..

We presented an in-depth look at Shaabi music and its place in Egyptian culture- from a historical, social and artistic perspective. Through looking at the great Shaabi singers of the past and present, we explored dimensions of class, neighborhood, and urban life unique to Cairo, and the movements you can use to bring the spirit of Egyptian Shaabi music to your dance.
I would like to share some of this information with you…

In the 1970’s after the introduction and popularization of cassette tape recorders and their accompanying boom boxes, musicians and singers all over the world were able to sidestep the corporate world and self-produce and self-promote.

There were several movements throughout the world that seemed to simultaneously create music in the genre called "cassette culture". Most notably this type of music was evident in England and the U.S. with punk music, in Jamaica with Reggae, in Algeria with Rai and in Egypt with Shaabi music.

The literal origin of the word Shaabi (Sha’bi) in Egyptian Arabic is "of the common people". Here we will refer to it as music created by working class people, mainly of the younger generation.

Gamal Abdel Nasser, Egypt’s president who gave Egypt back to the Egyptians died in 1970 and some of his nationalism died too.The policies of the government that followed opened the doors to the West. The working class people (Shaabi) with their rural roots were finally able to enjoy a little economic relief. Thanks to the newly oil rich Gulf Arabs hiring Egyptians and thanks to their tourism in Egypt, money flowed enough to make owning cassette players and boom boxes a staple in their homes. But in the 1970’s Egypt also lost three of it’s beloved singers – Farid al Atrache, Om Kalthoum and Abdel Halim Hafez. All this marked the end of Egypt’s Golden Age and the era of pure love, unattainable love and repressed sexuality. It was time to move from fantasy and dreams to reality. The people needed to move on and were ready to declare war against the monied society and its conservative codes, the government, politics, corruption and just the general state of affairs in their miserable lives. True, there was a little more money flowing, but only enough to let them know that there really wasn’t enough. With the readily available cassettes – commercially made, homemade and bootlegged – the Shaabi people were able to sustain a voice and it was no longer ruled by that Egyptian monopoly, RCA, the so-called " voice of the people".

The first well known Shaabi singer is undeniably Ahmed Adaweya. I like to call him the godfather of Shaabi music. He used his voice to sing songs of protest to various social injustices and veiled commentaries on the government and its policies and the cassettes he made spread the word. He was born in the mid 1940’s in a working class (Shaabi) "hood" (harah) in the outskirts of Maadi, a district in the southern part of Cairo. He eventually moved to Mohamed Ali Street (also known as Shariaa al Fann -Street of the Artists) where he changed careers and gave up plumbing to work as a waiter in a café. There he was able to present folk songs and his popular mawaweel (pl. of mawwal or vocal improvisations, usually heart-wrenching). By the end of the 1960’s he went from singing at mulids (religious festivals) and street weddings to high-class weddings in hotels. In the early 1970s he was singing regularly in the clubs on Shariaa al Haram (Pyramids Road) and his popularity and his new sound sold millions of cassettes.

With his baladi roots, his shisha smokers’ raspy voice, his memorable mawal and sometimes satirical lyrics, his combination of modern and tradtional instruments, and just his general gruffness and way of life, he provided a template for the Shaabi singers who followed him.

Shaabi music is the sound and voice of the working class people. Many of these people are first and second generation from the countryside and they brought their baladi sounds with them to the city. They combined the Egyptian folk music and traditional instruments with the urban classic or art music and modern western instruments. Although it may seem that there is disregard for the traditional and cultural in their songs, quite the opposite is true. Their music is actually more versed in the Egyptian vernacular than the music and songs of the upper class modernized and westernized Egyptians. (Our beloved Mohamed Abdel Wahab‘s music was quite influenced by European and Russian composers. His music probably gave permission for others to follow along the same vein. Some of Farid al Atrache‘s songs are good examples.)

The singer’s voice, besides being emotional almost to the point of tears, quite often has a low, raw and raspy almost gruff edge. The singer may begin many of the songs with a plaintive mawal. This vocal improvisation like much of the mawaweel of traditional Egyptian songs may sing of love, but often will be couched with references of disdain for the government, corruption and the establishment and other social issues.The mawal usually does not have a rhythm, but it may be accompanied or answered by the traditional nai, or the modern accordion, saxophone or keyboard.The mawal tells of the beliefs and feelings of the singer and sets the emotional stage for the actual song. Ahmed Adaweya, Hasan al Asmar and Shaaban were known for their mawaweel (pl) and many times their mawal would be the song. Following the mawal and preceding the actual song and melody is usually a fast upbeat tempo (such as maqsoum saeria- double time maqsoum) played by the tabla.The song, short and fast, can sometimes be shorter than the mawal and can broach many subjects. The lyrics are usually simple, contain slang or street talk and may complain of many things such as the use or non-use of drugs and alcohol, poverty, work and money, love and marriage, food (which is usually used as a metaphor for sex) and just the general hopelessness of living and life in general. More recently the state of economy has brought about even more depression and many of the songs also appeal to a greater power.

These songs, used as a popular form of resistance, using humor, irreverence and street talk to mask the true meanings, are often censored in the governmental supported media. Through the cassette culture cottage industry, they are passed on from person to kiosk, to taxi drivers and microbuses, and on to the general popular public. More recently Shaabi styled artists such as Hakim and Saad have been "discovered" and their music, although sometimes censored locally, has nevertheless been promoted worlwide as the music of the youth "in-crowd" or the "hood" – music like hip hop and reggae – slightly bad, so it’s really in.The cassettes are a cheap and easy way to distribute the music. Even the stars such as Hakim and Saad don’t seem to object to their music being bootlegged because the sales and thus, their popularity, can eventually lead to big gigs in large venues – and this translates to big money.

Another newer method of passing on the Shaabi music has been through the more modern tools that are virtually accessible to all. This is the mobile phone and the internet. In the late 1900’s the saying was "telephone, telegraph, tell an Arab". Now in the 21st century that funny little joke is a reality as the mobile and the internet indeed quickly spread the lyrical word.

Also there is a slew of new Shaabi musicians using the nomenclature DJ Mulid and DJ Sufi. They hang out at mulids (religious festivals) and remix songs for the youth to dance to. Many of these Shaabi songs latch onto the rising conservatism of the times.The songs of love and money and the lack of both, seem to focus more on social injustice, poverty and giving up drugs and alcohol.The melodies and remixes can be hypnotic and trance-like (as in a dhikr -repetitious invocations) and often invoke the aid of a higher being.This new music is quite popular in Shaabi weddings as the repetitive rhythms and lyrics pull the audience in and are quite danceable.

This modern urban musical style with its rural roots combines a very eclectic range of instruments from the most classic and traditional such as the riq, cymbals, large and small (tura and sagat), the nai and the kanoun to the western violins, accordion, saxophone, trumpet, electric keyboard and now the digital sounds of the computer.

Since the turn of the 20th century Mohamed Ali Street was the main Shaabi center of these urbanized baladi artists – artists who had their roots in the country. Today, thanks or no thanks to the gentrification of the historic parts of Cairo and the economic neccessities to move to the outskirts of Cairo such as to Feisal Street and Pyramids Road (southeast towards the pyramids and Giza), the new main Shaabi center for the baladi artists – the musicians and singers – is the mobile and the internet. The Shaabi neighborhoods are now linked – almost as in a virtual Shaabi center.

TIME LINE
(Singers and Cassette information – approximate dates)

1952 End of Monarchy (King Farouk) in Egypt by military coup.Gamal Abdel Nasser becomes president of the new republic.“Egypt for Egyptians!” finally.
1956 Suez Crisis (with British). Suez Canal nationalized.
1960’s Aswan High Dam – Nubians relocated. Many moved to Cairo
1967 Arab/Israeli war. Israel’s army defeats combined Arab forces and occupies West Bank, Sinai, Golan Heights.
1970 Nasser dies, succeeded by Sadat – Sadat is pro-west
1971 Ahmed Adaweya
1973 Release of "Zahma Dunya Zahma" by Ahmed Adaweya in cassette format. October War by Egypt and Syria against Israel.
1974 Kat Kut cassettes – Farid al Atrache dies
1975 Om Kalsoum dies
1977 Abdel Halim Hafez dies – Belly Dance clubs attacked in Cairo
1979 Egypt and Israel sign peace treaty. Egypt banned from the Arab League
1980’s Shaaban Abdel Rehim cassettes
1981 Sadat is assassinated and succeeded by Hosni Mubarak
1984 Belly Dance clubs torched
1985 Hasan Al Asmar, Abdel Basit Hamouda cassettes
1988 Hamdi Batshan cassette
1990 Yallah! Cassette with Shaaban Abdel Rehim, Samy Aly, Hasan Al Asmar. (this is the mainstream of older "cottage industry" cassettes) – Hakim cassettes
1991 Mohamed Abdel Wahab dies
2001 DJ Mulid Shaabi music Shaaban Abdel Rehim makes Shaabi history with "Ana Bakra Israel"
2004 Saad al Soghayar
2005 Digital cassette "Immortal Records"
2008 DJ computer mixes on cassettes includes mulid carnival sounds DJ compilations available free on internet – Film "Cabaret"with Mahmoud El Leithy DJ mulid song
2009 Film "El Farah" with Abdel Baset Hamouda‘s "Ana Mush Arefni" and Mahmoud el Hosseny DJ mulid song

Resources:More Shaabi info on Amina’s site: Shaabi singers and their songs – Some songs are complete; others will give some words and the general gist. Then I give my translations, etc.
References: Al Ahram, Walter Ambrust, Nicholas Puig, Michael Frishkopf, James Grippo, Jennifer Peterson, Debbie Smith’s and my personal research and the internet

Pro Dancer vs Religion, Importance of Training, Khaleegy Music

by Yasmina Ramzy
posted October 1, 2010

Question #1: I am a Muslim girl. My family is from Egypt. I love to dance and have dreamed all my life of being a Bellydancer. My family will not allow me to become a professional Bellydancer. My desire is so strong and yet I am torn because my family and community will not accept me. I cannot decide. Please help me. What should I do?

Answer: I have received this sort of request a number of times over the years; some tearful, some over the phone by anonymous girls who knew me, but I did not know them; some by young girls whom I had witnessed grow up and knew well. I often told the girl to look into her heart because she was the only one who could answer this question. I told them to ask themselves honestly which was more important to them and their sense of well-being — Bellydance or their religion. If they chose one over the other, would there be no regrets?

Then, I would speak to them about being authentic. If Bellydance was chosen with conviction, love and integrity, then their relationship with God would remain real and honest and maybe one day they might win back the respect of her family.  It was still a huge risk, but at least, they could have comfort in living an authentic life.

On this particular day, I received the request from a young Arab caller whom I did not know personally. It was on my cell phone while Tito Seif was teaching his first workshop here in Toronto in 2006. I was talking to the girl while I waited for Tito to get ready to go to the airport. On the way to the airport I told Tito about the girl and her predicament and asked how he would have answered her. He swiftly and emphatically said "Tell her no; do not Bellydance!" I love Tito’s kind and honest heart even more than I love his phenomenal dancing, but at that moment, I was angry at him. I thought, “How hypocritical!”

Earlier that day, I had found him waiting for me in the lobby of the hotel reading the Koran. "Was it okay for him because he was a man?" I wondered. So I asked him "Why? Why was it okay for him and not okay for this girl?" He again quickly said an emphatic "no" without explanation. I gave him a concerned / bewildered / freaked-out stare of complete miscomprehension and he finally said: “because she asked.”

Then it hit me! If she needed to ask, her desire to be a Bellydancer was not great enough to overcome the obstacles and pain this choice would create in her life.

Her view of the dance was not as a pure art which was in harmony with God or religious belief. This advice coming from the first man to break the male Bellydancer taboo in Egypt (even at the risk of his life) was true wisdom. It spoke reams of the struggles he must have gone through and how much infinite and unconditional love he has for the art of Bellydance and his idol, Samia Gamal.

Question #2: I live and teach Bellydance in a remote area of Canada and am frustrated with my progress as a dancer. I want to learn more but do not have teachers near me who can help. I have already spent too much money on instructional DVDs. I took your Pro Course last year and many workshops in other cities but this is costing too much money. How important is training and how can I get it where I live?

Answer: I personally had very little in the way of formal training but this was not by my choice. Thirty years ago, my opportunities were extremely limited compared to today’s Bellydance student. However, I searched and dug deep for the little tidbits I could get my hands on. Seven days a week for 15 years, I was either in an Arab night club asking questions and studying dancers, or I was performing and receiving constant critical feedback after every performance. I cornered every Arab female (whether pro-dancer or not) and begged her to show me steps — usually without English explanation. Whenever I was in front of a TV in my home, hotel room or an Arab family home, I was watching a video of Sohair Zaki or Nagua Fouad. Instructional videos did not exist then and if they did, I was not aware of them. My Bellydance career was nourished by the Arab community, and they were not aware of a Bellydance community outside of Egypt.

I could have learned much faster had I had a formal teacher. I often tell my students today that it took me 10 years to learn what I can teach them in less than one year.

It is only a very small handful of people who may actually make more money performing or teaching their art form than they invest in it. Most artists love their art so much that they work and make their income by any means possible that can afford them the finances and time to study more. Almost all professional dancers, musicians and actors need to supplement their income with the wonderful job of waiter or waitress that allows them schedule flexibility.

If you are at a certain level where the teachers in your area cannot help you improve, then you have no choice but to travel to study intensively with a master teacher at least once or twice a year or move to another city. Many Bellydancers all over the world move to the nearest large city centre that has a master teacher or two. Sometimes they return to their home town after a year or two to teach to that community and some stay permanently in the large city.

A weekend workshop that caters to all levels of students may offer new inspiration, but at a certain point, you need critical feedback–one-on-one.

Because I could not find a Bellydance teacher in my home city who could further my skill, I got a Debke choreographer who was visiting from Lebanon to critique me. He cleaned up my arm technique (or lack of). An Egyptian drummer showed me how to twirl the Assaya. Aida Nour taught me to shimmy, among other things, in a Toronto hotel room (in 1982 while on a tour sponsored by the Egyptian Ministry of Tourism). Sometimes, when I am unable to travel to the Middle East regularly, I take other forms of dance class. Still, I always ask for critique after every performance from those whose opinions I value.

A professional dance artist in all forms of dance takes regular class, often everyday. Every musician takes class for his or her instrument every day or at minimum once or twice a week. It is part of being a professional artist.

Even the highly paid movie stars have an acting coach. Art is a glorious journey that never ends and thus the training never ends…ever. If you think you have finished training, you are finished as an artist.

Note: Some well-known teachers offer instruction by video, DVD or skype.

Question #3: Can you please tell me the origins of this Khaleegy song, Rawih Wi Rooh? Which country; Kuwait, Dubai, Bahrain etc.?

Answer: While I know the singer Asalah is Syrian (and yes, the song is Khaleegy and the concert is definitely in the Gulf), I cannot say which country is the song’s origin so I have asked my dear friend and former dance artist of Arabesque Dance Company & Orchestra, Khaldoun and his wife Nada. Khaldoun was born and raised in a small village in the middle of Saudi Arabia. We met when he was studying biology in Toronto a number of years ago. You can see Khaldoun dancing Egyptian Hagallah, Port Said and Tahtiib on the Asala DVDs. The following is his answer:

“The performance was a concert in Dubai. The audience is mostly UAE citizens but I could spot a few Saudies and Bahreenys. Asalah Nasri is the singer’s name. She is Syrian, born in Damascus and sings Khaleegy often. The song was written by a UAE sheikh, Hamdan Al Maktoom, and came out in a 2004 album named “Awgat”. It was written in a UAE dialect. It is very popular in weddings and family unions of the tribes of Najd, and Eastern Province.  Also, I would imagine that it would be popular in such occasions in UAE, Bahreen, Qatar and Kuwait as well. The song has a bitter meaning as it explains the lover’s determination to forget his/her previous love. So, the song is not a happy one; at least, it is not happy like the beautiful Mashkelni song in Asala.”

The Art of Playing Finger Cymbals with Momo Kadous

DVD Review by Zumarrad
posted September 17, 2010

Momo Kadous is a master zill player and Egyptian folkloric dancer. In “The Art of Playing Finger Cymbals”, he teaches zill technique, rhythms, and movement combinations in a detailed resource that is somewhat difficult to catagorize.

The DVD covers Masmoudi Kebir, Masmoudi Saghir, Maqsoum and Ayoub rhythmic patterns with zills and drum, “variation elements”, ways to create different sounds with your zills and some examples of entrances and movement variations with the sagat. The latter material is great for more experienced dancers and zill players. With his elegant carriage, Momo is marvellous to watch! His zill playing is beautiful, too; he can make those cymbals talk! Unfortunately, there’s no root menu, so you can’t just go straight to this or any other chapter on which you’d like to work. You need to fast-forward through all of the chapters.

The sections in which Momo couples zills with movement are very well dissected, and he also breaks down the patterns and rhythms thoroughly.

The footage is shot in an studio space without mirrors, decorated with a few Egyptian furnishings. It’s well-lit and Momo, dressed in black, is easy to follow. There are a few occasional background noises but nothing truly distracting.

All the dance material is framed to show the full length of his body, and in closeup when he focuses solely on zill technique. He kindly crosses his hands in front of himself so you do not need to treat him as a mirror while you learn to play the patterns – again, helpful for a beginner. He doesn’t break down more complex variations, though he does play them.

Things start to get really interesting when he introduces variations of tone, and I wish he had devoted more of the DVD to this technique.

If you have played zills before, you will not learn any new patterns here. However, while the patterns Momo teaches are suited to beginner players, the movement combinations he selects to go with them are really not. When your first attempt at moving while playing cymbals is Masmoudi Kebir with Arabesques and a fiddly little turn, you had better be one hell of a beginner! On the other hand, Momo’s footwork-heavy combinations might delight a more experienced dancer.

The exhaustive system of arm/hand positions he introduces at the start, all with letter-number names (0A, 6B), are seldom referred to by name later, but the system could be very useful for a teacher or troupe choreographer.

Similarly, although Momo tells us how to put on zills, he doesn’t go into the sort of detailed information a brand-new zill player would need. (How do you choose your elastic? How tight is it supposed to be? How is it attached and what are those white things inside the zills covering the knot of your elastic? How, if at all, do they affect the sound?)

Momo’s accent is relatively strong, and his explanations are quite wordy, which may make this DVD difficult to follow if you are not used to listening to non-native English speakers or, conversely, if you are a non-native speaker of English yourself. Nonetheless, there is a lot of information to be gleaned if you’re able to listen closely.

I would not recommend this DVD to a completely novice zill player, and it contains a lot of material that will seem extraneous to a more experienced one, but there is plenty of value in it. I feel the DVD is let down by its format and by its breadth; it is far too difficult for a beginner, yet, not quite nit-picky-enough technique for an advanced player. It would be an excellent supplement to ongoing classes or practice, rather than as a means of learning how to play from scratch.

Purchase info:
Turquoise International

Rating:  2.5 zils 

2010 Yaa Halla Y’all Belly Dance Competition

by Iman
Photos by Carl Sermon and MaShuqa
posted September 24, 2010

My duet partner, Majah, and I have had the privilege of dancing in several exceptional competitions, and we decided to venture to the great state of Texas to experience the 10th anniversary of “Yaa Halla Y’all” organized by Isis and Del and the Star Dancers staff.

Yaa Halla Y’all is an action-packed, four-day event for all styles of Belly dance: Tribal, Alternative, and Cabaret. Each day, dancers can select from six different 2-hour workshops, conducted by teachers like Bozenka, Amy Sigil, Kaeshi, Karim Nagi, Amaya and many more. On Thursday and Friday nights, Tribal, Alternative and Cabaret dancers compete for the People’s Choice Awards, with Saturday night being the 2010 Gala Show of Stars and People’s Choice Winners’ Showcase.

For dancers who are interested in an incredible immersion into dance as well as a great competition, Yaa Halla Y’all is a “must do”!

Check In & Registration: As a dancer, you get a sense of the event immediately, when you walk in the door of the venue. In our case, a team of highly organized, very gracious volunteers greeted us. Music check in, and registration were done in record time.

Dancer’s Dressing Room: Each dressing room was hosted by one of Isis’s volunteers, wearing a red T-shirt and a halo headband so you couldn’t miss them. Every dancer had mirrors, cold water, and trays of safety pins, hard candy, chocolate, rubber bands, tape, band-aids, sewing thread, etc. The Yaa Halla volunteers were extremely well prepared, and able to get answers to any question.

Back Stage: Imagine a back stage with a private curtained rooms for dancers to go for some solitude before dancing, a TV to watch the live performances from back stage, more candy and three extremely organized stage managers who kept everything running like clockwork. Another plus was that the stage itself was beautifully festooned with live plants and Egyptian sculptures.

Competition: On Thursday night, 21 tribal and alternative dancers vied for the Yellow Rose of Texas People’s Choice Award for Tribal/Alternative duets and trios, Men’s Tribal/Alternative soloist, Women’s Tribal/Alternative soloist and Tribal/Alternative troupes. On Friday night, thirty-nine different performers competed for Cabaret Rising Star soloists, Cabaret Duet/Trios, Cabaret soloists and Cabaret troupes. While scores were being tabulated each evening, professional dancers took the stage, and at the end of the evening Isis announced the award-winners. Considering how many dancers competed, the evening started promptly at 6:00 and at 9:30, which was gratefully appreciated.

Saturday Winner’s Showcase: Internationally-acclaimed Belly dancers performed at the Gala Show of Stars, along with all 2010 People’s Choice winners. Four professional Belly dancers from China made guest appearances, with the highlight being the standing ovation Estelle received for her stunning double fan-veil routine. Several special awards were given by Isis and the Isis Foundation, including the Award of Excellence to Tonya for the 20th anniversary of the Belly Dancer Universe Competition, and a lifetime achievement award to Tamalyn Dallal for all her contributions to the dance community. Each of the professional dancers was extraordinary, and it truly was the best evening of dance that I have ever had the privilege to watch.

Workshops:Yaa Halla features twenty-two different 2-hour workshops over four-day event. At some events, it is hard to see the workshop instructor, however, Yaa Halla has uniquely solved this problem. Workshop instructors taught on an elevated stage. In addition, a camera operator projected the workshop on a huge projection screen so everyone could always see the teachers. The teaching staff was exceptional and included: Moria Chappell, Aneena, Saqra, Amy Sigil, Jayna, Kaeshi, Yasmine, Mia, Pangia, Princess Farhana, Frank, Tamalyn Dallal, Karim Nagi, Amaya, Bozenka, Carmine Guida, Aubre and Virginia.

Massage Therapists: Special Bonus — It was totally unexpected and gratefully appreciated to have access to massage therapists to help unwind strained muscles.

Vendors: For Belly dance shop-a-holics, it was a shopper’s heaven with 25 national and local vendors. You could schedule a professional photography session, see hundreds of costumes, find dozens of unique hand-made items, and get great, reasonably priced Lebanese food. There was always something happening with great daily prize giveaways and silent auctions, so you didn’t want to leave.

Yaa Halla Y’all: Isis is a gracious host, and makes everyone feel welcome, and her effervescent personality helps get everyone in a celebratory mood. Her team really had thought about everything. Isis said the planning and preparation for this event starts a year in advance, and as a participant, you get the benefit of all this preparation. Yaa Halla Y’all is flawlessly executed, great fun and offers something for everyone. For dancers looking for a great competition, exceptional dancing and fantastic workshops — Yaa Halla Y’all is your event.

Yaa Halla, Y’all 2010 Yellow Rose of Texas Belly Dance Competition Winners
THURSDAY NIGHT TRIBAL/ALTERNATIVE: Tribal/Alternative Duet/Trio: Winners:  Angels Trio – Texas 2nd Place:  Farfesha World Collision Tour – New Mexico Tribal/Alternative Male Solos: Winner:  Bagoas – Maryland 2nd Place:  Frank Farinaro – Colorado Tribal/Alternative Woman’s Solos: Winner:  Karolina – Oregon 2nd Place:  Zara – Texas Tribal/Alternative Troupe: Winner:  Tribal Evolution – Texas 2nd Place:  Anahata Belly Dance Company – Texas	FRIDAY NIGHT CABARET Cabaret Rising Star: Winner:  Reed – Texas 2nd Place:  Ylona – Texas Cabaret Duet/Trio: Winner:  Iman & Majah – California 2nd Place:  Sasha & Sam – Texas Cabaret Professional Solo: Winner:  Kata Maya – Texas 2nd Place: Tie:  Victoria – Texas and LaHania – Texas 3rd Place: Sidonya – Texas 4th Place  Alisha Lee – Seoul, Korea Cabaret Troupe: Winner:  Sa’diyya and the Danza dela Luna Performance Company – Texas 2nd Place:  Desert Fire – Oklahoma

More photos from this event by Carl and MaShuqa Yao and Xiao Xiao Chen and Lin Na of China

Karim and Bozenka

Isis

Kaeshi

Moria Chappell

Resources:
Author’s bio

Bridging Cultures Through Belly Dance

by Jasmine June
posted September 16, 2010

The decision to move to Berlin with my fiance came after much hesitation. I had just broken new ground with the belly dance scene in San Francisco and was reluctant to leave it behind. I had produced my first show- a "rock and roll" belly dance performance at Benders Bar, with bands, lots of dancers, and a sold out crowd. Also, auditions for Jill Parker’s new company, Miel, were coming up and she had asked me to audition.

One of the things that tipped the scales for me was an invitation to join Zadiel Sasmaz‘s company, Zadiraks. While a completely different style than what I had been trained in, the challenge of learning something new and growing as an artist was enticing. Plus, I admired Zadiel’s passionate performances and was excited to study with him.

While born and raised in Berlin, Zadiel came from a Turkish heritage. In addition to being trained in a variety of belly dance styles, including Egyptian, Turkish, and Tribal Fusion, Zadiel also studied Turkish Roma and Turkish Folklore. Zadiel is innovative in that he combines all of his dance training to create dynamic choreography that holds his audience spellbound. Not to mention that he defies boundaries by being a male Turkish belly dancer and that any adversion he has faced has only made him stronger and more determined to succeed. Zadiel, originally named Mehmet Sasmaz, is a charismatic and captivating solo performer. He is also the director of two companies: Velvet Snake and Zadiraks Dancers.

Joining Zadiraks was a life saver. Living in Berlin was a lot more challenging than I had expected. For one, the belly dance scene was much more competitive than the tight-knit tribal community I came from in San Francisco. Not many dancers wanted to help out a foreigner, even though I had a recommendation from Jill Parker.

The only tribal teacher in Berlin was Sharon Kihara, but she would be away on tour for the entire duration of my stay. Talk about poor timing!
There was the cultural factor, too. Berlin is full of dichotomies; old and new, German and English, East and West. It was a lot to wrap my mind around. I often felt like an outsider, with my lack of German language skills and unfamiliarity with the city. Even the way in which the city viewed belly dance was foreign to me. In San Francisco, the tribal scene had made belly dance avante garde and non-traditional.

In Berlin, belly dance was a business and didn’t often veer too far from its Middle Eastern origins. The stigma of being seen as a "slut" or "stripper" was also prevalent, as many of the clubs in which to perform were owned and frequented by clientele who came from countries in which a woman was considered naked if even her arms were showing.

However, Zadiel showed me that these difficulties could be overcome. He himself had been an outcast in many situations. Being male, gay, and a belly dancer isn’t something that is welcomed warmly in the Turkish culture. Zadiel was fortunate in that his parents were always very supportive, but it was also his drive and determination to perfect his craft and embrace who he was that made him successful. He challenged the "pretty, voluptuous woman" sterotype of the belly dancer, and proved that belly dance was so much more than costumes and looking sexy. His rigorous training and instruction resulted in perfect technique. When Zadiel performs, the skill involved with belly dancing becomes apparent.

In this way, he demonstrated that belly dance isn’t something that is defined by culture. Rather, it is an art form that can be perfected by anyone who puts their mind to it, and it’s an art form that can be used to bridge cultures rather than divide them.

This isn’t to say that being in the company wasn’t challenging for me. For example, in tribal fusion, there is a lot of emphasis on bending your knees when you shimmy, but in Zadiraks, I had to stand a bit straighter and adjust the style of my shimmies. Then there was the language barrier. You can imagine my alarm one day when Zadiel told me I needed to buy a whale. "A whale? Are you sure?" I asked.

"Oh, yes," Zadiel said. "A white whale. We will be dancing with whales soon."

That was when I realized that he meant to say veil. "Zadiel! You mean a veil!"

"Yes," Zadiel replied. "That’s what I said. A whale."

Zadiel never did get the pronunciation right, and to this day he says "whale’ when he means "veil", and I just can’t help but picture a belly dancer waving a whale above her head!

Just when I was really starting to adapt to the Turkish cabaret style, and get a hang of Berlin, it was time to go back to San Francisco. As sad as I was to leave Berlin, I had missed my friends and fellow dancers in San Francisco and was looking forward to going home. Also, parting was not so filled with sorrow, because I knew I would be seeing Zadiel again within a few months. Zadiel Sasmaz was coming to California for his first tour in the United States- and I was planning it.

Now it was Zadiel’s turn to be submersed in a different style, as most of my connections were with tribal fusion and not the oriental style he was used to.

Our first show was in San Diego, at the Patagonia Restaurant. The Shimmy Sisters– a tribal fusion belly dance duo- hosted the show for us with their band, Danyavaad. Myself, Julie Foat from LA, and Dilek from San Diego, also performed. The night showcased our different styles, including a flamboyant drum solo from Zadiel that earned him a standing ovation. The crowd was also dazzled by belly dance and hula hoop fusion, and tribal fusion fire swords. Zadiel was surprised that so many different things were crammed into one show, but I told him it was normal for California.

Unfortunately, it was in San Diego that I learned my first major lesson in booking shows- have a contract!

We were scheduled to perform at Cafe India the next night, but they cancelled on us with very little notice. They also cancelled the workshop Zadiel had been booked to teach there. If I felt dissapointed, I couldn’t imagine how Zadiel must have felt after traveling from the other side of the world.

However, our host for the weekend- the Turkish dancer, Dilek- ensured that we still had a good time in San Diego. Not only did she open up her home to us, but she also took us on a tour of San Diego, made us a delicious Turkish breakfast, and hosted a workshop for Zadiel at her studio, free of charge.

I think both she and Zadiel were delighted to share their Turkish heritage with each other, and they definitely forged a close friendship.

Having Zadiel at my home in San Francisco was exciting, but I had so much work cut out for me. I had to work a full-time day job, produce a show, organize the workshops, and host my guest! But it was more than worth the effort. We performed at a "Balkan Fusion Party" at the venue, Triple Crown. We had belly dancers from several different backgrounds, including the lovely Rose Harden, Alodiah Lunar, and the funky, flirty antics of My Red Heart and Leopard Print Tank Top. Even the Egyptian belly dancer, Amina Goodyear, made a rare performance appearance. "Zoyres" was our band for the evening, fusing balkan music with experimental jazz. After the show, Zadiel confessed to me that he had never truly enjoyed tribal fusion belly dance, but that my show had changed his mind completely. His newfound appreciation of tribal fusion even spurned a small obsession with "tribal" and balkan music; for the next few days he sifted through the music on my computer and began choreographing what he called a "Turkish Gypsy Belly dance".

Amina Goodyear also hosted workshops for us, in her charming studio below her house in Noe Valley. Amina’s studio is somewhat magical, with it’s colorful scarves and various sizes of drums lining the walls. While tiny, the space somehow comfortably holds at least ten dancers; which makes for an intimate class.

Amina herself is like a fairy godmother; her kindness and insight is both heartwarming and inspirational.

We had a blast doing Zadiel’s drum solo and Turkish Roma workshops at her studio. In such a tight space, you have no choice but to be friendly and courteous to your fellow dancers. Plus, Zadiel’s workshops are always entertaining, due to Zadiel’s flamboyance, skillfull instruction, musicality, and humor. After all, this is a gay male belly dancer we are talking about- a little pizazz is to be expected!

Also, learning from a man is a little different than learning from a woman; the moves look slightly different on a masculine body (especially anything involving the chest), which automatically forces the student to adapt the technique to her own body and style.

I was sad to see Zadiel go, but I am sure our paths will cross again in the future. The tour provided both of us with new friendships, skills, and experiences that can only be gained by daring to take a risk. After he returned home to Berlin, one of the organizers from the Long Beach festival, "Cairo Caravan", emailed Zadiel offering him a teaching position at next year’s event. So, who knows? Maybe we’ll be seeing more of Zadiel in California in the not too distant future. He is certainly visible internationally already, and I’ve got a feeling that his dancing career is only going to get bigger.

Resource:
Zadiel’s Website

Peace Brings Prosperity and New Dancers

by Mark Balahadia
posted September, 2010

What a difference five years can make! The first time I visited Beirut was December 2005, only a week after Gebran Tueni* , politician and editor of An-Nahar* , was assassinated. I arrived to a Beirut that was tense from Tueni’s death and the previous assassination of former Prime Minister, Rafiq Hariri*. However, I still managed to make a lot of new friends and have fun.

It is also hard not to forget what has happened since my last trip. A brutal war with Israel, a political stalemate, civil unrest and President Michel Suleiman* being sworn in to broker a unity government happened in such a short amount of time.

However, it was now finally peaceful in Beirut this year. The Lebanese resiliency and ability to rebound from crises is what encourages many of its citizens to live life to the fullest extent, and this passion is what lures tourists and expatriates every year.

With its fabulous nightlife, this small Arab nation has a reputation for being the “party capital” of the Middle East. Lebanon is also known for its extraordinary cuisine and the country’s cultural riches including the Roman ruins of Baalbeck* in the Bekaa Valley , the Beit Eddine Palace in the Chouf region of Mount Lebanon* and Becharre, the hometown of Gibran Khalil Gibran* . It is an experience unlike any other, and I made new friends when I last visited, including well-known Belly dancer, Suha Deeb, whom I hosted for several workshops in the Washington, D.C. area.

It was time to come back, so I decided to visit this May. This time around, Beirut was less of a culture shock for me. The first time I came, I spoke little Arabic; however, since then, I decided to build upon it, and I have now learned enough Lebanese Arabic to construct full sentences, make requests and comment on things. Although most Lebanese are trilingual (either French and/or English), it does help visitors to know some Arabic. Not only do you gain a much more profound understanding and respect of another culture, but I also found it was much easier to get around and get things done because my Arabic was better.

Traffic is still horrendous in Beirut! My hotel is in Gemmayze, a neighborhood north of Achrafiyye in East Beirut. My room was facing a busy highway near Martyrs Square; so most days, I woke up with the sounds of traffic.

At night, across Martyrs Square, there is a giant roof-top party at the An-Nahar building, blasting music so loud that you could almost feel the ground shake!

Another acute difference from 2005 is the amount of construction. There are cranes all over Beirut erecting high-rise apartments. Many Beirutis are saddened by the loss of historic and traditional buildings in the name of progress. The housing boom in Beirut is catering to overseas Lebanese and Gulf Arabs who have the money to buy properties. However, there is still beauty to be had including Sanayyeh Park, Beirut’s (only) famous public garden with its gorgeous oleander trees in full bloom and old neighborhoods like Gemmayze, which has retained that old Beirut flavor that was almost completely obliterated during the country’s 15-year civil war. Still, all I heard from many people was about how “Beirut is becoming ugly”. However, there is an organization called “Save Beirut Heritage” that is working to save historic buildings for future generations.

Yet, this is a country obsessed with beauty. The people of Beirut are always dressed to impress. Plastic surgery is rampant, and a recent survey concluded that one in three Lebanese women have had some “work” done.

There are even vacation packages for those who want to visit Lebanon and go under the knife. The Ethiopian maid at my hotel had her eyebrows tattooed in that drag queen-esque style that is prevalent among stylish Arab women because her Lebanese boyfriend likes it. Lebanese men are also known to get work done: liposuction and hair restoration being the most popular procedures.

Another change is how expensive everything is. A taxi ride in and around Beirut was once 5,000 LL (approx. $3.50) but has now doubled to 10,000 LL (approx. $6.50). This may not seem like a lot of money but many people’s salaries have remained the same. The same goes for pretty much everything, including housing. The only item that has remained steady is food. A Mana’eesh with jibne and za3tar is still only 2000 LL (approx. $1.50). I wonder how the normal people of Beirut can get by with this inflation.

Nightlife is legendary in the city, with its embarrassing wealth of bars and clubs. It is a national pastime for the country’s youth to party like there is no tomorrow. There is a scene for everyone, from Lebanese restaurants with the traditional entertainment of singers and Belly dancers to European style nightclubs with unique and modern décor.

Beirut is also the only place in the Arab World with a vibrant gay culture. I went to one bar called “Bardo” that was filled with buff, handsome men with too much attitude for their own good. The music was obnoxiously loud, and the drinks were stiff. I left the bar quite happy!

Speaking of traditional restaurants, there are many that offer live entertainment including dancing. Some of these establishments include Awtar and Bsat El Rieh in the downtown and Nahr El Founoun (lit. River of Artists) north of Beirut at Nahr El Kalb (lit. River of the Dog).

Unfortunately, the current style of Lebanese Belly dance is not “my cup of tea”. It is aggressive, spasmodic and over the top. Just search for “Bassima, Belly dancer” or “Elissar, Give Me More” on Youtube and see what I mean.

Fortunately, I had the opportunity to see Suha Deeb perform. Currently, she is the featured dancer at Al Dar restaurant, Al Rouche, on the coast of West Beirut near the natural rock formations called “Pidgeon Rocks”. Suha was amazing! Her show was a delight to watch since she is the antithesis of the current Lebanese style. Her costumes are to die for. She has them all made by Rony Eid, who designs for many of the dancers in Beirut. The band was also wonderful, playing old school songs like Yama El Amar 3al Bab by Fayza A7med.

I had the great opportunity of taking a class with Suha Deeb. Suha is a true artist who specializes in an old style of Belly dance harking back to a time when Lebanese Belly dance was very similar to the Golden Age of Belly dance in Egypt. As far as I know, she is the only dancer who is still rooted in this style in the Arab world. She calls her style “el Raqs el 3rabi el Aseel” (authentic Arabic dance) because of this. Her class was challenging but rewarding. Her technique emphasizes on the importance of core strength to execute movements properly. She is also a champion of musicality in dance. Suha plays sagat like a musician and has taken classes in iqaat (rhythm) and drumming. She also included a floor-work exercise routine that I found most challenging. There is no prohibition of floor-work in Lebanon as there is in Egypt, so you will still see many dancers incorporating it in their shows. In the future, I hope to study with her more, so another trip to Beirut is in order.

I recommend a trip to Beirut for dancers who are interested in something a little different. Beirut is not Cairo. It may be more expensive than Cairo, but it makes up for it by being a clean and safe city full of friendly and fashionably dressed people who live life to the fullest by eating delicious food and partying until the wee hours of the morning. There are also many places to see singers and dancers. Plus, for those dancers who are looking for new costumes, you must go to Rony Eid and have him make you a-one-of-a-kind, haute couture quality costume that is better in quality than the costumes in Cairo or Istanbul.

For dancers who are interested traveling to Lebanon, here are some good tips and recommendations:

• Best time to travel to Beirut is during the spring and early fall. It rains a lot in the winter and it becomes ridiculously crowded during the summer months.
• For budget travelers, there are two safe and clean hostels in Gemmayze on opposite sides of Charles Helou Road, adjacent to Martrys Square, called Talal’s New Hotel and Pension Al Nazih.
• There are many great Lebanese restaurants in Beirut. Here are my favorites:
  —Le Chef and Tabkha (Tabkha recently opened a new location in Hamra) on Gouraud Street in Gemmayze and Istanbuli in Hamra
  –For good cheap eats, there is Bar Bar and Kabab-ji in Hamra.
  –If you want to smoke argileh (shisha), go to the seaside café in Raouche called “Al Rawda”, which is a Beirut landmark.
  –To watch dancing, I recommend seeing Suha Deeb at Al Dar restaurant in Raouche, Beirut. Reservations recommended. Chamis Bldg., Chouran Street, Raouche, Beirut 961 3 737040 – 961 1 804601
  –To watch other dancers, there are:
  —-Bassima at Awtar Restaurant inside Hotel Monot in Downtown Beirut-http://www.awtarrestaurant.com/
  —-Brazilian Elissar and Izo at Awtar in Zouk Mikhael (North of Beirut) -http://www.awtarrestaurant.com/
  —-Lebanese Elissar at Nahawand Restaurant in Dbayeh, Beirut- http://www.nahawandrestaurant.com/
  —-Dalida at Bsat El Rih, Downtown Beirut- .http://www.beirut.com/Restaurants-Cafes/Hamra/Bsat-El-Rih/197 – problem link–
  —-Mosbah (Male dancer) at Music Hall http://en.wikipedia.org/wiki/Music_Hall_(Beirut)
• Current conversion rate for 2010: approximately 1500 LL (Lebanese pounds [lira]) equals $1 USD. Just take the US dollar amount and multiply by 1500. You can also get the USD amount from a price in LL by dividing by 1500.
• Visas: For some countries, including the US, visas can be obtained at point of entry, Please check the General Security website for details.http://www.general-security.gov.lb

See you in Beirut!

These are all photos of Suha from her shows at Masrah Al Madina, in Hamra, Beirut hosted by Irab, an organization formed "in order to address the striking lack of availability and awareness regarding the rich musical heritage and contemporary production of Oriental music".

Resources:

• Gebran Tueni– (http://en.wikipedia.org/wiki/Gebran_Tueni)

• An-Nahar– the leading Arabic-language daily newspaper in Lebanon http://en.wikipedia.org/wiki/An-Nahar

• Rafic Hariri– http://en.wikipedia.org/wiki/Rafic_Hariri

• Michel Suleiman-http://en.wikipedia.org/wiki/Michel_Suleiman

• Baalbeck- http://en.wikipedia.org/wiki/Baalbek

• Biet E Dine-http://en.wikipedia.org/wiki/Beit_ed-Dine

• Gibran Khalil Gibran- http://en.wikipedia.org/wiki/Khalil_Gibran

Clubs, Events, and Resources

by Anne White
posted September 10, 2010

Hi to all our state-side friends over “The Pond” and elsewhere! For those intending to visit London, I thought you would like a “What’s on in London?” guide to spice up any intended visit–whether now or future.

This guide is a selection of people and places you would like to know about, and is an updated version of Alexandria’s Guide submitted to the Gilded Serpent some time ago. I thought it would be useful to put my potted experience to accompany the context of Alexandria’s article.

London is huge! It takes ages to get around! If you are coming to London, here is a link with advice on how to get around the transport in London and plan your journey.

For Arab Clubs and Restaurants

• My site has information here: Nights out in London: Live Music and Bellydancing
• and here: London Middle Eastern Restaurants & Bars
• LondonBelly dance also has a page devoted to this subject. It also has a page devoted to Restaurants with Belly Dancers and many other resources that will distract and entertain you. This page was founded by dancer, Johara, who dances in restaurants and clubs. Some of the information may be out of date, but she provides this information for free.
• London Belly dance Meetup is a resource for Londoners who want to get together. This site is managed by Ewa Horsfield. It is a mailing list that sends you an invite when events are schduled.

Ewa Horsfield is a celebrated teacher and performer who studied Egyptian Oriental dance– first in London and then, in Egypt. She was one of the first to gain a certificate from Raqia Hassan’s Intensive Winter Course for Teachers in Cairo. Ewa continues to participate regularly in the Ahlan Wa Sahlan Festival in Cairo.

As a performer, Ewa has a following among dance enthusiasts for her passionate and deeply informed expression and her commitment to improvisation. She has had a life-long engagement with arts, culture, and world music that has influenced her unique style. She teaches regular classes and workshops in London, as well as at festivals, and privately at her own studio.

Regular Events

Planet Egypt
This event, created and hosted by me, is held monthly on the last Thursday of every month. With the best of UK national and International dancers and musicians, and two-year performance waiting lists, we are number 1 at what we do. This is an intimate environment which allows the audience to be very close to the performers providing a very “real” experience. Attended by big names in the community, along with press, publicity agents, and celebrities, this is a great opportunity to network, have fun, and be inspired in an Arabic-themed, Oriental-style Arabic night club.

Saqarah
In 2008, Saqarah was conceived by two Belly dance enthusiasts, Nafiseh and Eshta who wanted to create a new style of Belly dance party. One Saturday each month, Saqarah gives students, amateur, and professional Belly dancers a chance to perform and have a fantastic night out. Fun and informal, with a strong focus on quality, Saqarah has seen the very best of home-grown and international Belly dance talents in many styles grace this stage, whilst always offering a varied and exciting show!

The event’s current home is in the St. Aloysius Social Club right next to the Euston Station. Saqarah is not only a monthly Belly dance show, but includes shopping opportunities with souks, an Arabic disco, and the ever popular dance-off competition!

Bellyworld presents
The Silk Route Arabian Cabaret
Bellyworld is the monthly creation of dancers Eva Green, Nancy Englefield and Michelle Kelsall-Singleton.

“For us, Belly dance is not just entertaining and alluring; at its best, it is an art form of great beauty. As such, we respect its origins and also wish to explore the links that the dances of the Middle East have with other disciplines, hence the common threads in our Silk Route shows. Our aim is to bring the Belly dance community together as well as to introduce this dance to others who may be unaware of the depth and variety held within Belly dancing. Each month, we spotlight another genre. It could be dances from other disciplines, such as classical Indian or from a specific region such as Hungary. Not only does this bring a distinctive element to our show, it also reveals the sometimes unexpected connections between different dances.”

Arabic & Turkish Club Night, with Live Belly Dance Performance
This event is held quarterly and was founded by Egyptian Supremo Shafeek Ibrahim and his wife Tara. Both of these highly acclaimed artists perform along with students from their stage school Arabian Dance Theatre, and with select invited performers.

Other Events

• Egyptian Music and Dance Day produced by the Raqs Sharqi Society – This event is held yearly with the next event scheduled for November
  13, 2010. They feature live music event with some performances.
• Fantasia, London Fantasia Festival – Fantasia is a yearly festival of Belly dance, and usually takes place on the second weekend in December in West London. It has two days of dance workshops, a souk selling dance costumes, class gear, CDs, DVDs and props such as veils, canes, and much more.Fantasia has been running since 2000, and has always had a friendly and supportive atmosphere. It is London’s ongoing annual festival attracting dancers from all over the UK and abroad. A Saturday night show includes famous international star names as well as student performances.

  Stars who have taught and performed at Fantasia include Yousry Sharif, Raqia Hassan, Aida Nour, Samasem, Lubna, Hassan Khalil, Gamal & Khaled Seif, Randa Kamel, Yasmina of Cairo, Ozgen and Princess Farhana

  The Fantasia Festival is produced by Josephine Wise, who is one of the founding members of the Middle Eastern Dance community in the UK. The Josephine Wise Academy of Arabic Dance – JWAAD – is the largest school in Britain, and runs teacher training courses as well as classes and workshops for all levels.

• The International Bellydance Congress – also produced by Josephine Wise
  The International Bellydance Congress is held approximately once every two years and is a huge international event for Belly dance.We have had an international lineup of stars each time, including Fifi Abdou, Raqia Hassan, Randa Kamel, Khaled and Shafeek from Egypt, Sahira, Razia, Sadie, Jim Boz, and Fahtiem, from the USA, Beata & Horacio Cifuentes, Leila Haddad, Leyla Jouvana, Anasma and Les Soeurs Tribales from Europe, and many more.

  In 2009 approximately 1,0000 dancers attended and over 3 days enjoyed 75 workshops, 3 shows stuffed full with international stars, the biggest sales bazaar in the UK, a performance platform and the Isis & Cleopatra Award competitions for professional and amateur dancers. The first congress was held in September 2007 and was run by Josephine Wise, Edwin Wood and Irene Wood. The second Congress was held in September 2009 and was run by Josephine Wise, Kay Taylor, Charlotte Desorgher, and Sophie Wise.

  Charlotte Desorgher is a big name in the UK and hosts many famous international artists for workshops and haflas (parties). She is also within travelling distance from London.

You will find that there are loads of dancers in London. We give all our Belly dance friends a big, warm welcome. There are more events here than I have featured, but I am giving you the ones I most recommend. I did write to all the organizers and contacts that I have but not all were able to furnish me with the details that I needed. Mostly, I have used their own words to tell you about themselves and their events. I have been to all the ones that I have listed and I recommend them. If you are coming to London, see here on my website for updated information on London events: http://www.planetegypt.co.uk/events_london.shtml

The following resources are available also:

Magazines

• I am a columnist for the free e-magazine Nafoura, that covers the London Scene and much more.
• Other magazines such as Mosaic, and NADA, also serve the UK community.

Chat Forums

• http://tribes.tribe.net/bellydanceuk UK Belly dance on tribe
• http://tribes.tribe.net/londontribaldance London Tribal

Museums to Visit

• Department of Ancient Egypt and Sudan–
  British Museum, Room 65
• The Petrie Museum of Egyptian Archaeology–
  Has outstanding collections of objects relating to the daily life of the ordinary people of ancient Egypt, and sometimes hosts events.
  www.accessingvirtualegypt.ucl.ac.uk
  www.digitalegypt.ucl.ac.uk
• The British Museum–
  Ancient artifacts and history brought to life in London. Regular events.

Theatres and Concert Venues

• The Barbican-Hosts regular concerts of world music (Gypsy, Arabic and Islamic).
• Royal Festival Hall-Situated on London’s South Bank, hosts world music events including Arab and North African singers and musicians.

Groups/Events/Cultural Places of Interest in London

• Caravansary– Sufi meditation, drumming, poetry readings, and music events.
• Silk Roads– An organization of the best artist amateurs specializing in traditions from the Middle-East and beyond. We offer workshops, performances and entertainment to schools, museums, festivals and private events.
• School of African and Oriental Studies– Free monthly lectures on Middle Eastern culture, –occasionally with music.
• London Middle East Institute– Research into all aspects of the Middle East.
• Islam Expo– Conferences, exhibitions, demonstrations, souk, concerts, films, history, art. The largest Islamic event in Europe. Dance is extremely unlikely to be featured at this event, and please be mindful of Islamic protocols in dress and behaviour.
• DialogueSociety– A London based organization with strong Turkish connections, promoting Muslim culture, love and respect for others. Offers educational talks and programmes, including hosting Whirling Dervishes and Sufi music events.
• Cultural Co-Operation– A London based organization which hosts International festival every year–talks and music–some of which are free.
• The Egyptian Cultural Bureau– Lectures, concerts, exhibitions and other events,as well as Arabic language classes.
  London Tel: 0207 491 7720.
  Email: egypt.culture@btconnect.com

Do be sure to verify the accuracy of this information (which is current as of July 2010). Enjoy London, and come and say “Hi” to me–if you can!