Zeina's surprise

Yesterday’s workshop at the Nile Group festival was Zeina. She is a Swedish dancer who used to work here in Cairo and I love the way she teaches.

Most teachers when giving a choreography workshop will start with the 1^st steps of the routine. Fair enough. What Zeina did though was to start with technique, although she didn’t explain why (which was the best bit for me!). She had us drilling moves and then building those moves up into little 2 and 3 step combinations. She drilled each combination many many times, so that we were doing the moves without thinking before she moved on..  Then she taught us the 1^st few steps of the routine and put the music on to try it.

That is when we got our surprise. We danced those initial steps.... but then the music kept playing and she kept dancing and we were all following easily because all those little combinations, even from within the warm up, were put together to form the choreography! We had learned at least a minute of it without knowing we were!! I loved that!

Those of you who know me well know I hate choreography. I never ever dance it, always choosing to improvise instead. I seldom teach it. I seldom choose to take workshops if they are choreographies. I do however encourage students to learn them since I do see the benefit of them for learning how other people combine steps and also how they hear the music. This workshop for me though was perfect. I loved the technique being so thoroughly rehearsed that by the time we added the music all the mental energy could be involved in enjoying the music fully. I actually felt I was actually dancing a lot of this class... rather than just parroting someone else’s steps.

Thank you Zeina. You may have converted me to choreography workshops. If only they were all taught in the way you did!!

 If you have the chance to attend the Nile group festival (or the dance festival she puts on in Sweden) then I really recommend her class. She may not be Egyptian, but she really can help a dancer understand Egyptian style perhaps more effectively than many local dancers could!

Mercedes and Camelia

Today I was lucky enough to attend two workshops at the Nile Group Festival.

The first was with Mercedes, a very talented dancer from Hungary. She has a dynamic, move packed style and I guessed before going to her workshop that I would probably have a hard time keeping up. I have been a solo dancer and teacher for so many years now, that my skill for following other dancers is not strong anymore. I was right! She is a very good teacher and explained everything incredibly well. Breaking every move down and explaining why it follows the last one and what feeling you are aiming for and everything. She was giving so much information throughout the entire 3 hours that my head was hurting a long time before my body was! I mean that in a positive way! I hate doing choreography workshops normally, but she mentioned lots of ways you could adapt parts of the routine to suit your own style and was encouraging you do so even at the same time as learning it. It meant I could relax and dance the way I wanted to with the moves she was giving me which means that I am much more likely to immediately incorporate some of the stuff from today into my own dance. I would happily attend a lot more workshops with her. I felt she had a lot to give and was generous with it. Also her background in different dance styles means that she has a very good dance vocabulary so makes you think about aspects of the dance in a new way.

Camelia’s workshop needed more energy from me than I was able to give, being  5 minutes after the end of Mercedes one! She was doing a Shaabi choreography which was a song based on a woman teasing a man saying ‘come and get it’, then ‘no, you can’t have it’, but resulting in ‘yes, ok I am yours’. It is always a good idea to check out the lyrics in a shaabi song before you perform to it, was the main lesson reinforced in that class! The truth? I think I am too much of a prude to fully make use of what I learned in that workshop. As it was I was adapting a lot of moves so I didn’t have my crotch so far forward or was gyrating quite so wildly.  It was very much Camelia style. She was teaching the way she would dance. Which is great, it’s just not me! I did like the way she twisted normal oriental dances moves and made them shaabi (took them to street level). That was very useful and I am really glad I took the workshop. She was working really hard to help us understand the true nature of Egyptian shaabi and everyone was exhausted by the end of the 3 hours!

It was a good, useful and fun day. Now I am going out to a best of British Music night as sung by my flatmate, Ellie of London! Talk about a culture contrast! I wonder if any shaabi moves will come out on the dance floor tonight!

‘As Ma Han’, or Asmahan if you are not singing it!!

I was surprised to see in the Nile group festival only 3 classes on the program that were not teaching a choreography. It is always useful to learn someone else’s dance. That way you learn how they hear the music and gives you an idea of how to put steps together in a different way. However, I much prefer classes where you learn technique and information about how to interpret the music so you can make up your own dance.

This is what Asmahan was teaching this morning in her workshop. She gave (in English and Spanish) very clear guidelines on how to do technique and where the moves should come from and also one to one attention to check everyone had it right. She had fun music, blend of Arabic with salsa and with rap and had us do very simple routines to practise the technique she was going over. After all these years I didn’t think I could learn new things about even basics like the hip drop, but I did and feel inspired from it.

Asmahan had such a relaxed gentle, yet commanding attitude while teaching that everyone loved her. She made everyone look at their dancing anew and talked about ‘us’ as bellydancers, what ‘we’ should do and how. It was lovely. Like being part of a team.

Mergance is the entrance piece for a dancer’s show and Asmahan talked about how  this is the only music actually composed for the dancer. She talked about the importance of not dancing everything in 4’s or 8’s rather to mix things up and make surprises for your audience. She had lots of fun, hard, ways to drill moves and i could feel how effective they were even though I had to run out half way through the workshop because I had a lunch sail on the Pharaoh.  I was very sorry to have to leave, but i did feel like I got a lot out of the class. I liked when she talked about attitude when you dance- but mispronounced it’ actitude’. I liked that- the idea of acting your way through it! Also she talked about ‘nefis’ (Arabic for  breath) being when a dancer is comfortable in her own skin and takes time within her dance to take a breath!

So much information generously given (I wish I’d been there for the whole 3 hours!). Well Done Asmahan. A very good teacher!

 (and a lovely person- she went out her way to introduce me to people as a professional dancer here in Cairo, which she didn’t need to mention at all)

Good news for people wanting to see her show is that Asmahan will be back performing on the Nile Maxim for this next month and then again in the summer.

Recovery

Thank god for Adam!

I was dreading my workshops yesterday .. having had my crisis of confidence from the night before... but then I got to the workshops yesterday and a scottish tabla player, Adam, turned up to drum for me and suddenly with the rhythm reawakened all I love in the dance and I taught, if I say so myself, a couple of REALLY good workshops! We took only a few different basic move combos tbut then explored LOTS of different ways to adapt or change emphasis within them to suit different moods or music. I had so much fun and felt really creatively inspired! (my hamstrings were cramping by later on that night though due to some randa moves I had been teaching- must remember to stretch better in London!!!) The feedback was fantastic and the really test for how well it went was that everyone felt the time just rushed past far too quickly!!!

One of the girls who had been in the workshop was performing that night in a restaurant in Glasgow and she sent me a message saying how much her dancing had been inspired by what we had done and that everyone loved her. So happy!

See- I moan about my failures on this blog- but also about the successes too!!!!

Next on the hit list- London- I am SO going to KNOW my music inside out by then!!!!!!!!!!! Can't wait! Really looking forward to teaching too- I forget how much I love it.!!

all about me !

Normally this blog is me writing about my experiences and my thoughts on dance and life in general, but for a change, and because I was so overwhelmed by these responses,I thought I would include all the lovely feedback i got from the dancers in Leeds. To let you all know how wonderful people think I am!!!!

At a time when i am really having a crisis of confidence and questioning what I am doing with my life... these comments brought home to me that i am doing exactly what i should be doing!!!! Thank you girls for your glowing words- i am overwhelmed!!! Oh- and I have added in a few photos taken that weekend by the lovely Sabrina!


“I thought Lorna was a beautiful performer who knew how to get very close to the audience without being threatening. She looked like she was really enjoying herself as we all were. I loved the tartan and homage to Scotland - very funny!
I felt like I learnt a lot in just an hour with her - wish it had been longer! She explained stuff in a really useful way I could get my head around. Can't wait to see her perform again!”
Nicola Brown, Leeds


“I was so nervous when I finally said yes to a private session with Lorna. It was such a good introduction seeing her dance the night before - my fears were calmed - her performance was enchanting, I loved her skill of less quantity but huge quality in each move - such strength and impact - less is more as they say. She also bewitched us with her humour, her lovely sense of fun, beautiful smile and her ability to reach us all through her dance. And those shimmies layered over camels, hits, circles - wow!
I was surprisingly calm for my session - we seemed to be on the same wave length completely which was a great start and I understood exactly what she was getting at - and I hope vice versa. She was uncannily astute in her perception of me as a person and said some very spookily true things about my character which in turn helped me to interpret into my dance! I didn't feel embarrassed or self conscious - she danced very little but talked a lot - I was all over the studio like a woman possessed- I felt liberated and empowered at last with my dancing! No more retiring mouse for me - watch out on that dance floor! Lorna - you are a star!!! Can’t wait to see you at JoY 2009. Thank you”
Jane Coello, Leeds


“Lorna was just WOW had me drooling over those undulations!!”
Nicky Davis, Leeds


“I was given a private lesson with Lorna for my birthday (cool present huh!) after watching her perform the night before I was so excited about my lesson. I was sort of nervous too. Like most people who dance only for fun, I can be a bit self conscious - so I wasn't sure if it would be intimidating, with only two of us in the 'class' there would be no where to hide! I needn't have worried. Lorna is so warm and giving it all seemed totally natural. I wanted help with shimmies and what to do with my arms, as well as tips for feeling less shy dancing in front of others. After one (too short!) hour I felt Lorna had successfully covered all of this and more. I had some top tips and techniques to take away with me, and I honestly feel that my dancing is already the better for it.”
Nicola Wild, Leeds


“Lorna’s performance had me completely transfixed to the point that I found myself open-mouthed on more than one occasion! She was absolutely terrific and mesmerising to watch. I loved every minute of the show and I cannot wait to see her again – what a woman!

With regards to the private lesson I shared with my good friend Ellie, I was delighted that Lorna was able to give us an hour of her time for some very valuable, personal feedback. Everything that Lorna said I have taken on board and will aim to improve upon. I know that I’m not just speaking on behalf of myself when I say this, but Lorna was an inspiration and I hope to one day be half as good as she is.”
Beth Hallam, Leeds


“I really enjoyed watching Lorna perform on Saturday, she's such a great dancer and her personality and feeling for the music shone through her dancing. She is also a supportive and generous teacher and I found my lesson with her very inspirational.”
Helen Rix, Leeds

.............. and there was me worried about how a UK audience,who didn't know me,would respond! aaawwww shuks.

workshops at Nile Group festival.

I only managed to get along to 2 workshops in the festival this time round.. mainly because with performing everynight I was scared to do too much in the day and be too tired to perform!

Hassan Afifi was a lot of fun. He is a lot older- and worn a 'cuban' style flatcap to teach in, and had tons of character. He was always making us laugh and was fairly strict too. He chose a piece of music that was very cheeky, but very long so we rushed through the choreography. I am dreadful at remembering routines and need more time for things to sink in so I can actually DANCE something rather than just run through the moves- so I found that element of it a little stressful. But I enjoyed a lot the way he would use mime with dance to express the words and in a very cheeky way. (like "I asked him to come out with me - but he said no"- was a beckoning finger then a turn around to face the back with a thumping your bum with your fist - as in 'take that'!!!) . I'd definaltly do another of his workshops!

Zahra................ oh Zahra. WOW. I didn't chose this workshop- I went becuase my friend was sick so she could use her place. BUT I am sooo glad I went. It was an Om Kalthoum technique class. Zahra is seemingly originally from Algeria and now lives in Germany. She didnt' teach a choreography (which makes a very VERY refreshing change at these events) it was a watch and copy. Oh if only. She danced to various classics by my favourite Egyptian singer including lissa fakr and ana fintizarack. In the end I just sat and watched- with my face awash with tears. She was doing so little- and yet caputered the music and feel so well. A very emotional experience for me. That class could have gone on all day as far as I was concerned!!! If you ever get the chance to see her perform or attend a class- do it!!!!!!!!!

What a weekend- phew!!!

wow....

its been non stop ever since I arrived in Edinburgh.

I spent all day friday completing the script for Hannah for the show on sunday ( i know i know- my own fault for leaving it so damn late!!!)- then I performed on friday night. That was a tough show- but then it always is- the 1st time with CD again after being too used to having a band backing me up! That and my back having decided it would punish me for making it sit for so long in airports, planes and in front of the comupter!!! grr and ouch!

Saturday morning, I taught a FREE complete beginners workshopat macdonald library- which had about 30 people in it (I have to say there were quite a few who were NOT beginners!) but we had a lot of fun and laughs and it really was a nice vibe. Its amazing how this dance form has the power to really touch women from all walks of life. i love it.

My 'fancy footwork' was sold out on sat afternoon- and the 3 hours of walking and exploring foot patterns and freeing up how we use our feet in bellydance really seemed to appeal to a lot of people. They were dancing some pretty mean drum solo's by the end of it all anyway!!!

Sat night- back in Morocco. The restaurant that is, not the country! Getting a chance to practise my arabic on some Egyptians who came in and also some Syrians. It was a lovely night, very busy with a relaxed amosphere. Alys brought 15 girls in from Perth and they were the best audience a performer could hope for- thanks girls- looking fwd to that masterclass next time!!!!!

Sunday (after another 2 hours finishing planning for the show at night!) i had 2 workshops. I usually dont teach choreography... but i decided to break my rule- and i really enjoyed it. A baladi/table piece that was cheeky and fun. Wish we had had 3 hours for it instead of 2 though.......

The alchemy workshop was the one that surprised me- and the girls in the class too. I was holding back the tears by the end of 2 hours, as were a few girls in the class......... lets just say we spent 2 hours getting in touch with all the different aspects of bellydance including the spiritual side! I dont do 'new agey' type things usually- but this one really worked........ the difference in peoples dancing by the end was phenomenal- iike I said- it produced tears! Thanks for sharing the love girls!!!

In fact- it even helped me at night- i felt much calmer when i performed in the Bellydance Banquet last night that I do normally at these types of events... and i felt really connected with the audience.
I had some wonderful feedback from one dancer who told me she just realised lst night that when she watches me dance, she watches my face more than the moves or rest of me! I was really chuffed with that compliment since thats how i feel when i am watching a dancer i really admire!

So wonderful when i feel i have learned as much from teaching a workshop as my students did from being in it!!!!!

Oh- if anyone is reading this from elsewhere in the UK and are interested- I lan on being home in UK for the whole of September (for Ramadan, when all Bellydancing is Banned in Cairo because it is considered to be 'Haram' ie forbidden by Allah) so if you are interested in hosting workshops in your area on the topics i mentioned above, or any others... then please feel free to contact me asap since I'd love to dance and teach in new places too!

anyway- back to work now after all the excitement of last night- I have a week full of private classes... its nice getting the time to catch up one to one with some lovely dancers....

looking forward to the workshops in Dundee and Glasgow this weekend too!

Overall impressions of the Nile Group Festival, Nov 07.

I really am glad I went. I wish I hadn't missed the opening show (only found out that same day it had started!) and I wish I had been able to attend more of the workshops but since I was performing each night as well it just wasn't possible at all. The Saturday esp was a killer for me- 5 hours of workshops and then 2 sails at night (ie 4 shows). Wow. It really was no surprise that by the time Sunday night came I fell on the dancefloor cos my legs just gave up on me- they called a strike!

I personally enjoyed the social side of it. Unfortunately since I had to work each night I couldn't go to the party nights they put on, but in between workshops etc it was nice to see faces from previous festivals and chat with other dancers from all over. One girl, Katia, an events organiser from Moscow, even said you look familiar- and where was I from, I said Scotland- and she said 'oh YOUR Lorna- I read your blog all the time and have even translated some of it to add into my blog in Russia!' It was so lovely for me to find that these hours of sitting at the computer alone in Cairo actually bring dancers from all over the world together!!!!

The Pyramisa is the perfect location for it- nice and central so people are not stuck in the hotel in times they don’t want to do workshops etc and small enough to feel comfortable in it. There was a large bazaar, selling costumes, and Aida had a very large selection of nice ones for sale.

The whole team were on hand near the registration desk almost all the time, if you had questions or problems.. and there were forever wee surprises- like a tannoura waiting outside the room when Mahmoud Reda's class finished to entertain the girls as they came out of the workshop. Just little things like that made it a lovely vibe and I recommend it to anyone, whatever their dance level.

A great experience!

Workshop with Aida Nour . 25/11/07

Aida's workshop was on the last morning of the festival. I arrived slightly late- so if she explained any of the info about the fellahi dance she was going to teach I unfortunately missed it. The dance was simple enough… the type of simple that after a short while you stop thinking about what comes next because it seems to easy and therefore you make mistakes (well that’s what was happing to me- but perhaps that has more to do with the fact that the fact started at 10am- ungodly hour that!)

She taught in a strange manner- which worked. She taught us one combo which we did for the entire song. Then another combo which slotted in at the choruses and so on… with the ending and the intro being added on last. A different approach from starting at the beginning and working though which on the up side meant you could dance the entire song each time- rather than just the 1st 20 seconds over and over and then the 1st 40 seconds etc etc. But It confused me slightly and I know, since I stupidly forgot my camcorder that there would be no way I could reproduce that dance- simple and lovely as it was!

The Fellahi are the peasants, farmers from the delta region in Egypt. For the dance you wear a large, very flarey, multi coloured (usually with bold huge flowers in the print) galabeya's and the pom pom style head dress one usually associates with melaya dance. As it is a folklorique dance it doesn't have a great deal of complicated moves and involves a lot of skirt swishing. Very pretty.

Aida also did another dance with us- more her usual style- shaabi music and strong, uncompromising movements, mixing grace and elegance with earthy rawness. Fabulous- loved it!

Workshop with Nour. 24/11/07

Wow but this woman makes you work!

Elegant, stylish, fun and cheeky. Loved it. There was one part in the choreography though which was soooo fast and hard I would dread it coming. She had us doing chonks moving to the side- fine, but bobbing on every 4th one, fine, but super fast- saab gidden (very hard!!!!) I thought I was reasonable fit until that move! The only problem was I had forgotten how much she loves arabesques and should have taken shoes with me because doing them over and over in bare feet, on the carpet did go for my knees! What I like about her teaching style is that she leaves you in no doubt what you should be doing- you might not be able to do it, but you know exactly where your weight should be, whether your toes should be flat, demi point , where your arms should be etc etc – everything. Very clear teacher. Her's was the only DVD of the week that I bought, and one I felt I would have to do a lot of work on before I even thought about going to her for a private class! Again- a few of her arm movements in particular have found there way into my own show… so success again!

Workshop with Olfat Hassan. 24/11/07

Me and morning workshops……. Hmmmmmm. 20 mins late for this one. But I rushed in and caught up and was really proud and scared when Olfat pulled me through to the front of the class after 10 minutes to demonstrate!!! I guess it was because I loved the music but I really enjoyed putting lots of feeling and attitude in to the dance and I guessed that’s why she picked on me. The when she found I could speak Arabic – that was it. All classes supposedly directed to the entire class were said to me. I got embarrassed and tried to hide off to one side. She even gave a prize to the 2 best dancers in the class- me and another girl. As much as I didn't approve of this method of teaching- I did really enjoy both the choreographies with her and the 1st which was an eskandarani piece of music would have been wonderful for a private class- so I think I will go get some lessons with her. She was a dancer for the Reda troupe and has performed and worked all over the world. I liked how she gave space in the dance for you to show emotion and she encouraged that. I felt sorry for her cos the air con wasn't working, then was too string etc etc then the music would work, then it wouldn't. She lost a lot of people from the class simply die to technical hitches.

Workshop with Zeina. 23/11/07

I loved the last workshops I had done with Zeina so was excited about this workshop. I wasn't disappointed.

Her teaching skills really so far have been second to none I have found. I just love the way she teaches nothing but combos, without asking you to memorise them, but over and over, so when they 'appear' in the choreography they feel so natural as though you would have danced that move in that way even if she hadn't taught it. She taught a baladi oriental routine… i.e. baladi music and dance designer for a solo stage performer. I didn't much like the idea of doing a choreography to a style of music I feel should always be improvised- but it worked… and since then I have already added bits and ideas from her routine into my own show, which I guess is the sign of a successful workshop!

Workshop with Ahmet Refaat. 22/11/07

This workshop just intrigued me. I had no idea who the teacher was, turns out he has been a celebrated folklorique dancer all over the world and most recently performed with the Reda troupe. Anyway- I was taken with the idea of 2 hour workshop which would cover 3 different styles, saaidi with cane, Eskandarani with melaya laf and Bambuti with spoons. It was as fast paced and frantic as I thought it might be!!!! 3 hours were defiantly needed to give each style the time they deserved. Ahmet is a fabulous choreographer and I loved the routines he did in each of the styles…. But I felt I had time to grasp the steps only and not enough time to get into the feel of each one. The stick dance was great, lots of nice touches, turns, ideas and very fast! Very balletic, and elegant although without much heavy earthy stuff. But lots of usable ideas! A dance I really wish I had videoed! The melaya (my favourite of the 3) was very swooshy- and oh my god did my arms and shoulders ache by the end with all the throwing the melaya up onto my arms then spreading it out again………. Ouch! Not much wrapping yourself up in the melaya – more using it a bit more like a veil- but some lovely turns. Bambuti I knew NOTHING about before the workshop and I would have loved a bit of a story behind it all… but basically we had spoons where the handles where joined together to they looked a bit like castanets, which you had to tap out the rhythms by hitting various parts of your anatomy in time with the music. The music was great- often with empty pauses in it to give the dancer time to fill the gap with the spoon sound, and it all reminded me a bit of Morris dancing to be honest.


Since then I have done a little research on the Bambuti and found that they are the most famous type of Pygmies and come from the ituri forest in Africa. According to the Encyclopedia Britannia ' Their music, complex in rhythm and harmony, is often accompanied by dance or mime'

The knowledge about the existence of the Pygmies dates back to 2150 B.C. They were present in the court of the Egyptian King Pepi II Neferkare and were depicted on Egyptian pottery. The Bambuti were used as the court jesters and entertainers in pharonic times. Hence an entertaining dance form evolved which involves spoons and fun and acrobatics and clowning around.

In Egyptian culture now, people see Bambuti as the fishermen from the Delta region in the north of Egypt.

When I did a search on 'spoon dance' I came up with this! 'There are representations (in Ancient Greek texts) of men and women dancing with spoon-like objects. These objects and the way the dancers hold them remind very much of the spoons, in the spoon dance people from the area of Capadoccia (Asia Minor) still do today. Also Spoons are used as rhythm instruments in Turkey and Greece and there are several versions of spoon dances there.

So it seems.... although I am open to learning more should anyone out there know more! I am only guessing since I can't seem to find the information anywhere......, that

The Egyptian Bambuti Spoon dance is a mongrel- a mix of all these difference influences over the centuries. A fun dance, reminisce of the old pygmy court jesters, done by fishermen from the Delta who had been influenced by the culture of spoon music and dance from Greece and Turkey and of course represented and brought to the modern stage by folklorique troupes such as the Reda troupe.

still hectic!!!!

This week I have had workshops with Ahmed Refaat, Zeina, Olfat Hassan, Nour and Aida Nour.

Tonight, after work, I went to the closing ceremony of the Nile Group festval where Liza, Hanadi and Fatima performed.

Tomorrow I am performing lunch and evening sails- which means no time to write up anything now- so you'll just have to watch this space for a couple of days if you want to read my critique of all that has been going on! Unfortunalty I forgot to take my camera to any of the events- so I'll just have to describe things to you!!!

Oh- and tonight, on stage at work , I landed on my backside. mid song, no reason I could see, my legs just gave out under me and I was on the ground. How embarrasing!!!! sitting , on my bum, on the middle of my dance floor! At first I thought it was just my pride that was injured, but by the time I made it to the changing room I was in serious pain in my back. My band knew something was up when i refused to do a drum solo and hurried them up to finish for me (usually I am the one complaining if there isn't enough time to fit in the solo!!!) Yet another benefit of having a live band than a CD!!! Lets hope the ibuprofen kicks in before tomorrow lunch sail! Seemingly the tannoura (whirling dervish) fell tonight too- so maybe something was up with the stage or something- thats not a usual occurance!!!

I mentioned to a friend tonight at the festival what had happened and she said she could top that. She had fallen on stage- well, slipped actually, and landed in the middle of a drum kit, which crashed about her ears- talk about going out with a bang! She made me feel better!

Ah well- at least I didn't have the costume mishaps that Hanadi and Fatima had tonight.................... you'll have to wait to hear more!!!!!!!

My teacher

Sara Farouk.

I have had many teachers in the years I have been dancing. Most of the technique I have has been inspired from lessons with Raqia, Rhanda, Dina, and other notable and famous teachers and dancers.

However- Sara is the one I come back to over and over again. She is fabulous at helping me get into the heads of my Egyptian audiences, and really understand what the songs and music are about. As a professional actress she has a huge wealth of ideas and advice about performance skills, how to manage your audience- how to put suspense and flavour into your performance. She is able to explain everything in a very clear, straight manner.

When I organise holidays to Cairo I usually get Sara to teach a workshop with my 'girls' and every time she has evoked an emotional response.... usually ' ahhhhhhhh- NOW i understand what its all about!'. Dance is about feeling and Sara is the best teacher I have found who can explain how to best demonstrate this 'feeling' in my dance.

So why all this building up of her? partly as a 'thank you' to her from me- she has been my major support and guidence here in Cairo. Personally I would love to keep her to myself.... of course... but I feel her talents should be more widely recognised. She lives in Cairo, but she does occasionally visit UK to do workshops..... in fact If you are going to Raqs Britannia in June this year she will be teaching there too...... I recommend you go to her workshop if you are going to be there!!!!!!!!!

Workshops I attended at the Nile Group Festival!

well- I went to lots of workshops this week- and am feeling all refreshed and inspired by it all... heres a wee summary of who's who and how they were (in order of when i took the class during the week)


Mona Mustafa (who used to dance in the Reda troupe) taught us a lovely Melaya choreography. It was a very small class which was wonderful, although despite that we all still seemed to hit each other with our melayas! A fun 'wrap the melaya round your hips' move that was new to me…. Very enjoyable in all. Just wish I had taken my video camera with me since she (in fact all the teachers this week) have been totally fine with us recording the choreography at the end of the class!


Nesma Oriental dance. She is from Spain, but danced here in Egypt for about 5 years. It shows; fantastic elegance and grace… with depth of feeling and fun you only see in dancer who has spent a long time in Egypt! If she lived in Cairo I would take lessons- for sure! She reminded me a lot of Nour (the Russian dancer who is popular at weddings here- although is not at this years festival since she was pregnant at the last one!) I liked the way she taught- giving us the choreography but encouraging us to adapt it to suit our own styles and giving us ways we could do our own thing within it. She had the teaching skills of a European and a very strong ballet influenced style with the understanding of what is needed for the Egyptian stage; A lovely combination. She was also able to explain the difference between what makes a move 'oriental' or 'folklorique' and show how one move could be done in a variety of ways. I bought both her cds too- and I recommend them (www.nesma.es)


Hassan Khalil Modern oriental. He is 70… and choreographed for the likes of Naima Akef. Lovely fun, simple routine- but what stood out most was his fun charater and positive mental attitude to the dance. Very empowering- every one of us left his class feeling better about ourselves! He is only part based in Cairo- but when he is next in town I'll be hoping for some lessons. He is usually in Belgium and has teaching programs there and all sort of things…( http://www.hassan-khalil.org/ ) He thought I was Russian by the way I used my arms- I took it as a complement since all the Russian girls in the class were ballet trained and very graceful!!!

He had a lovely theory about why although men can make good teachers and choreographers, the best dancers are women- Because the feel for this dance comes from deep inside a woman- from her womb- and that creates an essential difference – men and men – but women are 'womben' !!!


Neveen Ramez Oriental. I didn't have a clue who she was before I went to this class… and in the beginning I worried I had chosen the wrong one as she mixed up her rights and lefts a bit- however- it transformed into one of the best workshops ever- REALLY enjoyed her energy and musical interpretation (even though I would probably have added a fair bit to it if I was performing it to make it more oriental and less folklorique) but the idea for patterns and feel were very useful and enjoyable. She turned out to be a very strict teacher (in a good way!). Mind you – she was the trainer for the Reda troup for 30 years and was its manager too- so she knows her stuff!


Dandash Oriental technique. Wow. Raw powerful, cheeky, mischevious sexy fun dancer. Truly inspiring. When I grow up I want to be like her!!!! Dandash starts as she does with every workshop with a choreography- but soon starts changing and adapting it- and in the end (well- by a third of the way through) we are watching and copying rather than doing choreography. Much better. At one point she started a number with such power and passion that everyone knew instantly that we just couldn't keep up- so we all sat down and watched her perform for us instead! Wonderful. My favourite 3 hours of the festival!


Lubna Emam Oriental routine by another of reda troups dancers turned teachers. I have already written in the blog about the wonderful saadi workshop I did with her last time. This one was fantastic too- fun and punchy and a very complex routine to get through in the allotted time. A talented teacher. So many people I want to try and arrange private classes with- and she is def. one of them. It was such a shame her trip to Edinburgh had to be cancelled- people do not know what they are missing- she wouldn have been worth every penny and more. Ah well.


Sameh el Dessouki Modern Oriental. Sameh was a folklorique dancer in Cairo for many years before moving to live and teach in Moscow. His style is very modern- using contempary dance steps to 'jazz up' oriental choreography. I really enjoyed the choreography (to a Nancy Agram number) and got lost in it a few times (as in really felt I could dance to the music and do someone elses choregraphy- something which Never happens to me since I usually improvise!!!) Good bits of basic technique revised and drilled. Very enjoyable.


Unfortuantly many of the other workshops I would have liked to attend were fully booked even though I arrived early on first day of registation- so best to book online if you intend to come next time (June!) I would have loved Aida Nour, Lizza, Zeina and Hassan Khalil's 2 veil workshops as well but couldn't get in. Ah well, saved me some money this time round I guess!

Rhanda Kamel workshop

Wow… you know- there are some things you do and really regret- then there are those where you know your life would never have been the same if you hadn't. At the risk of hero worship I would say Rhanda Kamel's workshop this afternoon feel into the second category!! She is the true queen of Egyptian dance. Such poise, power, control and life, And all in a beautiful and fun form. WOW again!

She did bits of technique with us… and did part of a choreography.. but she place more emphasis on the 'feel' of the music than the steps- which was a lovely refreshing change, although that’s not to suggest that she doesn't wan the technique itself to be just so! I liked the way when she taught that she didn't rush from move to move but did it over and over- first with her- but then many times with her watching us- so she could correct mistakes. Her Body does it so much more efficiently and proficiently than mine, but I love her dance and classes because I feel she often interprets and feels the music in a way I can relate to. Maybe because I have thought for 9 years now that she is the best in Cairo- so I guess If I was modeling myself on anyone it would be her. Not that you should try and be someone else when you dance, that’s not what I mean- but Rhanda defiantly inspires me! Really chuffed too- I got 3 ''Really good... Excellent'' s from her! I know that says a lot more for her teaching skill than it neccesarily does about my dancing but still- I'm easy pleased me!!! Favourite piece of technique from today… chonk LRL then chest shimmy (not shoulder shimmy!!) with R knee up and R foot up at L knee. Elegant and cheeky at the same time. But that was just one thing- I loved it all!

I wish I could have attended this whole course (Raqia Hassan's professional course for teachers at Intercontinental Hotel at Pyramid Park) because it is lovely to be taught at such a standard by such good teachers and in such a small class! You could see the teacher easily and she was able to give individual feedback to us all. Fantastic. To any teachers out there- I recommend it! (Only thing stopping me doing the whole thing is the fact I don't have an income at the moment!!!) I am planning on going to Suraya's workshop on Tuesday- so I'll let you know how that goes!

Aida Nour- workshop

It is just so difficult for my body to come to terms with dancing at 10am…… totally unnatural!!! That’s when Aida's workshop was on Sunday. I was really looking forward to it- 3hrs of her fun style of teaching with melaya. She is a strange dancer to describe. When she floats- she really does… but when she does earthy it is more funky than grounded. Often she puts in moves that I know she can get away with in her dance- e.g. pelvic thrusts with knees bent and legs wide…. But I know if I was to put it into a dance people would say it looked vulgar, whereas she just looks like she I having fun! Maybe that one of the benefits of age! Anyway- she started us off (after a beautiful floaty warm up with stretching balletic arms) into the melaya routine… which wasn't obvious- but definite achievable. I felt I was enjoying and getting it….. but then she watched us all (about 60 in the room) doing it and she told the guy on the music- 'mish mumkin' and 'wahish' – i.e. not possible and bad!!!! So she changed the routine. I was really disappointed cos I had really liked what we were doing and the music, but I guess there was probably only about 10 of us in the class who actually got it- so she changed the level of the workshop to suit the majority of the class- which is exactly what you should do I guess as a teacher- but I felt like she had slapped us all!! Ok- so it wasn't meant personally- but I took it that way and went into a bad mood for the rest of the workshop! Esp. since she did a routine which I had done with her both in the June festival and last year in a private class. GRRR. She did one melaya routine, then quickly danced though a couple of times 2 other dances- including one haggela one- with had a lot of head slapping- don’t ask, and lots of circles with shimmys.

Everyone I spoke to enjoyed it………….. so it was Just me….. For lots of reasons- too tired, and disappointed we as a class weren't deemed worthy of her new routine, and frustrated at doing something I'd done before. Maybe understanding Arabic is going to lead to more frustrations than if I didn't?!!! If I hadn't understood her judgment of us all then maybe I could have believed that she had just forgotten which routine she was supposed to be doing or something. Ah well- glad I went……… I enjoyed the first half hour of it at least!

Workshop review- Zeina

Zeina is from Sweden, married to an Egyptian (one of the organizers of the Nile Group festival) and used to perform here in Cairo, although she told us in the workshop today that she hasn’t performed since '95. There is seemingly a very strong and talented dance following in Sweden- and I can imagine if they have had this woman's guidance over the last ten years at least then that's part of the reason.

I have to say I was dubious at first….. She went over some of the drum rhythms, but the drummer kept interrupting and correcting occasionally…….. and people couldn't hear at the back (well – I couldn't) so although a lot of people seemed to learn a lot from that section- I actually felt confused after where I had felt fine before hand!

However- then the dancing started…… she started with a few different combo- mostly with shimmy's - to a couple of rhythms…. Then a few moving around the room combos…. You felt that these were really nice pieces of dance that were useable to a variety of different styles of music and nice to adapt into your own style of dance. Then she said lets start the choreography- and low and behold she had taught us a large section of the start of the dance- it was a lovely feeling- to be almost dancing to the music from the first listen as we had drilled the combos so well that we only had to concentrate on connecting them- oh except for arms. Zeina has lovely graceful arm movements- I felt like an awkward baby foal trying to copy- as though my limbs were just too long and not within my control!!! It was a lovely dance and we finished it in perfect time in the workshop. I really felt I could dance at least parts of the routine, and focus on putting feeling and emotion into it rather than worrying what steps came next. It wasn't an exceptionally easy routine either- just the organized manner of teaching it really helped it stick in my mind far more than is usual with other people's choreographies!

I had been toying with going to Dandash's workshop instead of Zeina… but I made the right choice… especially since Dandash failed to show up and her workshop had to be covered by another teacher at the last moment! When it comes to energy and feel and fun- Dandash has it- but as for teaching skills- Zeina any day!

More workshop reviews- Lubna and Nour

Yesterday was a wonderful day. 2 fantastic workshops;

Lubna- Egyptian dancer- not so young… was a bit concerned when I saw the white catsuit with black, thigh high, leg warmers………… But… When it comes to Saaidi this woman really knows what she is doing!!
In 3 hours she took us through a lovely wee choreography for stick- not that we could use stick in the class 'cos there were too many people in it to do that without injuries!!! However- when she demonstrated with the stick you just wouldn't mess with her- if you know what I mean! A powerful lady. But as a teacher- very friendly and warm and humourous, with a structured teaching style and only one break in 3 hours!! Reda style- but with more attitude. For that grounded earthy feeling you need for a good saaidi dance - I have not seen many better. Am hoping to arrange private classes with her over the next week or two. The steps she taught were not complex, but lovely little combos with fantastic feel. Nice. Felt but the end that I had got it enough step wise but that I could spend the rest of my life aiming for that feel!!! She looked like she may well have been born twirling a stick!!!

Nour- Russian who has lived and performed in Egypt for many years now and has such a good reputation here that she doesn't perform in any hotel in town- she gets enough work from weddings alone! At 4 months pregnant she was striking. If that was her feeling a bit ill (she was a little late for class 'cos she had morning sickness) I really don't think I could keep up with her on full strength! The choreography she did with us was very oriental in style and full of good balance and grace and tight controlled pelvic drops, lifts shimmys etc etc… well, it was when she danced it anyway. Again not many new moves as such- but lovely little variations of moves and step patterns in very varied combinations (e.g. very fast chonks on top of a H8 which was changing height all the time- sorry I know these bits will only make sense to dancers who know my names for moves!!!) which means that it was often difficult to predict what was coming next- lots of surprises for the audience. Very skilled. A true professional. She had a clear and logical teaching style and lovely interesting foot patterns- very balletic in her strength and control, and spins. Another one I want lessons from! Especially if she can get my arms even half as graceful as hers are. I sat out part of her class 'cos I was tired- she didn’t rest once- amazing! Then when I was really ready for the end of the class- she did another half hour of khaleegy- wow. I have seen many people do it- but none who have turned it into a sensual performance art! Usually it all the usual khaleegy moves… but they seem to link to the 1234 of the music- when she danced it there were lots of stops within the music and pauses and small sexy shoulder rolls etc I have never wanted to watch anyone perform khaleegy as much- usually it’s the type of dance that’s far more fun to do than watch…. She did the usual hair spins and also what I will forever know as the 'Bortucali' dance- i.e. an Iraqi move a group of us did one year for a show and hafla… with saaidi jump fwd and back- but Nour did it flinging hair fwd then back on every step- and not just once or twice but enough to make you feel- 'how the heck can she do that and not fall over'!

So – both these dancers inspired me but in different ways. Nour for the control and balance and energy, and Lubna for grounding and power. So glad I went to these!