![\"Samia](\"http:\/\/www.gildedserpent.com\/art53\/graphics53\/SamiaNassar\/BWportraitcolorized.jpg\")
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I was born in the mysterious and exotic city of Baghdad, Iraq. Baghdad is divided by two rivers, the Tigris and the Euphrates, and San Francisco, is often called \u201cBaghdad by the Bay\u201d, reminding me of home.\u00a0 I do miss our culture, but now America is my country, and I love it.<\/p>\n
Ra\u2019qisa Arabia:\u00a0(Arabian dancer)<\/p>\n
I\u2019m the only Ra\u2019qisa Arabia from Baghdad; I love the dance passionately. I get so emotionally involved with the music that sometimes, I cry on the stage. One day a fan said to me, \u201cYou must drink a bottle of liquor to dance so intensely.\u201d\u00a0 I laughed and answered, \u201cI don\u2019t like drinking!\u201d<\/p>\n
![\"Sultan](\"http:\/\/www.gildedserpent.com\/art53\/graphics53\/SamiaNassar\/SultanCasbah.jpg\")
I danced in many prestigious clubs in America as well as other ethnic clubs through out the United States and Canada. \u00a0I still have my charts (sheet music) for non-Arab musicians.\u00a0 I enjoyed traveling and dancing for American and Canadian audiences as well. They were very much intrigued by the dance. The only reason I performed the floor act (in which I do the drum solo on my knees and the Sultan act–also known as audience participation) was for American audiences.\u00a0\u00a0 I bring someone from the audience and sit him on\u00a0 a pillow, and I dance for him; after that, we both dance together.\u00a0 It is funny and the audience gets a big kick out of it. Please note: It is not a part of Arabian culture to dance the \u201cfloor act\u201d.<\/p>\n
I danced in the most famous Hotels in New York.\u00a0 I was the first Ra\u2019qisa Arabia to dance in the famous 500 Club in Atlantic City, and The Paddock Club in Yonkers, New York.\u00a0 (They used to book quite a few famous American singers.)\u00a0 I also danced at The Cave, in New Jersey (a well-known club). I enjoyed dancing in all of them, including the prestigious universities.<\/p>\n
Riqsel A\u2019saya:\u00a0(The Cane Dance)<\/p>\n
I enjoy Riqsel A\u2019saya –especially Sa\u2019eede style (Saidi). I like Ahmed Adawia<\/a><\/span>, the Egyptian singing star as well as a few others.\u00a0 I become\u00a0 emotional when I hear Baladi music.\u00a0 I perform Baladi to \u201cSa\u2019la\u2019met\u2019ha Om Hassan\u201d <\/strong>and other few Baladi tunes. When I do Riqsel A\u2019saya I wear a tarboush (fez) and use the A\u2019say (cane).\u00a0 I was the first dancer to perform Riqsel A\u2019saya in America! (That dance is supposed to be performed bare-footed.) I danced bare-footed for a while, but the broken beads from my costumes would find their way into my poor feet and cut me.\u00a0 I\u2019d bleed, and that was no fun for next show, so, I started to wear shoes. <\/p>\n I used to see dancers wearing costumes made of outdated money\/coins. I had never seen that before, and I wondered, \u201cWhy not use real coins or beads?\u201d\u00a0 They used to think that beaded costumes were not authentic. I used to say that it was untrue, and encouraged them to wear beaded customs (and wear shoes also). Also, I have introduced Arabic dancing\u00a0 costumes with sleeves. Here you\u2019ll see my friend, Anzelle,<\/strong> in one of my beaded costumes. She absolutely loved it and has received many compliments. She looked\u00a0quite pretty in it and gave a good performance.<\/p>\n Hollywood:<\/p>\n I had had enough of New York cold weather, so, I headed to Hollywood, California, where I danced in the Egyptian Gardens<\/span> on Sunset Boulevard.\u00a0 I was pleased that we had a big crowd for my opening night, as you can see from the write-up.\u00a0 In the dressing room, while I was trying to change into a dress, a lovely lady came in and introduced herself as \u201cJamila<\/a><\/strong>\u201d.\u00a0 I greeted her, and she paid me a nice compliment:<\/p>\n \u201cWhen I was watching you dance, I thought I was watching an Egyptian movie!\u201d<\/p>\n I thanked her for her compliment. At that time, I did not know that she, too, was a dancer and a teacher because that was my first time meeting her.\u00a0 When I danced at GiGi\u2019s Port Said<\/a><\/strong>, in San Francisco, on my opening night while I was dancing, I noticed Jamila was in the audience again, and I was happy to see her. When a good musician, Yousif<\/a> <\/span>from Baghdad, Iraq asked me to dance at his club, The Bagdad Cabaret<\/a><\/span>, I saw Jamila often, and she was always nice to me. At that time, Mr. Salimpour<\/span> (we always called him Salim) was the drummer; he was a nice gentleman and a good drummer.\u00a0 I liked them both, and I was happy when they got married! (Indirectly, I had something to do with that, I might add.)\u00a0 When I heard we lost Salim,\u00a0 I felt very sad.\u00a0 Salim was a new-comer to the United States, and unfortunately, he didn\u2019t have a chance to start his new life in America.\u00a0\u00a0 Sincerely, I felt awful for Jamila, going through all that sadness at early stage of her marriage to Salim.\u00a0 I danced again in the Baghdad Cabaret when George Elias<\/a> <\/strong>owned it; I\u2019m sorry we lost him too. I truly enjoyed his voice and oud playing.<\/p>\n I Sued the Baghdad Cabaret:<\/p>\n When I first danced at the Baghdad,\u00a0 Yousif never publicized the show;\u00a0 I thought, \u201cHow would our Arab community know that I was there?\u201d\u00a0 So, I sued Yousif.\u00a0 I hired two lawyers, and they had him in their office with me present. They let him know why I was suing him, and he agreed to have my name on the billboard in front of the club. After that, I received a call from Yousif and he asked me if I was coming because he had a big billboard featuring my name on the front of the door.\u00a0 I told him \u201cNo! I\u2019m not coming!\u201d\u00a0 He was disappointed and said that he was sorry that I felt that way. (I know it was wrong of me for not cooling-off.) <\/p>\n \u201cA San Francisco Man\u2019s Search for Bellyancers\u201d (the Press Heading):<\/p>\n That was Yousif Kouyoumjian<\/strong>. One day, he called and said that he had bought a camper. I asked why?\u00a0 \u201cOh,\u201d he said, \u201cAfter a cross-country drive, I\u2019ll head to Spain, Casablanca, Algiers, Tunisia, Libya, Egypt, Sudan and finally, to Addis Adaba, Ethiopia!\u201d (where he said a cousin would have rounded up musicians and a complete dance troupe \u2013 Bellydancers and all \u2013 for a musical feast. I asked if he had gone crazy.\u00a0 \u201cOf course not,\u201d he replied, \u201cand I want you to join me.\u201d\u00a0 I laughed and said, \u201cThank you, Yousif, but no thanks!\u201d\u00a0 Then he asked if I\u2019d do him the favor of putting on my dancing costume and come over, because he was having a newspaper reporter with a press photographer over to interview him and take some pictures. I really didn\u2019t feel like it, so I refused, but he kept insisting, so I gave in and went. When I arrived at the scene, I saw another victim named Shiraz <\/strong>wearing her dancing costume.\u00a0 She was funny and nice as you can see from the picture taken inside of his custom-built camper; where Yousif is sitting between us two, wearing chafiya wa egal<\/em> (Iraqi dialect for describing the kerchief and the head-band) and Yousif holding a nargela<\/em> (water pipe or shisha).\u00a0 Yousif is a lot of fun! Right after all that, he left for Spain \u201calone\u201d he said. Before I left San Francisco; Yousif visited me one day after returning from Spain. We had a good talk while he played my acoustic guitar. I was happy to see him again. \u00a0<\/p>\n Glass-Eating Entertainer:<\/p>\n One night, George hired an American lady entertainer for whom a part of her act was to break glasses on the stage and eat some of them.\u00a0 I couldn\u2019t believe what I was seeing!\u00a0 At the same time, I got worried about all that glass on the stage. I told George that this condition was dangerous for us dancers in case there were some pieces of glass left behind.\u00a0 With his body language, he made me believe that he might not keep her. However, I didn\u2019t want to take any chances, so I walked out on him that night.\u00a0 Much later, one night I went to the Baghdad to hear some Arabic music; George saw me and came and sat next to me with a smile on his face. He said that he was happy to see me and that the audience had been asking for me. So he asked me if I\u2019d consider returning.\u00a0 I said, \u201cOkay, George, but no more glass eaters.\u201d\u00a0 He laughed!<\/p>\n George\u2019s First Album:<\/p>\n I\u2019m glad I encouraged George to record his first album.\u00a0 Aboud Abdel Aal<\/strong> (a fantastic musician) and the rest of the musicians were in San Francisco in concert. I asked Aboud if he and the rest of the group would like to play for George\u2019s album\u00a0 (They had played for Fadil Shahin<\/a>\u2019s<\/strong> first album), so they agreed. I mentioned to George that while Aboud and the group were still in town, he should make his first album with them. He was reluctant at first, but I kept after him until he agreed. I co-engineered George\u2019s first album, for which he never gave me credit.\u00a0 However, it was all right; I didn\u2019t feel his slight was intentional.\u00a0 Besides, I did it because I liked his voice. I could see how happy George was about the idea when he looked through the glass window at the sound engineer and me and smiled.\u00a0 We all had fun with George\u2019s singing and the beautiful sound of music playing!\u00a0 When Fadil heard what I had done, he felt very hurt and believed that I betrayed him. I told him, \u201cOn the contrary, I\u2019d never do that to you; you two have different styles!\u201d After some time passed, he cooled off, and we continued our friendship.<\/p>\n Once, I saw on the Internet, a pregnant woman with a huge, huge stomach like she had eight babies inside, and she was performing. Wow! <\/strong>I couldn\u2019t believe my eyes!\u00a0 I don\u2019t Arabic dancing skirts should not be pushed all the way back. The reason, is that the extra exposure of thigh takes the audience\u2019s attention away from the hips movements, where the authentic image lies, for authentic and traditional Reqsil Arabi. <\/p>\n The Term \u201cBellydance\u201d:<\/p>\n I admit, some of my write-ups mention me as a Bellydancer –without my knowledge. I hate the term! New York theatrical agents gave the dance that name to make it sound exotic.\u00a0 I know you\u2019ll say:\u00a0 \u201cAmericans are familiar with that name!\u201d\u00a0 So what? We should re-condition their minds. Don\u2019t forget; I\u2019m not an enemy!<\/p>\n Reqsil Arabi: <\/p>\n I\u2019m happy to see Reqsil Arabi has fascinated a lot of people, but unfortunately, somehow, it has lost its value, mystery, and its ethnic image.\u00a0 Also, I feel there is confusion between those performing it, and out of that confusion, they have created many new names and presentations for the dance. I wonder if this has something to do with trying very hard to achieve fame and money or just impressing each other. <\/p>\n Use of Reqsil Arabi:<\/p>\n This dance is not an exercise activity; it\u2019s a beautiful dance to watch and perform. Arms and Head:<\/p>\n What\u2019s with the arms stretched out and swinging all over the stage?\u00a0 It does not look as if arms are expressing the accents and emotions of the music.\u00a0 It\u2019s like singing out of tune.\u00a0 The head should not be tilted all the way back; your head and arms have positions to follow, and if you don\u2019t, it creates confusion. Furthermore, the \u201cfull-circle and figure 8 movement\u201d should be executed with ease and not to look strenuous. Don\u2019t let arms push the body; one\u2019s body should be able to perform naturally. I used to get compliments on my \u201cfull-circle and figure 8\u201d. Dancers would say,\u00a0 \u201cWe have never seen those movements before, and you do them so gracefully!\u201d Later on teachers started to add them to their teachings.<\/p>\n Head Bands:<\/p>\n Head bands do not make a dancer look exotic; wearing one only makes her look like she\u2019s ready to go jogging. If a dancer desires to wear something, then it should be on top of her head. That would be authentic-looking and would relate to Reqsil Arabi. Bear in mind that images and the dance have a language of their own!<\/p>\n Sagat (finger cymbals) are not required when dancing in beaded customs to non-Baladi tunes; because they are considered folkloric. Yes, they do sound fascinating; but they restrict the hands and arm movements. This does not mean one cannot play them to non-Baladi music. Dancers play them to give audiences an added sound attraction and excitement.<\/p>\n Teaching:<\/p>\n One day I met an African American lady, and she introduced herself and said, We set an appointment for her to come to my place and she came on time.\u00a0 She was very nervous, but I managed to put her at ease. Then, I said she must forget whatever she had learned; and that was the only way I could teach her the Arabic rhythms. She agreed eagerly; she even took her cassette player to work so she could practice; and when she had awful migraine headaches, she still practiced. I felt bad when I told her that I was moving to Las Vegas, she felt sad and was willing to fly to Las Vegas just to take my classes. Of course, I discouraged that; and told her she had learned a lot, and she could be performing professionally as an Arabic dancer on her own. She was very happy with that, she said: but still –I knew what she was going to say next. I\u2019m very proud of her because she was an excellent student and worked very hard. I enjoyed watching her and seeing how well she learned the Arabic rhythms. I invited her to come and dance in my show at Royal Inn Hotel\/Casino<\/span> where I was performing. She was thrilled and happy about the idea, and I was proud and fascinated by her Arabic performance style. Also, I had her perform in another event where I was appearing in Las Vegas; she just couldn\u2019t believe it. You made it Jinan<\/span>! (I gave her that name.) She said with a smile, \u201cI love it.\u201d<\/p>\n Dancing abroad:<\/p>\n I didn\u2019t dance abroad because of personal reasons, and later on, I shied away from flying. I could have danced in London, Paris, Beirut, and Egypt. I do speak the Egyptian dialect as well. Of course, Iraqi dialect is my own. In part of my show, I speak to my audiences and that would have been of great appeal to Saudis, Kuwaitis, and other Arabs because an Iraqi dialect is similar to theirs.<\/p>\n More Press Clippings <\/p>\n Newspaper clipping announcing opening of the Egytpain Gardens in Hollywood featuring Samie<\/a><\/p>\n Clippinng from school paper-Samia featured at San Fracisco State College<\/a><\/p>\n Hugh Baker column quoting Samia’s opinion on "bessball"<\/a><\/p>\n Newspaper ad promoting Samia at Mel Heimer’s New York<\/a><\/p>\n photos of Samia posting with students at Columbia University in New York<\/a><\/p>\n![\"Anzele](\"http:\/\/www.gildedserpent.com\/art53\/graphics53\/SamiaNassar\/anzelle.jpg\")
Costumes Made of Outdated Coins:<\/p>\n
\nI\u2019ve designed some beautiful, authentic bead-and-coin dancing costumes for a few friends.\u00a0 I\u2019m proud of my designs and work!<\/p>\n![\"Gigi's](\"http:\/\/www.gildedserpent.com\/art53\/graphics53\/SamiaNassar\/Gigispromo.jpg\")
<\/p>\n![\"Yousef](\"http:\/\/www.gildedserpent.com\/art53\/graphics53\/SamiaNassar\/yosefscamper.jpg\")
<\/span><\/p>\n![\"Fadil](\"http:\/\/www.gildedserpent.com\/art53\/graphics53\/SamiaNassar\/SamiaFadil.jpg\")
<\/p>\n![\"Samia](\"http:\/\/www.gildedserpent.com\/art53\/graphics53\/SamiaNassar\/yonkerspromo.jpg\")
Pregnant Dancers:\u00a0<\/p>\n
\nmean pregnant women look bad (because pregnancy is natural), but on-stage as a dancer, you should have some mystery!<\/p>\n![\"Samia](\"http:\/\/www.gildedserpent.com\/art53\/graphics53\/SamiaNassar\/maximVegas.jpg\")
Dancing Skirts:<\/p>\n
\nIf you love the dance, don\u2019t change its image (or kill it). Respect it as much as you respect Ballet.\u00a0 The dance has been good to all of us. No, I\u2019m not angry –just sad about what has happened to my native dance.<\/p>\n![\"press](\"http:\/\/www.gildedserpent.com\/art53\/graphics53\/SamiaNassar\/Sfexaminer.jpg\")
Sagat:<\/p>\n
\n\u201cI caught your show at the Fez Club<\/span>; I was so embarrassed that I hid under the table.\u00a0 I smiled and asked, \u201cWas I that bad?\u201d Oh, no, no! You were that good! I was embarrassed about myself for what I\u2019ve learned. I asked around if you taught, but the answer was no. I wish you did! I\u2019d be interested in taking classes with you.\u00a0 I felt that she wanted badly to learn.\u00a0 I was touched by that, and said, \u201cOK I\u2019ll teach you.\u201d <\/p>\n![\"press](\"http:\/\/www.gildedserpent.com\/art53\/graphics53\/SamiaNassar\/LongIslandpromo.jpg\")
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![\"use](\"http:\/\/www.gildedserpent.com\/graphics\/acommentbox.jpg\")
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