By MeMBers for MeMBers for lovers of , North African and Tribal everywhere Contents…

Page 1 Editor’s Letter by Liz Newman Letter from the Chair by Rosemary Le Fevre Page 2 Twenty Five Years of Dance: Katie Holland talks to Editor, Liz Newman Page 6 Is This Your First Time Teaching Online? MADN update Twenty Five Years of Dance – see pages 2–5 Page 7 Membership Form and GDPR Permissions and Hannah’s Events: Review of Sharing Information Page 16 Workshops with Galit Mersand Page 8 Tenth Anniversary in Torquay and Casbah Cafe Showcase by Jan Piggott Algerian Dance Workshops Page 10 Whirling Queens: Neo(n) with Leyla Hayat and DEADLINE Dervish and the Mash-up Casbah Cafe Christmas FOR NEXT Chapter or profound, reflective Afternoon Hafla Review ISSUE: trance-dance? A New Year and a New JULY by Eva Forrai: Slow Tornado Home for Casbah Cafe Page 12 An exploration of the Basis of by Hannah Newton 1st 2020 with an Page 21 Considering Catering for introduction to Classical Music Your Hafla or Event? and the Muwashaha to expand MADN update a dancer’s knowledge by Maureen Pemberton Page 22 The Importance of Defining Your Dance: Part 4 Page 15 Insurance Form by Ne-Kajira Page 15 Poem: Elemental Page 25 Events Dance/Muscle Memory by Francesca Page 26 and the Danu Rhythm of Life by Rosemary Le Fevre

Page 28 Teacher’s Listing is the official magazine of Mosaic Arabic Dance Network (MADN). MADN was founded in 1993. Articles and reviews express the opinions of the author and are not necessarily those of the MADN committee. All submissions are subject to editing and editorial comment. Views Liz Newman: expressed do not constitute legal [email protected] advice or opinion. All contributors All advertising queries to Liz Newman: should ensure that their [email protected] submissions are not libelous or Please note all rates can be found on the website: infringe copyright. Articles are www.mosaicdancenetwork.org/magazine copyright of their authors. Membership Enquiries – Fiona Sperryn: Advertisements do not imply [email protected] recommendation by the MADN committee. Terms and conditions Insurance Matters! – Rosemary Le Fevre: apply to all submissions. [email protected] Rosemary Le Fevre: [email protected] Front cover photo of Katie: VG Photography

Design: [email protected] Algerian Dance Workshops with Leyla – see page 18 Print: www.rtw-printers.co.uk/ Photo: Peter Chaplin

ISSUE 77 Ed’s Letter

Hello everyone… Karen Photo: Ralph “Life, but not as we know it, Jim.” I may be mis-quoting Star Trek here, yet this is a time of tremendous upheaval for us all. Suddenly we are facing rapid change and hitherto unknown restrictions on our personal liberty. Shocking though this may be, it is necessary worldwide in response to a threat that exceeds man-made dangers. It’s putting our lives into perspective: what is important, what there is to strive for or avoid, desire or resist, personal vs communal, all thrown together. So, we do the best we can, maintaining a positive Letter from the Chair constructive outlook, rather than buying into mass conscious fear and panic. For every act of greed and hoarding, there are Dear dancers, great outpourings of help and support. This is a challenging time worldwide and those affected by Earth’s air and waters are clearing. This coronavirus are in our thoughts. Take good care and hold the shared experience is a great equaliser. It’s planet in love and light as we deal with the challenges ahead. brilliant that so many dance teachers and groups are still gathering via the We are planning to have our AGM online this year on internet to keep spirits up. Carpe diem May 20th. and dance! Please let me know if you wish to attend so we can ensure we take up enough coverage for everyone. Thank you all who have contributed to this issue of Mosaic Insurance and membership renewal are now at the same time magazine. I always need a good mix for May, please send your forms, including the GDPR form, of articles to keep our readers preferably online to [email protected] engaged and stimulated. So please when you sign up for membership and/or insurance, so we do send things to me … in good time, can update the Teachers Listing in the magazine and online. I ask again! Our insurance plan DOES cover you for teaching online. [email protected] If you are unable to teach in person, please consider teaching See the box below for guidelines on safely online. We would love to hear how this has worked for copyright, format and picture you for our next issue. resolution. Please send articles for the next issue. If you have some spare time we always need content for Look after yourself well Mosaic. We rely on your content to fill the magazine. The and be of good cheer sooner the better : ) Liz x [email protected] Take every opportunity to try something new.

Go well and happy dancing, Rosie MADN Article guidelines [email protected] ONLINE 1 Please use Word docs for your articles. Pdfs can prove tricky to open AGM and edit. Cutting and pasting of text from emails, FB and Messenger 20TH MAY is NO-GO!' 2020 2 Please send your original images separately if possible, not pasted into your text file. Indicate in the text where the images should be. 3 If the resolution of an image is too low, this results in a ‘pixilated’ look. In order for your images to look really great when they’re printed, here’s a rough guide for the best results: D 250kb–500kb might be usable if printed fairly small MADN Membership D 500kb–1mb is usable, though 1–6mb (or bigger) is perfect Generally, those taken on a phone at its highest quality setting are OK. & Insurance So… the bigger the file, the better. Please don’t take images from DON’T FORGET TO RENEW YOUR websites if possible, they’re generally too small and you could run MEMBERSHIP AND INSURANCE BY in to copyright issues. MAY 1ST 2020! 4 Mosaic magazine assumes that you will have checked regarding MADN membership brings you copyright of any images (apart from your own, of course) used a fab deal on insurance!! within your article. You need to have gained permission from the See pages 7 and 16 for details. owner of the images before you use them. Mosaic will take no responsibility for any copyright infringement!

ISSUE 77 1 Twenty Five Years of Dance: Katie Holland talks to Editor, Liz Newman

Q How and when did you first start she was sixty-three. Somehow, watching dancing Egyptian and related styles? her dance I had the realisation that this What drew you to the dance? Had was something I could do throughout my you experience in other styles whole life no matter what. before? My first experiences were from the age of Q Did any teachers influence three for ten years in , tap and you particularly? modern . I was interested from a All my teachers have had a huge young age in ancient and what the influence on me. I chose who I studied hand positions signified in the with very carefully. Sylvia, Maggie Caffrey, hieroglyphs. I also loved films like Anji Jackson-Main (Hilal School) and Leila Romancing the Stone, the beginning Haddad had immense influence in my credits of James Bond and Tales of the first five years of studies. Starting the Unexpected with the snake-armed dance so young meant that different dancing women. I first saw a belly dancer teachers appeared at certain points in my in the U2 video Mysterious Ways when I life as I was maturing, growing and was fourteen and knew immediately that evolving. I feel this gave me a very special was what I wanted to do. I searched for a with each year to find a teacher, in the meantime of them as they also telling my careers advisor at school that I steered me in all wanted to be a belly dancer. She helped aspects of life, often steered me in my search and eventually I found because they were “me in all Sylvia Canetti (one of the original much older than the aspects of founders of MADN) who became my first teenage me and I was teacher when I was fifteen. At that time, very lucky to glean life… Dancing , aged 18 from their lived ” experiences as well as the dance. One next three years I gathered my confidence person who showed me how to dance the performing at haflas solo and duet, in ‘heart-body’ connection was Hossam theatre performances with Anji Jackson- Ramzy. Main and with a ME fusion band. This led I recently spent a month living and to teaching and performing at belly studying with my shamanic dance dance events and festivals across the UK teacher in . We were able literally to and beyond. live, eat and breathe the processes in what felt like a very ancient way of Q When and where did you start sharing. This, to me is the real study teaching? and the true communing form of embodying dance. I began assisting Sylvia with her weekly Katie and her sister, Faith classes when I was eighteen. She was the voice and I was the body. I had to make Q When and where did you start sure that I physically presented exactly performing: solo and group? what she was describing. I also My first dance performances were in collaborated with a friend with whom I ballet, tap and at the age of four. We performed in the ME fusion band. We had an annual stage show to impress our taught workshops for cultural events, parents and present what we had spent refugee and women’s groups in the the last year of Saturday mornings Midlands. learning while they had a lie-in. I also In 2000 I was twenty-one, my son was performed in various talent contests at born and I moved to Worthing, Sussex. school and on holidays. My sister, Faith, As I started to get to know people they and I subjected our family and friends to began to ask me to teach belly dance endless home-made dance performances. classes. There was a huge gap in belly Katie and Faith now! My first Egyptian dance performance was dance teachers and events along the aged seventeen with Sylvia. During the south coast at that time and it made me

2 ISSUE 80 deeply spiritual and require total mentors and a mutual devotion commitment. If you find the true teachers, developed as this was about an exchange they will not give this information away to of energy not just dance technique. just anyone, no matter what money you I learnt a huge amount about discipline, offer to pay them! It took me around two cultural respect, dance embodiment, years of searching to find each of my gauging a student’s progress teachers and each one was well worth energetically and how to learn something the wait. so strictly and intrinsically that you know My experiences into being accepted by exactly how to break the rules for creating my dance teachers in India your own fusion dances. (Bharatanatyam, Osho, and Gurdjieff dances), Nepal (Tantric Vajra Q How did you begin performing in Yogini dance) and Bali (Balinese dance) India and who was it for? were pretty similar. My Indian performance story began like For a start they do not want to waste their something from a romantic Bollywood time on a student who won’t respect the film. I had been in India for six weeks dance and lineage, or put the effort into when one sunset I was dancing (in normal practising. You have to prove this to clothes and no make-up) with some local them. So a test begins… you arrange a drummers on the beach in Goa to meeting to discuss your studies. You promote my classes. A man who said he realise how blessed I had been living in arrive, they don’t show up. You wait two had been watching me whilst drinking a Leicester with all the amazing teachers or three hours. You call them. They tell beer at a nearby beach shack approached who were hosted in Hinckley in the ‘90s! I you they can’t meet today; can you be me. He asked if I would perform at a decided to take a leap and begin my own there tomorrow at 8am (even though it wedding on his boat that weekend. I said: weekly classes. I was so excited when ten probably is the most difficult time to “Yes” not having any idea what life was people showed up to the first class! Over travel to them from where you live). about to open up for me. I went along, the next six years I built that up to seven You arrive at 7.45am the next day. You performed and got my first taste of a classes a week; the two main Worthing wait until 10am, possibly after helping crazy Indian wedding. There was another classes had fifty people attending each with some kind of household chore and events manager there, he asked me to class! This also led to the creation of my taking part in a puja (prayers/blessing). perform in Mumbai the next week, I also fusion festival Bodies and Beats and Then they might tell you to come again did that and so the roller-coaster began monthly haflas. the next day and the next day, or that and continued. class starts the next day at a time that continued overleaf… Q How did you get to live in India suits them and there is no discussion for so long and learn Indian about it and whether you might be free or dance styles? not. You are expected to drop everything Originally I went to India for three months for your class. Sometime after your classes to teach dance and holistic therapies in a begin they become retreat centre. I never imagined this friendlier and will be would turn into nine years! I had always open to more patience wanted to learn Bharatanatyam (South conversation and is“ key… Indian classical dance) so it was a perfect giving you gems of ” opportunity to immerse myself in the information. Patience dance and culture whilst living and is key! You will meet their working there. As well as performing solo family; they will meet yours. I managed, choreographed and You assist them with their performed with dancers from England performances. They won’t who came for the winter seasons to work hide laughing at your with me. I also had mistakes, letting the my own dance studio neighbourhood watch where I taught dream for you practise whilst all classes and hosted “ my own discussing you in a guest teachers. This language you don’t was the beginning of retreat… understand, making you my now well-known ” study with six year olds or telling you to repeat India retreats and the dream for my own movements until you retreat centre began. literally fall over. You aren’t given recorded Q What was your Indian dance training music to dance to until you like? have proven you know the In India or , studying dance is not as dance without it and can recite simple as just turning up for a class and the rhythms/words. Thankfully for Photo: © sarahselwood paying the money. These dance forms are me I became firm friends with each of my iancartlidge

ISSUE 80 3 Twenty Five Years of Dance continued…

Many people don’t realise that there are many tiers of shows in India and the industry is quite a slippery business. I had an extremely sharp learning curve extremely during the first few “ months of sharp performing there! I learning quickly had to learn curve… who I did and didn’t want to work with ” in the industry and I worked very hard to build and maintain my reputation. Word spread across the country and by the time I left I was ‘on the books’ of around two thousand events managers. Something that struck me in my first events in the way I found them. My Billionaires booked me by personal Bharatanatyam lesson were these simple Balinese teachers are husband and wife request for house parties just because yet poignant rules… which was amazing because they taught they could. I performed for high society: Where the hand goes, the eyes follow me the masculine and feminine aspects of the dances simultaneously. royalty, socialites, government ministers, Where the eyes go, the heart follows the rich and famous of Bollywood, new Where the heart goes the true essence I was led to them one day when I was lost money, old money, the armed forces. of the dancer shines through’ on my scooter and had an intuition to At their weddings, family parties, award drive down a small lane. A man suddenly ceremonies, with classical and fusion Q What was it like living in Bali and appeared asking: “Do you want to learn musicians, endless multi-national learning dances there? Balinese dance?” “Yes”, I replied. He corporates from Sony Asia, to Moet pointed to a nearby house telling me the Bali is a stunningly beautiful place to live. Chandon, to MTV, Fashion TV, Google, most famous teachers in Ubud lived Learning Balinese dance was a challenge Coca-Cola India, etc. there. It turned out I had driven mainly because of the structural unknowingly to their house and their As a side note many people ask me why I positioning of the body as it is so different grandparents were two of the most didn’t dance in Bollywood films. The from belly dance and Bharatanatyam. It renowned Balinese dancers of all time simple answer is I had many was like re-learning and finding yet more performing for the royal family and being opportunities, however I refuse to have new muscles all over again. The dances muses for orientalist artists of the time! sex with people to further my career. have a different kind of rawness and edge to them. Religion in Bali is a combination of Hinduism, and Animism and this Q When and how did Awakened Q Apart from the obvious differences in comes through strongly in the dance and Bellydance first emerge? What were Middle Eastern and Indian dance daily traditions there. With all my dance your aims in offering these courses? styles, how would you describe the teachers there have been synchronistic I have had a series of spiritual awakenings difference in feel of the dance styles? in my life. These began at age seven when I had studied belly dance for twelve years my interest in ancient Egypt first sparked. when I began learning Bharatanatyam. In tandem to my dance studies, I have There were many reasons I wanted to also studied various energy medicines learn this particular classical style, mainly and dance therapy. After my first because it is beautiful and challenging. I kundalini awakening when I was also knew that it would break me out of twenty-eight it any physical body patterning I was became obvious developing due to years of being focussed that I had a soul do on belly dancing. I felt a huge depth and path in this life to something“ authenticity in Indian classical dance, this ‘do something was something I was desperately missing healing’ with belly healing… in belly dance. I realised that belly dance dance. What that ” was being portrayed as feminine, yet was something was took me another eight actually becoming more masculine. In years to discover, develop and master. Bharatanatyam, saw the reverence, love I wasn’t sure where it was taking me, only and humility students had for their that there was an inferno within me teachers (gurus) and fellow class mates. pushing me onwards to share what was The devotion to a simple prayer made activating in my body through the belly before class or performing on stage and dance movements. My aim first and the lack of ego and competition was foremost is to bring women together in refreshing. an authentic sisterhood of trust. Through

4 ISSUE 80 this their body begins to self-remember, often found on the tourist trail; whilst through energy activations, AwBd and release, heal and empower itself. Working bringing like minds together and who knows, maybe access the morphic with the movements, breath, brainwaves supporting local businesses. We host all field of ancient Egypt. and music we can create alchemical kinds of courses and trainings, as well as transformation within ourselves. The true tailor-made holistic holidays for solo Q What next: plans for dance teaching, alchemy where we become the gold. travellers and families. We are a few AwBd, working with Steve, minutes’ walk from Kabakum beach and travelling… any surprises????? close to Varna town and airport. The Q How has AwBd evolved over the I have developed a new facilitator training years? space consists of four villas, a studio and swimming pool. working with ‘The Nine Bodies of Light’ AwBd is a naturally organic, conscious which forms a ‘next steps’ course in AwBd process. As I and the other facilitators for those who wish to go deeper into evolve, so AwBd evolves and vice versa. Q Looking back now over 25 years of integration and illuminate their being Personally I have found that the more dance and adventure, are there any more brightly. Every year I am traveling willing I am to work on myself the more specific events, realisations and and sharing more around the world. This dynamic and learning that are special to you? year so far will take me to Lanzarote, arrow-like the By absolutely trusting and following my , UK, Bulgaria, India and Germany. process becomes. go fully into heart I have always been in exactly the There is a new AwBd online course. My The key as a “ the process right place at exactly the right time. personal studies continue and I am facilitator is in currently deepening my shamanic work being willing to yourself… Q What advice would you now tell alongside my own self-care. I am also very go fully into the lucky to be furthering my Sufi Whirling ” your younger self of 25 years ago if process yourself. adventures with the amazing Ziya Azazi. you could?! This then has a knock-on effect with all who are drawn to your sessions. “Everyone is a reflection of an aspect of you.” Thank you, Katie, for sharing so openly with readers of Mosaic magazine. I can see that Q Tell us about how you found your you’ll be inspiring many of them! I wish you Sirius Centre in Bulgaria. It sounds Q How are you combining your all good fortune with your ventures. like such a fascinating adventure! dancing with Steve Nobel’s ‘spiritual’ Does this feel like home now? courses? Going to Egypt must be so exciting. It certainly has been an adventure. It’s the fourth country I’ve lived in and I am again I am super excited about this project. I learning about another culture, language have always known I would dance in and dances. Having Sirius as a retreat Egypt in a spiritual context. I waited centre is really a dream coming true for me. twenty-five years for it to We have now been in Bulgaria for three manifest (for years, after nine years in India and two always me and Egypt years in Bali. My reasons for moving there “known I to be ready for feel quite magical. During meditations in one another) would dance in Bali I kept seeing the same image of a white stone circle, a lake and mountains. and so here we Egypt… After one and a half years I discovered it are. Steve works ” was Rila Mountains in Bulgaria. The stone with guided circle was in fact people dressed in white meditations whereas my work is mostly taking part in a yearly festival of a sacred movement based, so we complement dance called Paneurhythmy. After some one another perfectly. There are little research and several dream visions about known ancient Egyptian teachings c Peter Deunov (the man who created it in alled ‘The Nine Bodies of Light’. They the 1900s), I decided Bulgaria was calling form part of the AwBd theory. me. I moved there after never visiting There is a theory called morphic before and of course began studying resonance from scientist Rupert Paneurhythmy, Bulgarian folk dances Sheldrake, it is: and dance. “the idea of mysterious telepathy-type There is an old legend that a being from interconnections between organisms and of Sirius is buried on Rila mountains, hence collective memories within species. It the name. enables memories to pass across both space and time from the past“ and accounts for Q What are the aims of the Sirius phantom limbs, how dogs know when their Centre? What sort of courses are run owners are coming home, and how people there besides your own? know when someone is staring at them.” Sirius Home-stay: www.facebook.com/siriushomestay At Sirius we aim to share authentic, Steve and I are taking a group to Luxor affordable, extraordinary teachings, where we will work with the energy of www.awakenedbellydance.com trainings and cultural experiences not the temples, Gods and Goddesses

ISSUE 80 5 Is This Your First Time Teaching Online? MADN update

With the recent coronavirus changing the Here are some tips to give way everyone thinks and operates, our you a headstart: regular classes may not be viable in real time with the teachers and students we Give yourself extra time to set up the Consider your forum. It may be dance with. 1 technology and leave a little more 9 helpful to use Skype or Zoom or video cam to carry out the dance session. Taking our dance online may be a new time in case there are any glitches There are companies like Powhow venture for many of us. It may also be an along the way. that could also be beneficial and may opportunity that could help us in the If your internet is not as steady as you give you a long-term source of classes future bringing groups together in new 2 might like and it is cable, consider and revenue. ways. When the snow and ice or travel plugging a computer directly into the prevents a physical class, the internet may cable port (ethernet). If you are using Teachers: prepare your lesson and call be a solution bringing us your phone find the best reception 10 out your health and safety reminders. together in adversity. spot possible in your house and set it It may be helpful to teach, then watch as your students repeat so you can MADN Insurance up so it stays in one place. spot posture and technique as this covers us for Create a space in your room suitable may be different from you being in online teaching. 3 for dancing and test that you can be the same room. seen clearly. Either ask your students when they are online, or a screen Class payment can be done by Bacs, where you can see yourself in a 11 giving your sort code and account window alongside your students or number for a direct payment is safe as reverse the screen to look at you this is just for the purposes of paying (selfie mode). in. (We checked with our bank before doing this on the MADN website, but Consider focusing on technique and do talk to your bank if you have any 4 decide whether you are going to use questions.) You can also use PayPal or music or not. It may be helpful to means of your choice. Value the practice technique or a routine virtual classroom. without music then add the music. Make time for chatting and enjoy a Play the music on your side if you are 12 good laugh especially if you find 5 teaching and expect a second or so everyone is more tense or serious. A delay in what you are watching from fun warm up, making some silly noises your students. If this is a one-to-one or laughter yoga may help. Allow class play the music one side or the emotion to flow through the screen. other, not both at the same time and remember the delay. 13 If the technology fails, take a moment Have an awareness that other people and consider postponing, or make a 6 may be nervous or their technology group call and ask all to put their may have issues. To avoid stress, ask phones on loudspeaker and call the your students or teacher to say if the technique and routines people know technology freezes, etc. and allow well. Take notes and improve the extra time for the class and experience next time. unforeseen blips like this. This takes Renew/join MADN Insurance for May extra time, but you are not travelling 14 when you update your membership to class so it is all relative. and please fill out the GDPR form so we Consider sending or asking for a video can update our teachers listings. Feel 7 or written follow up of the class free to network on our Facebook page syllabus and routines danced so and website and help one another. practice is easier at home. Enjoy the opportunity to try Look at how other people teach 15 something new and think in a 8 successfully and learn from them. different way.

Photo: Clem Onojeghuo Photography Happy Dancing!! on Unsplash

6 ISSUE 80 MADN Membership Application Membership year: 1st May – 30th April and costs £25. For overseas members the cost is £35 for the year. Please note you cannot be insured by MADN if you live abroad. PLEASE NOTE THAT IF YOU ARE INSURED BY MADN YOU MUST KEEP UP YOUR MEMBERSHIP OTHERWISE YOUR INSURANCE WILL BE INVALID. your details (please print): Name ...... Address ...... Postcode...... Phone...... Email ...... Website...... Stage name ......

MEMBERSHIP OPTIONS – please tick (4) UK: £25 – one year Overseas: £35 – one year DANCE EXPERIENCE – please tick (4) all that apply Performer Student Teacher Event organiser Musician Trader GDPR Permissions and Sharing Information Welcome to MADN kept in a secure place and will be destroyed securely after seven We operate with the understanding that, as a member, you years or as is appropriate. have given us permission to use your data to manage your You can request to know all information we hold on you at any subscription and for membership related business. time and we will produce this. We will never share your information with third parties apart Teachers Insurance: MADN shares your insurance information from our printers to enable you to receive your magazine! with the brokers as is necessary to enable us to provide you Where you have given MADN permission to use your image, with insurance. you also have the right to withdraw consent. You can opt out from any of the above at any time. At MADN we do all we can to ensure your data is safe and only shared on a need-to-know basis. We hold your information Note: we will endeavor to inform you should changes to the online on password protected computers and share it among above occur. committee members as is deemed appropriate for running the With thanks for taking the time to read and answer the organisation smoothly. Where hard copy is necessary, this is questions below. GDPR Permissions Teachers: Please state clearly the county and towns where you teach and include your teaching name if appropriate: ...... Please let us know the following: Y for yes / N for no… keep it simple! 1. Do you want to be contacted by: 6. Do you want to be kept informed of MADN (please tick all that apply) . . . . . email post phone updates and events? ...... Yes No 2. If you would like your name to be on the 7. Should we have a newsletter, would you like the useful links page ...... Yes No to subscribe to it? ...... Yes No 3. If you would like your name to be on the 8. Are you happy to be contacted for MADN BnB hub page ...... Yes No marketing purposes? ...... Yes No 4. What information do you want made publicly available? 9. Any other information you would like to share with us: (please tick all that apply) Please state phone mobile email website address ...... We do not encourage personal emails as this may open you up ...... to phishing, etc. For teachers, your consent is needed for these: 5. Any links you think would be of benefit to 10. Would you like your details included in the Teacher’s Listing: our members? ...... Yes No a) in Mosaic magazine* ...... Yes No Please state b) on MADN’s website* ...... Yes No ...... * please note that you must have insurance to be included on ...... these lists PAYMENTS: cheques or postal orders should be made payable to MADN and sent to the address below. You can also pay online by PayPal on our website: www.mosaicdancenetwork.org This information is held on computer by MOSAIC, if you have any to this please tick the box We may occasionally disclose this information to other members of MOSAIC. If you have any objection to this please tick the box By post: Membership Secretary, 9 St. Helens Crescent, Abergavenny, Monmouthshire, NP7 9HN Email: [email protected] For more information or to download this form visit: www.mosaicdancenetwork.org/membership or email: [email protected] Tenth Anniversary in Torquay

Photo: © sammy Photo: by Jan Piggott

I can’t believe that it will be ten years this lecture; Charlotte’s cat fusion; the fluid September since I first went to Torquay fusion grace of Alicia Giampieri; Astra’s with my wonderful students. Conceived double Isis wings, beautiful baladi and as a fun weekend of dance and friendship lively Bollywood; Hazel Kayes making me in a lovely hotel with leisure facilities and cry with the grace and fluidity of her veil beauty salon, it has grown to be so much dance; Bonita not only standing in for more. September is such as perfect Serena last year, but performing so month for dance as the ballrooms don’t wonderfully after such a long drive; 50s have the fierce heat of mid-summer but style tap-dance; mermaids; Elvis in the it’s still warm enough to swim in the House; Thunderbirds; Game of Thrones; outdoor pool. Last year as we swam, Barbie girl; contemporary and so many sunbathed, danced and partied it felt like more. It’s always special when the being abroad on the best holiday. students perform with their teacher a What have been my best memories? dance that they’ve learnt that day. Astra’s Honestly – there have been so many. Bollywood, Katie Holland’s welcome Every Friday Teachers’ Show & Saturday dance, Charlotte Burton generously Student Show have been truly wonderful, bringing lots of costume pieces for her often with real surprises. Beautiful students to wear for her fusion classical Egyptian with Serena Ramzy; performance come to mind. Galit Mersand’s wonderful cabaret The workshops have covered so many performance and yoga classes; Nawarra dance styles: Egyptian, Bollywood, with her powerhouse performance plus Turkish, Moroccan, Nubian, Tribal ATS and rolling around the floor with her students; , Bellynesian, Burlesque, Jazz, Sitara’s amazing fanveils and wings; Ishtar , Latin, Props and more. I’ve with superb Egyptian and Bollywood; probably forgotten to list some but if Maelle with her speed, power and there’s a good teacher and an unusual athleticism; Sacha dancing Turkish style, we aim to cover it. beautifully whilst heavily pregnant; Bittersweet memories of my lovely friend, Stephi’s elegant baladi ; Heike and Elisa’s Yvette, who always supported me, stunning duet and Heike’s dramatic solos; performed in her graceful style (I always Kelley Beeston with Kalash Tribal showing thought of her as an English Samia strength and sisterhood; my fabulous Gamal), taught her never-to-be-forgotten friend Nikki Livermore with her fun drum solos with John Sleiman and her support Laughter workshop amongst others and always; Samantha Hough’s lively skirt compered the students show each year. dance and sword duet with Layla; Ivor I’ll always miss her. Disney’s humour & audience connection; Lows – yes, there is a huge amount of Poppy Maya’s grace; Medea Mahdavi’s organisation beforehand and I’m elegant Persian; Liz Newman’s angry notoriously technophobic, but I do have a Arab- Afro-Cuban fan dance (so unlike her fab team of very efficient helpers during smiley self); Afra al Kahira’s fascinating the weekend. There’s also the stress and

8 ISSUE 80 worry that everything goes well and everyone is happy. Trying to prepare for the unexpected, being alert for any possible problems and providing solutions as well as finding time to catch up with friends and go to workshops myself. So far though, so good. Partying in the cheesy hotel disco with many of us still in belly dance costumes and other groups of guests dressed as Captain Hook, Cruella de Ville, Cowboys and ballroom dancers. We all dance together in a random and surreal supergroup! Watching some of the girls racing across the children’s pool in the early hours of the morning. Fashion shows, party games – two of the most fun were the Magic Flying Carpet relay (scooting across the floor sitting on a towel) and The Fastest Mummy (lots of toilet rolls used!) The atmosphere of the weekend is the most important element to me. I love the friendliness & the way all the different groups integrate. This year we have been promised cake and fizz, so we can all toast to the next ten years. See you there!

ISSUE 80 9 Whirling

Queens: MarianPan Photo: Neo(n) Dervish and the Mash-up Chapter or profound, reflective trance-dance? Slow Tornado Tanoura by Eva Forrai: Slow Tornado

Whirling dervishes have always been a rather different from their actual nature non-devout public are NOT religious rituals typical part of Middle Eastern culture. and role in the specific countries. performed by dervishes but shows Recently, however, whirling has seen a Traditionally a strictly male activity imitating and often paraphrasing the sema. tremendous popularity amongst females performed by members of the Turkish The notable exception is the annual of many nationalities, establishing a Mevlevi order as a religious ceremony, pilgrimage to Konya at Sheb-i Aruz (the practice that is bridging the gap between whirling became folk entertainment at wedding day) of Rumi (the anniversary of a very specific Sufi ritual (ultimately part Egyptian mawlids (saint’s days) as tanoura his death), on the 17th December. There, of Sunni Islam) and a contemporary feel – by cultural diffusion, due to the you can see the full ceremony, with full live that combines meditation and Ottoman rule and the prestigious place orchestra, performed by dervishes. Another self-expression. the order occupied within it. Although place where the full sema is performed by In this short piece I will sketch a ‘how did still often performed as folk art with initiated turners is the London Lodge of the we get here’ trajectory with the aim of religious undertones, it has become Mevlevi order in Colet House, West 3 celebrating female presence, power and standard staple of entertainment shows London . creativity in the vein of ‘stealing their skills’1 as well (maybe The spread of Sufism to the West started whilst knowing full well that the topic raises comparable to with universal Sufism4 from the 1920s many deeper issues about tradition, ritual, gospel), with its high visual onwards. Then the Turkish, Pakistani and religion, culture, art and their diffusion high visual impact Arab diaspora throughout the century and/or appropriation. What’s innovation of props including “impact… added to the diffusion and popularisation and progress and what’s blatant LED lights and ” of Middle Eastern/, culture and misrepresentation, a wanton annexation of even fire. Those of form divorced from understanding and you in the know are fully aware that respecting its origins? Perhaps some of tanoura is the kind of entertainment that these questions could be dealt with by is allowed during the month of Ramadan. further contributions at a later point. I’ll The Turkish Mevlevi sema (denotes the briefly concentrate on instances that turning ceremony, literally historically produced a certain ‘decoupling’ ‘audience’/’concert’) itself saw some quite or distancing of the form: whirling from its considerable changes. The enforced specific devotional origins. secularisation of Ata-Türk resulted in the Of course, there are many other, more sema-hanes (premises specifically used for specific questions that I won’t be the sema ceremony) being shut and public broaching but are hugely relevant to the gathering of dervishes banned. The topic. Some examples are the place of influence of the order that had been Sufism and Sufi orders within Islam and in considerable in certain periods during the specific countries and their diaspora; waned until the re- Islam’s relationship to art, music, their Islamisation of power in Turkey that now public performance, female participation has an ambivalent relationship with Sufism, in them and in public life in general. What the Mevlevi order and its public image: the I would note, however, is that these are public semas. The Mevlevi sema became a relevant and complex issues but none of ‘protected’ item on UNESCO’s Intangible them have ever been static over time. And Cultural Heritage of Humanity list in 20072. Slow Tornado Ederlezi

also that often their western perception is The semas that are accessible to the wider, Molnár Ágnes Photo:

10 ISSUE 80 thought amongst audiences. A mixture of collaborating with prestigious orchestras Brussels, Izmir, Leipzing, London, Padua curiosity, new age interests and solidarity and the Mevlevi dervishes themselves. He and Torino. No doubt, Amsterdam, all added to the heady mix that saw Rumi5 set up his teaching practice based on his Geneva, , Nicosia, Rotterdam will become the most popular poet in the DIP concept: dervish in progress within, follow. USA and artists such as Ömer Tekbilek the and he’s been giving short intensive However, the question is still open and 6 Turkish-Canadian Mercan Dede (Grandpa workshops in whirling, passing his unanswered: will a miracle happen and, Coral) develop into worldwide technique and thoughts on. His style can in addition to acquiring and internalising phenomena. Of course, there have been be characterised by turbo turning and the Azazi technique as individuals, will a other Sufi musicians attaining global turbo skirt work; extreme physicality and female bond be forged that could show fame, such as Nusrat Fateh Ali Khan, the dynamism often and express an entirely new meaning: Pakistani Qawwali vocalist, but he and performed half that girls make the world whirl around. Qawwali music represent an entirely naked, to music physicality different tradition. that is markedly “ and Mercan Dede (‘Dede’, literally ‘grandad’, an diverse with a Footnotes 1 elder or master within the Mevlevi order’s penchant for dynamism… A concept known in many cultures (Japanese, Greek, etc) referring to a type of language), on the other hand, clearly lays some kind of ” artistic message. learning by the apprentice from the master claim to the Mevlevi Sufi tradition by his by shadowing, copying and imitating rather choice of instrument, the , and by his These are hallmarks that are diametrical than by explanation and instruction adopted/artist name (his civilian name is opposites of the traditional Sufi 2 https://ich.unesco.org/en/RL/mevlevi-sema- Arkın Ilıcalı). He is, though, all about aesthetics. There are two significant ceremony-00100 3 fusion, rework, innovation: he himself points of intersection: the idea of trance https://londonist.com/2011/08/interview- the-whirling-dervishes-of-west-london uses the sobriquet ‘fusion monster’. He’s and ascetism. He became a flying 4 I avoid the expression ‘neo-sufism’ since it’s extremely skilful at negotiating the ambassador of the art form, traversing the globe many times over and gaining a used to a different, earlier ‘reform’ period in tightrope act of being genuine, authentic, the 19th century in the academic literature, deep, authoritative (it’s all in the name) huge following. The end of the decade however, it is widely used for both universal and innovative, dynamic, subversive and saw him set up his two-year teaching Sufism and the new-age Sufi-inspired art of Mercan Dede and others. of his time. Mercan has tremendous programme, DIP TEP, run from the remote idyllic village of Hayıt Bükü and its www.en.wikipedia.org/wiki/Western_Sufism purchase on his art and managed to sell 5 purpose-built domed studio. www.en.wikipedia.org/wiki/Rumi his typically diaspora art to Turkey and do 6 www.en.wikipedia.org/wiki/Mercan_Dede several collaborations with the Ministry Most of Ziya’s students are female. His first 7 www.facebook.com/pages/category/ of Culture. It was in one of his large-scale year intake performed for International Artist/Emine-Mira-Burke-45054338171/ Canadian gigs that a western audience Women’s Day in 2019 in Istanbul and his 8 https://www.ziyaazazi.com/about-ziya/ perhaps saw a turner live in a western second year in-take is entirely female, References setting for the first time, and it was a devoted and fierce: ‘The Whirling Queens’. www.youtube.com/watch?v=h_agViJcs0 female one. She appeared, clad in the These women are all ages, sizes and www.youtube.ziyazazi.com/dip-tep/ traditional white of the Mevlevi order, shapes: a true representation of woman www.facebook.com/Slow-Tornado-whirling- with a single line of glowsticks at the power! By now, half their members are life-style-moving-meditation- bottom of her skirt: Mira Burke7. Perhaps teaching and performing all over : 178977375534861/ the archetype of all female turners to come, their godmother, grandmother, nene. Ziya Azazi8, one-time collaborator of Mercan and also part of the Turkish diaspora, is a name that by now is more or less synonymous with contemporary experimental whirling. As a contemporary dancer living in Vienna, he discovered whirling by the late 1990s and built his life work around it. Fame soon followed with his mesmerising piece ‘Ember’ which featured his flying skirt sporting flames at its edge. These flames of his flying skirt lit the cauldron of the 2012 London Paralympic games. He put in an even more iconic appearance the following year during the Gezi Park demonstrations, whirling half-naked with a gas-mask covering his face, associated with one of the slogans used by the demonstrators: ‘Come, come, whoever you are’, a phrase attributed to Rumi. Ziya is another prodigal son of the diaspora who has gained popularity and DIP TEP Second Year recognition back in his native Turkey,

ISSUE 80 11 Identifying Instruments of the and Using in Your Dance by Maureen Pemberton

Musical instruments Strings are tuned in unison, usually five, Musicality: a dancer’s interpretation of Middle Eastern musical instruments are as with one string as bass string. The the instruments diverse as any other culture, and without European is descended from the A skilled belly dancer will aim to interpret them, dancers certainly couldn’t dance! (al-oud) which means ‘thin piece of wood’, the music, recognising these basic modes, Let us look at some of the instruments since this is what are made of. says Bennett (2013): and their characteristics The kanoun/qanoun is a stringed Accordion: hip circles, figure of eights, instrument played flat, (a bit like a Percussion level changes hammer dulcimer… without the The dumbec (doumbec, dumbek, : arm moves, hand moves, upper hammers) which sounds similar to a harp. dumbak) is a goblet-shaped drum, which body moves gives Middle Eastern music its distinctive It is made of wood and fish skin with nylon Tabla/dumbec: hips, describing rhythm beat and rhythms. It is also called the chord strings that are plucked by the player. Metal keys are used to tune the and accent. With drum solos, a dancer will darbuka in Turkish, and tabla in Egyptian chords. Turkish qanouns have up to eight fill in the drum work and melody with a Arabic. The Egyptian Hossam Ramzy was metal keys, while Arabic ones have five. mixture of figure of 8s, circles, travelling one of the best known tabla players ever. steps, shimmies, etc to keep a variety of He travelled extensively on world tours Wind instruments vocabulary. and spread the knowledge of his The ney – this is like a European instrument. The kawala – similar to a ney, is also called If one hears both ney and violin, then a shalabeya. choose arm moves for the ney, and hips Playing on the dumbec requires three for the violin. distinctive sounds: dum, tek and ka, The zumara (zummar) is a reed played across the instrument. The instrument and is rather like a double Oud, ney: upper body moves and arms . following instruments, the and the Qanoun: shimmies The – used a lot in saidi music and riqq, also produce these sounds. As a rule, violin, accordion, saxophone can be likened to an oboe. The riqq ( or rik) is a small tambourine, and keyboards tend to reflect emotions, The zurna – a horn instrument used in so develop emotional and lyrical traditionally covered in goatskin, and Turkish music and can be likened to a responses or moves to these. The same adorned with brass cymbals/ around wooden trumpet. its edges goes for ney and oud. A traditional Arabic ensemble (or ‘takht’, ME music often uses a ‘question and Zills is the Turkish word for finger cymbals meaning bed) has four main instruments: played while dancing. Also known as oud, ney, qanoun and violin, with a answer’ phrasing, so a dancer may use a ‘sagat’ in Arabic, they can play any rhythm percussion instrument, usually a riqq or a set of moves to describe the question that the dumbec, tar and riqq can, plus tabla or . which is represented by one instrument melodic and other rhythmic (for example, the violin) and answers with Western musical instruments are now ornamentation. another set of movement (possibly the very widespread in ME bands: accordion, ney). Sometimes, the dancer may simply The tar (also known as duf, daf or def) is piano, electronic piano, . pause during the question section and like a huge tambourine, but without the and are also popular, dance to the answer. zills on the edges. often, like the accordion, altered to Finally, when the whole orchestra plays Stringed instruments accommodate quarter tones. , viola with all instruments in unison (this called The rebaba can vary in shape across the and cellos are often the ‘lazmah’) the dancer uses travelling Middle East, and Asia. It can be now used to play steps, spins and turns as well as the square or pear-shaped, with three strings. many classical pieces, superb question and answer response feature. It is played with a bow, like a violin, with including Umm for“ playing the fingers stopping or placing pressure Kulthum’s work. As on the strings. these are fretless quarter instruments, they are tones… The wooden saz is from the lute family superb for playing ” and has a long neck and a round body. quarter tones and It is played in the same way as a guitar. maqams. The oud is also from the lute family, but Other instruments such as saxophones, with a pear-shaped wooden body. The References trumpets, trombones and are Bennett Rachel (2013) Middle Eastern oud is plucked with a risha (Arabic for very popular in Arab jazz and jazz fusion Musicality lesson and discussion feather), and may have up to 13 strings of styles. Drum sets and electronica are www.maqamworld.com (instruments) nylon, gut or steel. The neck has no fret, so increasingly popular for the modern www.worldbellydance.com (Middle Eastern it is ideal for maqams and quarter notes. Arabic (). instruments)

12 ISSUE 80 An exploration of the Basis of Middle Eastern Music with an introduction to Classical Music and the Muwashaha to expand a dancer’s knowledge by Maureen Pemberton

Introduction range of specific notes which can be This is an attempt to understand what played or improvised, using quarter tones, creates the basis that enable Middle perhaps like a specific recipe. There are 24 Eastern and fusion dancers to express clearly distinct maqamat, which have themselves, and to help dancers developed over thousands of years. appreciate the art forms of music and A has specific notes/melodies, later, followed by other instruments taking rhythms, enhancing his/her style. For the designed particularly for it. A maqam turns. This gives the music some emotional purposes of this article, I will include within could have twice as many notes as a texture and atmosphere as well as variety. the geography: Turkey, parts of the Balkans European/Western scale, with quarter For a belly dancer, given this styling of (where relevant to the Ottoman Empire), tones and half tones. Shira comments it is music and rhythm, it is important that they the Maghreb (Northern Africa from difficult to play an Oriental melody on a train their ear to express the music with to Egypt, including the Sahara) western instrument, unless it has been re- appropriate movements. parts of East Africa, Ethiopia and Somalia, tuned for that purpose. Maqamat tend Music, as we know, is not always for Palestine, , , , the Gulf States, not to use chords which are a uniquely dancing. Islamic or religious music is not and Southern Arabia. European feature that arose out of church used for dance, says Shira. She adds that Middle Eastern (or oriental) music as it plainsong during the Middle Ages. some classical music is not often used for stands, invariably ancient. It is so rich, Chords, however, occur in Western and dance. Dancers of raqs sharqi (dance of complex and sophisticated that this Western–inspired music. So, the maqam the east or belly dance) and project cannot possibly do it justice, so I forms the very basis of musical form and, choreographers such as Mahmood Reda, will attempt an outline, to get to grips within this, we have the whole range of however, have performed/created with understanding it. We will explore musical style says Shira: classical, folk, performances with Egyptian classical what a maqam is, then go into the Egyptian classical, pop music. music with its use of the oud (like the muwashaha and classical . In Middle Eastern music, what happens is European lute) and qanoun, that one instrument will carry the melody, The Maqam or the base of Middle with another instrument taking that over continued overleaf… Eastern /Oriental music Most musical forms have some form of a scale, out of which melodies are born. Middle Eastern music forms are no exception, except it is all in the detail with some significant differences to say, European or European-derived music. European music uses the scale base, with a specific key, with 12 notes on the scale (A, A sharp/B flat, B, C, C sharp/D flat, D, etc), with about seven notes used within a melody, Middle Eastern music uses a maqam (or maqamat – plural) which lets the musician know what the correct intervals are between the notes of the scale and which notes are emphasised. These intervals are usually a , as well as half tones apart. What can sound like dissonance to Western ears, are actually extremely subtle differences in tone. So, the maqam has a system of a full on Unsplash RickyPhoto: Singh Photography

ISSUE 80 13 choreographer, Mahmoud Reda, during major composers/song writers, such as the 1980s, says Borek. No one knows what Mohammed Abdel Wahab and Farid the original dances would have been like Alatrash, had been educated by different with these musical poetic forms. Reda types of musical from the East and introduced elegant, balletic dance forms, West. These combined the muwashaha with spins, , and almost no form and structure with contemporary torso movement at all. He used his and classical music forms from Europe, imagination and the rich repertoire of along with Egyptian folkoric styles. movements and vocabulary that he had Mohammed Abdel Wahab composed the accumulated for many years. now classic favourites Enta Omri, While it is not essential to use Reda-esque Cleopatra and Zeina. Farid Alatrash was vocabulary for dancing to this form, a known for his compositions: Gamal Gamel dancer could use a fusion of Reda, plus and Habena Me Alli We Oltelu. These modern Egyptian dance vocabulary. A pieces of music have been used ever dancer could even explore or research a since then for raqs sharqi belly dance. reconstruction of Andalusian dance, Some of these pieces had a format with An Exploration continued… which probably had elements of Berber, a musical overture, vocals sung to a Arab and vocabulary, but different set of melodies, a musical music and the we shall never know. interlude, a repeat to the vocal and then Muwashaha Borek recommends watching some of the musical overture. They often lasted from 15 minutes to an hour (in many ways a I will start briefly with the classical YouTube clips of the 1960s film, Bayn al classical North African/Andalusian ) form/style of music. Shira says that this, Qasayn (Palace Walk) which shows a and used the accordion, violin, nay, flute, also known as ‘muwashaha’ (singular) or musical gathering or sahra of an qanoun, tabla and sagat. A lot of the muwashahat (plural), sometimes uses a entertainer/courtesan. In this, a sama’i music and songs were about past love, 10/8 rhythm, known as sama’i rhythm. rhythm is employed. The film, based on longing and regret, such as Enta Omri This form is best known in the 10th Naguib Mahfouz’ novel, is set in early 20th (You are my Life) or Alf Leyla we Leyla (A century Andalusian/Spanish love song century , then under Ottoman rule Thousand and one Nights), both sung by Lamma Bada Yata Thena. To this day, it Leila Mourad sings a muwashaha Mala Al Oum Kulthum). has been recorded by many artists such as Kasat in another film clip on YouTube (key The Brothers of the Baladi and Reda word: Leila Mourad) with raqs References Darwesh. sharqi/oriental dancers in bedlah To know more about Middle Eastern music, Sama’i/sama’ii rhythm: dum (pause) ta (two-piece costumes). The film clip opens structures and rhythms, you research from the (pause) dum dum tek ( teka teka ) up with a set of drummers producing the sources below: Emphasis on 1, 4, 7, 8, 9, 10 sama’i rhythm dramatically and BSY Group Music as Therapy (Diploma Course) powerfully. These film clips could help www.bsygroup.co.uk Lamma Bada Yata Thena: inspire some dance ideas. www.jawaahir.org When she begins to sway/Her beauty www.nesma.es Homage to Mahmoud Reda amazed me/ imprisoned me with a As a final note of information, another (which includes clips of his muwashaha glance/she was a swaying branch that tradition of the muwashaha sprang from influenced Arabo-Andalusian dance style) commanded me 19th century Egypt in the form of an www.shira.net, for the following articles: Egyptian renaissance. We will go in more 1. Arabic Songs Translated into English The Muwashaha in more detail detail in the next section. It contributed to 2. Borek, R, Demystifying Muwashahat Muwashaha evolved in the royal courts composer Sayyid Darwish (Egypt) 3. Middle Eastern Music, An Introduction, a 20th Century Orchestral and under the patronage of the very producing music that preceded the long 4. www.shira.netmusic-intro.htm wealthy in Arab Muslim cultures of the songs of Oum Kulthum and works of past. The rhythms of sama’i, dulab and Abdul Wahab, the composer. Wahab dawr were employed by this style. The composed many muwashahat in his early last two rhythms are relatively unknown career, says Borek. To date, Syrian singer, in the West. Muwashaha was a form of Sabah Fakhri, is recording many a , spoken or sung to music, with song under this tradition. typical instruments of oud and qanoun, as well as riqq and tabla. The muwashaha Egyptian classical or also has Egyptian/Syrian poetic forms, as Golden Age style in more detail well as a North African Andalusian /Nuba Egyptian classical or Golden Age form. Many of these forms are music set of the 1940s, was a beautiful to poems. fusion of Arabic sounds and Oriental or raqs sharqi dancers are more Western influences. The likely to dance to this style. It is not so common, says Shira, as dancing to Golden Age classical music/songs (see Egyptian classical section) or pop music/ (Al Jeel/). In terms of dancing to this form, one often relies on

the fusion form developed by the on Unsplash Photography Faix Thiebaud Photo:

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Elemental Dance/Muscle Memory

Our bare feet on the ground, we dark aromatic bars, bend our knees dusty squares, then our hips and begin to the desert and the mountains. move through planes We of air. remember them, Our arms moving as through their tribulations, water, gently. With fire their joys. in our hearts, We are linked in hearing oud and drum we our stepping, dance. turning, We are a tribe of women who reaching, move together as spinning. one. Arms aloft Now we are in small spaces, we pause, there is no meeting, shimmy, yet we are joined one to another breathe, like paper chains our hearts remember we joining women are women, who through history danced the undefeated tribe. these patterns we make We will meet again upon the floor. They danced in palaces, tents, © Francesca Danu Lots of nazars to keep us all from harm

ISSUE 80 15 HANNAH’S EVENTS Review of Workshops with Galit Mersand and Casbah Cafe Showcase by Hannah Newton

On a typically cold and grey morning in February, it was a pleasure to welcome Galit Mersand to Kidlington for the first time, for a day of workshops and Casbah Cafe Showcase in the evening. Let’s just say the weather was the only ordinary thing about the day as the rest, especially Galit herself, was extraordinary! Everyone was greeted with a cuppa on arrival and a little gift as a thank you for coming. Galit started the day, while energy and enthusiasm were in great supply, teaching a workshop on funky footwork. Galit workshop attendees This also incorporated different footwork from other dance styles such as jazz and , giving a hint of extra spice to one’s traditional belly dance steps and providing tools to add variety to dancing sparkly goodies that Sandra from Zara’s while covering the stage with Zouk had brought with her. confidence and creativity. After lunch, Galit continued to keep the The first workshop was followed by a fun and funkiness going with an Suhana and Galit lunch break where there was a Egyptian pop , which we massive buffet feast, included would have the chance to perform later in the ticket price, as well a in the hafla. Again this incorporated a top-up of tea/coffee basic choreography which was then refreshments. The lunchtime was given the ‘Galit treatment’, adding extra also an ideal time for everyone to flourishes and personality. A lot of chat, network and make new friends, technique was also covered and the have a well earned rest as well as the attendees were excited to share their opportunity to peruse the wonderful extra performance piece in the show!

Galit workshops Photo: Alan Long Photo:

16 ISSUE 80 There was an afternoon break between the second workshop and the Casbah Cafe showcase starting, giving me and my dad a chance to transform the room into a hafla setting with tables and the attendees the chance to relax and do as Photo: BKB Photography Photo: they chose in a relaxed setting. The tables were set with nibbles, and each table for the assigned seating, was given a name, this time of different teachers that I have hosted over the years at the old venue. The evening showcase was full of a wide range of dancers, groups, duets, soloists and a variety of styles and props with all kinds of music. From newbies to professionals, everyone was welcomed by the wonderfully supportive, if a little raucous, audience. The first section featured the hosts’ troupe Queens of the Casbah who kicked off the show with the Zoe and Sari – happy dancers Casbah Cafe anthem – Rock El Casbah by Rachid Taha. The popular music continued with a shaabi performance school of dance, performed; Alyah a the Amina track Biswish Alay which was from Alma, complete with jeans and light dancer on the Oxford and London scene followed by one of Galit’s ‘greatest hits’… up trainers, dancing to the classic Laa, who entertained with her fabulous fan the incredible Coin Operated Boy, which which sent the audience into a frenzy. veils and Sahara who came all the way was even more clever and humorous from Bosnia yet again to learn and than I remembered. I recall seeing it There were other more traditional perform. Her performance was of guest once at Majma Dance Festival years ago performances from Nicky who danced star quality and she absolutely owned in Glastonbury at the Teacher’s showcase her interpretation of a choreography the stage with her dance to Tamr Henna. and I was created by the late Heather Burby – it The workshop attendees who had blown away was a lovely tribute to her – and from learned a choreography from Galit – never Suriaya who shared her a dream earlier in the day were to close the imagining Afghan heritage with both her second section and boy did they make about ten years come“ true… performances. Casbah Cafe regulars Galit proud! down the line performed twice, ” I would be one to Zeina with a The third section continued to entertain hosting this wonderfully dynamic and gorgeous array of with a lot of variety, including ITS Brutal a sultry oh so lovely dancer at one of my own colourful costumes Bellydance who took us to the dark side “ little events – a dream come true for and later with a and sassy with their metal performance; some sure! sultry and sassy dance… sultry shaabi from host Suhana; a dance to Ya Rayeh, ” sumptuous ooey-gooey baladi from After the excitement of the finale, there plus there was a Christine Warwick; a high energy shaabi was chance to have a social bop with lovely performance to Habibi Ya Eini by number from Zoe and Sari, who had friends, to have a last minute shopping Swindon Shimmyer soloist, Osmia. The recently returned from Cairo – and you spree at Zara’s Zouk, have a drink and to latter part was filled with rhythm: a could tell since they brought the house grab a doggy bag for the way home… it Khaleeji inspired drum solo from down! Luckily the act to follow them was was a truly magical end to a really rather Charlotte Booth, a Moroccan tribal style the inimitable and totally fabulous Galit, spectacular day. from Iridescence, who then later in the the teacher for the day and mega star show performed a fabulous 20s style performer – what a finale. Such a jazz number, and finally ending with charismatic and sensual performance to Hannah’s Events is continued overleaf… Galit closing with an oriental number which led into a dazzling drum solo! I look forward to doing it all again soon. In fact I shall be, as I am The second section was just as colourful hosting a number of workshop days and Casbah Cafe showcase haflas and enjoyable with another throughout the year. performance from Queens of the Casbah and a number of soloists, including So check out/like my Facebook page Suhana belly dancer or Casbah Cafe Showcase to be informed of further details or email me at Karen from local troupe Hathor, who [email protected]. performed a sassy saidi piece, originally choreographed by Zara Abdelrahman. Hope to see you at the next one, which will be 2nd May with Carmen Jones! Natalie from the Raq Sharqi Society

ISSUE 80 17 Algerian Dance Workshops with Leyla Hayat and Casbah Cafe Christmas Afternoon Hafla Review by Hannah Newton

Following the success of the Leyla’s Leyla introduced the us to another style festive visit to Kidlington to teach and of Algerian dance, which is an Algerian perform at my 2018 Christmas hafla, it ancestral warrior dance, traditionally seemed only appropriate to fulfil the danced with a lot of shoulder Christmas wishes of many a dancer and movements to the rhythm of percussion. Photo: Peter Chaplin Peter Photo: bring her back to Oxfordshire! And boy, Traditionally danced by men dancing did she deliver! Leyla is a teacher and side by side, stamping their feet to performer based in London and her express their attachment to the land and passion is sharing her Algerian heritage showing their endurance, this was to through dance. The workshops were symbolise unity and to intimidate the held in the function room of Kidlington enemy. It used to be danced with a rifle Green Social Club in rural Oxfordshire, but in the present day, the Alaoui which has good bus links to Oxford and rhythms have merged with modern Banbury and trains from London. Just as songs and people (still mainly men) well, as dancers came from far and wide often dance it at weddings and other to learn something new! Buffet lunch celebrations with a cane. Leyla taught and afternoon refreshments were the footwork and shoulder included, as well as tea/coffee and a free movements and we all danced together, gift on arrival. Kookie brought either in a circle taking turns to lead along an enticing array of gorgeous under Leyla’s kind and patient guidance goodies: costumes, hip-belts, separates, or in lines opposite each other. I never jewellery and props. Leyla, Christmas 2019 knew that being a warrior was so much Alaoui performance In the first workshop entitled Gasba fun. I finished the workshop feeling Chaoui – Connect with Mother Earth, totally kickass, empowered and a little Leyla introduced the dancers to a new bit knackered too! the rhythm of the percussion. It is often style – Chaoui, popular with the Berber After the second workshop there was danced in connection with fertility, birth population who live around the Aures quick chance to browse the Kookie and rites of passage. Leyla taught the Mountains in . The music contains Kaftan stall, whilst the room was swiftly signature movements of the pelvis. All poetic singing and rhythmic percussion, transformed from workshop area into the workshop attendees danced accompanied by a wooden flute called Casbah Cafe. The stage back drop had a together in a circle, taking female ‘gasba’. Chaoui dance is a maternal festive flavour and there was even the sisterhood to a whole deeper level. dance and therefore mostly performed opportunity to pose for photos by the by women. The movements focus on the In the second workshop entitled Alaoui fireplace scene, decorated for Christmas. pelvic region which moves in time with Style; Unity, Rhythm and Expression, There was also Emma Wheate Price’s stall

Ozgen, Casbah Cafe, November 2019 Leyla workshop, November 2019 Alaoui Photo: KevinPhoto: Newton

18 ISSUE 80 Photo: Peter Chaplin Peter Photo:

Alma, Christmas fairy Leyla, Casbah Cafe, November 2019 selling cute little gingerbread and Karen Bullen who dazzled us with a Hannah’s duet to the 2019 smash hit decorations that had been made to look ribbon fusion number. Mafia. Of course the highlight was Leyla, like belly dancers, complete with Other soloists had come from further our teacher and guest star for the day brightly coloured hip-belts… perfect afield like Noelleen and Victoria from the who absolutely brought the house down stocking fillers! Midlands, both of whom are creative and with her passionate and empowered There was a variety of performances in spellbinding performers; Samar and performances. Leyla’s joy for dance the hafla: groups like the Swindon Victoria from London who are definitely comes from her soul and her smile says it Shimmyers, who were temporarily ones to watch on the UK scene; Charlotte all – it’s totally infectious! We were all also named Santa’s Shimmyers to fit in with from Berkshire; Osmia from Swindon; treated to a special guest performance the festive theme, decked out in Monika and even Sahara from Bosnia. from our very own secret santa, Mr beautiful red costumes adorned with There was such variety with some ATS Ozgen, who flew in on his sleigh for a white trim. Tattered Lace and Hazzaz tribal from Kay from local troupe Ashnah brief performance and he got everyone glammed up in the festive spirit and who performed a solo, and from up dancing to Mariah Carey’s All I want Queens of the Casbah performed an Iridescence. We had some fusion pieces attitude-filled skirt and fan dance. There from Fulya and Amira and Tribeulations. for Christmas is You! Before I got roped was a number of soloists: locally like Sari, Other standout performances, were into dancing along, it brought a tear to who performed a beautifully emotive Alma who opened the show with her my eye; it was just such a special sight, piece to Raul Ferrando’s Yearning, Aradia amazing light up Isis wings – she looked seeing everyone up dancing, having a who performed a magical veil dance, like a beautiful Christmas fairy atop a jolly ol’ festive time – it certainly was the Kay who was aflame with fiery fan-veils tree; Suriaya of Samarkand; Kay and best Christmas gift ever! A New Year and a New Home for Casbah Cafe by Hannah Newton

It was with some trepidation that I made nights. The new venue is Stratfield Brake the decision towards the end of last year Sports Ground, Frieze Way, Kidlington, to change venues for my Casbah Cafe OX5 1UP. It has a large hall area with events for 2020! I’d had a successful run plenty of space to dance in and a decent of seven years hosting 29 workshop days floor, kitchen facility, lift, licensed , with a variety of teachers and five years changing areas (the first XIV Rugby team hosting 15 haflas at the same venue, aren’t included sadly) with lots of Kidlington Green Social Club, which had parking and lovely views over the rugby it’s own ‘special’ qualities. So it seemed a pitch and cricket ground! bit daunting to change… however, Despite the extra space, the feel is still fortune favours the bold, and so bold I special and intimate and the vibe is had to be… warm and friendly from everyone I am delighted that the new venue is a involved: from me, the host, the bar staff lot bigger and brighter and absolutely ideal for such workshop days and hafla continued overleaf…

ISSUE 80 19 A New Year continued… and duty managers, the visiting photographers and mainly the attendees. The ethos of ‘enter as strangers, leave as friends’ has remained the same and will continue to do so, with tea/coffee and free gift on arrival for workshop attendees, included buffet lunch and more tea/coffee, plus refreshments and biscuits after the workshops, before another included buffet at the hafla. The audience at Casbah cafe is the best – such a supportive and encouraging crowd, whether you be a newbie to belly dance or semi- professional, everyone is given the same amount of love and courtesy!

It is a fabulous space and, as one Alan Long Photo: Casbah Cafe regular, who had been to 12 of the other haflas, said to me: “I am pleased you’ve found us our new hafla home and I think we will all be very happy there”. So keep an eye out on the Casbah Cafe Showcase page on Facebook or contact Hannah Newton direct on [email protected] to find out more about her next events and let us welcome you in to the Queens of the Casbah Casbah Cafe family!

MOSAIC ARABIC DANCE NETWORK ADVERTISING Mosaic magazine is issued three times a year: D in April: deadline March 1st D in August: deadline July 1st D in December: deadline November 1st D The earlier you submit your ad the better, to ensure that it will be included! Advertising rates: 1/8 page (85.5mm w x 65mm h) ...... £15 1/2 page (85.5mm w x 262mm h) . . . £45 1/4 page (85.5mm w x 128.5mm h) . . . £25 Whole page ...... £80 1/2 page (175mm w x 128.5mm h) . . . £45 Double page (ambitious!) ...... £140 Inserts, by special arrangement . . . . £70 – you provide the insert. If you want your insert designed and/or printed then please get in touch for prices. Charity rates on request: please ask. Submissions of the same advertisement for three consecutive issues carry a 15% discount. (Except inserts.) Submissions of the same advertisement for six consecutive issues carry a 25% discount. (Except inserts.) Mosaic magazine covers a wide range of topics relevant to dancers at all levels of ability and experience. It offers information on different dance styles, classes, courses and music in this country and abroad. It includes articles, reviews and debate on issues that affect dancers directly. Many of the subscribers are teachers, who then disseminate information to their classes. So, your advertisement will reach a wide audience. Please ensure that you submit a prepared advertisement as a word or text file with photos as jpegs or tifs at a minimum resolution of 300dpi. MADN will not compose your ad for you or amend it in any way. So, please do proof read before you send! Please send all submissions to The Editor: [email protected] You’ll receive an invoice, which tells you how to pay and also acts as your receipt. Do get back to Ed if you have any queries.

20 ISSUE 80 Considering Catering for Your Hafla or Event? MADN update

Introduce food relevant to your event, appropriately for the job. Be aware of and you can keep costs low while HACCPS (Hazard Analysis Critical Control

providing a warm welcome. People love Point) this is basically a system to prevent on Unsplash Photography Sebastian Coman Photo: to eat: food helps everyone relax and things going wrong in food prep. It is socialise. Even if people bring their own systematic prevention of contamination food to your event you are responsible for from physical, biological and chemical ensuring it is safe and you are legally hazards, ensuring that safe food is liable if something goes wrong. This is produced. why some companies will not allow you Contaminated food: there are a number to self-cater at their venue, because they of food-borne illnesses to be aware of: are potentially liable and something E. coli, Salmonella, Campylobacter, going wrong could affect their reputation Clostridium Perfringens, Norovirus and and their business. Don’t be put off! If you Listeria, to name a few. Good food own the responsibility of catering, you practice can prevent these taking hold: can ensure that good standards are hand washing, ensuring food is cooked to maintained. Due diligence is key! the correct temperature, storing food correctly and using it in date to name a few safe practices. Be aware of contaminated food. Contaminants can be things, i.e. sequins, Toilets and washing facilities: these are hair, metal, plastic. an invisible aspect of the venue for your They can be be event or hafla. They are massively cleaning products “ important, though! The venue owner is and also vigilant… responsible for providing enough clean microbiological ” toilets and sinks for attendees. It is still up contaminants such as bacteria, mould to you, though, as event organiser, to and fungi. Be vigilant, check dates, check that they really are clean, with Venue kitchen: check that the venue you cleanliness and spot potential hazards. are using has a certified kitchen with a plentiful supplies of toilet paper, soap and Hot and cold: keep your fridge cold at 4°C good hygiene rating (4 or 5 preferably). towels. In the present climate of (39°F) or colder and your freezer –18°C. Make sure that you can cook on the coronavirus fear, checking on hygiene is Heat food to a core temperature of 75°C premises, not all kitchens are suitable for infinitely more urgent. unless you are in Scotland, where the this cooking in for events. If you are unsure is higher (82°C). Provided the food won’t Don’t be put off by rules and regulations, about anything, ask. You can take a City spoil, you can heat things to a higher they are there to help. Prevention, and Guilds basic level two certificate in temperature beyond this legal minimum. common sense, good safety knowledge Food Health and Hygiene in two or three Enjoy stacking your fridge in a safe order. and a great menu is a recipe for success. hours and it is not expensive! Whether Like most things in the kitchen, it is you are new to catering or need a common sense. Cover food and date label refresher, it can be helpful to take a course where possible. (you can do it online now). On the top shelf store: ready-to-eat food Personal hygiene: sure, we all know to like dairy products, cold meats, wash our hands, but did you know that pre-packed butter and cream cakes. Then there is a twelve-step process recognised on the lowest shelf raw meat, preferably by the World Health Organisation for in a dish or well wrapped. This prevents washing hands?! Personal hygiene is cross contamination. If you have a essential: clean clothes, tied up hair, clean person and hands, etc. If you are found domestic fridge, vegetables can be stored guilty of causing food poisoning you can in the drawer below raw meat. be jailed for two years max and receive an Alcohol: a license is required to serve and unlimited fine. You need to understand sell alcohol. If you do want alcohol at your food law, hygiene, food-borne illness, event, you can get round this by letting hazards, food storage, temperature and people bring their own bottle. You also control, and more. It is essential that all need a license to serve hot food between those handling food be trained 11pm and 5am – probably not applicable!

ISSUE 80 21 The Importance of Defining Your Dance: Part 4 by Ne-Kajira

In this last segment, we will finish with a skirt, and will use a 3–4 yard veil In 1970s Fusion, exploring how the elements of definition that she also wears throughout the initial costuming differs apply to the various dance forms and also segment of the dance. She will have a widely depending on a brief look at why claiming your own bare midriff and usually be barefooted or the music used and dance form can lead to more wearing dance slippers or foot thongs on the theme, performance opportunities. her feet. I Dream of Jeannie aside, this is presentation or the accepted and promoted image of concept of the dance Costuming American danse orientale. itself. A fusion dancer can wear a bedlah Costuming differs, or should show a Raks sharqi costuming runs a gamut of and ‘tribal’ difference. Costumes have a function: personal expression: focus is on the costuming, and they enhance, complement or visually emotional appeal of the costume to the many cling to this interpret the movements of the dance to dancer and her own sense of self in the tenaciously. It is also the audience. Many folk and folkloric costume. At times, this can mean the common to find costumes have symbolic meaning and are costume is not used to express something about the ‘flattering’ in the eyes 1970s Tribal costume types and people, village or region from which they of the beholder, but evokes a village fantasy costumes, originate. This is why dancers should this is not as heart of feel in an even though the always only wear traditional costumes important as the heart ‘ the audience while when performing traditional dances. This dances fused are of the dancer. She retaining a is also why most dancers who perform dancer… related to, or have a wears what she likes regional flavour folk and folkloric dance do a great deal of ’ foundation in, and feels good in. Few research and study to understand the traditional or old-timers can forget people whose costumes and dances they classical dance cousins. Footwear the trend for bicycle shorts or the fruit are using: it is the respect for a culture depends on the dance presented. costumes. Yet what mattered to the and a people that is required. In folk and dancer was that she liked it, and that Synthesised Dance is the modern folkloric dance, even the movements can included that sometimes a dancer might derivative of . As more and be performed in specific ways, so it is wear something that appeals to her sense more dancers move away from even more critical that a dancer be willing of humour or whimsy. Many of the performing or identifying with traditional, to study. costumes are single piece beladi dresses. classic or modern belly dance, and blend Though the bedlah is perceived as a Sadly, with the rise of Russian-influenced more and more unrelated dance forms together, the costumes are becoming Middle Eastern , American ‘sexiness’ and the seemingly international even more creative and eye-catching. danse orientale dancers have adopted the trend for breast enlargements, some of Footwear depends on the dance bedlah as their costume, with significant the raks sharqi costumes have gone to presented. differences that are not usually a feature great lengths to titillate the audience. This of raks sharqi costuming. Since the late has included showing enlarged breasts In ATS and its variants, the typical 1960s, the American danse orientale dominating the visual, mixed with flashes costume is a mix of clothing styles from dancer has created in the audience an of buttocks teasing the viewer. In my Asia, the Near/Middle East, and North expectation that she will be wearing a personal opinion, I hope this fad fades Africa. Some variants are bringing in beaded or coined two-piece costume and the focus becomes the quality of the gothic, steampunk, Victorian and other dancer more than the costuming elements that confirm the quantity of her flesh. dance as being far removed from its In 1970s Tribal, the originating root costumes are elaborate, dance, leading to costuming often more covered than even more creativity…‘ other forms and are possibilities for ’ designed to evoke ‘tribal costuming regalia’. They may or may not creativity. Dancers are often barefooted be ‘authentic’, but they are or wear dance slippers; much depends on designed to create a tribal the overall costuming. perception in the audience as well as complementing The presentation on stage the dance movements and Folkloric and was not form. In most cases, the developed to be a stage performance art. Folk/folkloric dances should be costumed appropriate costuming focuses on a It was performed for festivals, to the dance and region, not performed in bedlah specific region, style or celebrations, and village events such as flavour. weddings, births, celebrations and rituals

22 ISSUE 80 of seasonal events. As such, traditional dancers finding themselves on large Movements used and how they folkdance has a more random feel to it, stages. Performing in a small square on a are executed and the music drives the individual, who large stage is less satisfying for audiences How the body creates movement differs responds in kind while still remaining used to ‘the wide screen’, so dancers in these dance forms. While all dance under certain parameters of what is created a range of travelling steps and shares how movement is generated in the acceptable. However, these dances are spins, as well as choreographic sequences body, the presentation of that movement now part of stage performance both in troupe, to cover large areas. With good differs. In addition, emotional essence within their native lands and outside, and training, the dancer found herself able to affects movement and its projection. The the difference in presentation is notable. adjust the length of her step, the style of same movement in raks sharqi can look Some of the differences may include, but spin and the coverage of a walking spin to quite different when performed in are not limited to, the movement pattern accommodate the smaller space. This American danse orientale, Fusion, of a dance, how a dance is choreographed resulted in Am/Can dancers utilising more Synthesised or ATS. This is because of the for stage versus how it is performed in a horizontal space as internalisation of the movement in one natural environment, and of course, the well as vertical space form while it is external in most others. In function, since stage dance by its nature in their dances. In focus is addition, the use of space, body carriage becomes more ‘entertainment’ than addition, Am/Cab ‘ on the and the technical execution of a movement functional experience. started as a solo art, can impact on its appearance. but has become a dance… In raks sharqi, the presentation on stage In raks sharqi, posture is relaxed and is more vertical than horizontal and is dance form ’ compatible with natural. The focus is on executing a usually done by a soloist, though they movement authentically and completely. might have background dancers group performances, all the dancers usually wearing the same costumes so There is less concern over ‘variety’ of performing also. The dancer may walk movement than there is of the skillful around the stage as she dances, but there that the focus in on the dance rather than any individual dancer. execution of each movement as it relates are far fewer ‘travelling movements’ to the music and as the audience expects developed. While a number of walking In Fusion and Synthesised dance, the to see it. Remember that raks sharqi is in movements are used, you will seldom see training from Am/Cab was integrated into essence a folkloric dance, and as such the traveling spins and leaps found in movement development and already has established parameters and American belly dance. Part of this has choreographic concepts for troupe the audience already has expectations. been due to the original performance numbers. This meant that movement on limitations of clubs from which raks sharqi stage can be a blend of vertical and In American danse orientale and Fusion, developed. horizontal movements depending on the the posture of the dancer is open but usually more controlled and upright than skills of the dancer or choreographer, and In Am/Cab (American belly dance, in raks sharqi. The dance occurs in both which style she favours. Some dancers American danse orientale), the stage has expanded horizontal space as well as who have studied raks sharqi and moved become integrated into the range of vertical space, so there are many more into Synthesised tend to utilise more dance movements. This is because movements that are combined with vertical space than both horizontal and Am/Cab became part of fairs, festivals and traveling steps. Movements from other vertical, but it works because their non-club related venues, resulting in related dance forms are integrated into presentation is suited to the limitation. the dance. Because the dancer has Both Fusion and Synthesised dance can be greater freedom, she can introduce new a solo art or a . While solos combinations and expansions on remain mostly improvised (I have known movements, and bring in theatrical soloists who choreograph their dances, elements that but this detracts from the emotional build on essence found in the originating dance), movement group numbers have become more and combinations. more inventive and thematic stage shows These forms also were developed, leading to Dance Theatre. utilise levels In ATS and its variants, the typical group more. Because dance patterns – long diagonals, rotating Fusion has far circles, crossovers, etc - allow a wide fewer limits range of stage use while also being easily regarding American Danse Orientale, adapted to smaller spaces by reducing function, also called American Cabaret the number of dancers in each movements can (AmCab), or American Belly choreography. This is accommodated by be expanded When deciding Dance, often utilises the upon the type of the limited movements in ATS and the upon in new bedlah combined with panels, tribal costuming to repeated patterns. ATS can also be ways. Much will 3–5 yard skirts, pants wear, you have to performed as a solo utilising the specific depend on and a 3 yard circular or examine the dance movements that make up the ATS style. I rectangle veil that is used in a whether the you will perform 3–5 minute veil segment will again mention that the improv style dance is solo or and which costume requiring great skill, a wide of ATS is based on visual cues known by group. best suits the style, range of veil movements and the dancers that help ‘tell’ each dancer the movements yes, the zils are usually worn what is coming next, well-practised and and how you will throughout the segment! executed. use the stage continued overleaf…

ISSUE 80 23 Defining Your Dance continued… centre stage and advanced professional level performers, the emotional and recitals and haflas are where less 1970s Tribal dance does not offer as much response to the skilled dancers should ‘cut their variation of movement because the music within the performing teeth, so to speak, we could uniformity of the dancers has to be dancer often see a rise in performance opportunities maintained. Dances must be takes a secondary and careers in these dance forms. choreographed (with the exception of position (or is not solos) to evoke a ‘tribal’ feel, but can still First, instead of seeing this dance genre as apparent at all) in rely on both horizontal and vertical a ‘party piece’ or ‘novelty act’, separating the dance. There movement. Tribal dances rely more on a them out and perfecting each as a is seldom group consciousness than on creativity of specialised art would create more expectation of A cabaret costume movement, much like in folkdance. The teaching opportunities, just as happened the audience using a tie-belt for three levels are also utilised but not as quick changes in break dancing and , for having a shared often as in ADO, Fusion or Synthesised. It during a stage instance. Lumping everything under the emotional brings in theatrical presentation to a show as well as title ‘belly dance’ creates a confused response to the greater degree because its function – to being able to fit mish-mash in the eyes and music or dancer, re-create a ‘village experience’ for the different hip sizes understanding of potential students (and outside of ‘liking audience and the dancers - requires a as needed it also indicates some abysmal ignorance the performance’. different emotional response from both on the part of too many teachers). ATS and its parties There is also a limited market for ‘belly variants are quite different, as the In ATS, there are fewer movements and dance’ as an art form or performance function of the dance is not really towards movement variations. The carriage of the form. There are fewer club venues, the audience at all, but towards the group. body, with torso more upright, shoulders restaurants hiring dancers and live bands It is, more than any of the other dance more restricted, the head and neck held to dance to. This has resulted in haflas forms, a communal dance whose function more still than in the other forms give an being presented to the public, who are is to create a sense of ‘sisterhood’ within increased sense of movement restriction. confusing them with shows. Remember the dance group. This is why there are that a hafla is an informal party. A show is Part of the reason for these movement limited movements, set patterns and a a formal presentation of dance to an differences is tied in with the intent or focus on group unity over variety or self- audience. function of the dance. Raks sharqi is an expression. Though more groups are emotional exchange between the dancer performing ATS and variants as Fusion Dance in the past lent itself well to and the audience; the other forms are entertainment, the dance form itself Dance Theatre and created entirely new designed mostly as entertainment art retains an almost insular feel to it, with audiences amongst people who were not (Am/Cab comes closest to being like raks the group as the focus and the audience necessarily interested in belly dance but sharqi in this, due to the long association as peripheral to what the group is doing were interested in dance theatre and its of Am/Cab with Arabic and Turkish within itself, for itself. unlimited creative possibilities. Many audiences in clubs). While there can be an touring groups and performance groups emotional element if the dancer is skilled, Future opportunities through were able to earn a living from dancing. the audience is usually different. Most re-defining a dance style Sadly, as standards slipped, so, too, did audiences watching Fusion, ATS and its Finally, and importantly, defining our interest in watching poorly prepared variants, Synthesised or Dance Theatre are dance – what we are doing – can often dancers – but this could be revived! not well-versed in the music or the songs expand or limit opportunities for Synthesised Dance and Fusion Dance used if these are Arabic, Greek, Turkish, performance, as well as creating career could, if the dancers worked hard to reach Egyptian or North African. Many western opportunities from an art form. an advanced or professional level, develop audiences do not have the same entirely new audiences willing to pay a fair ‘Belly dance’ is too often seen in the west as relationship with other music used (such a ‘novelty’ dance suitable for party pieces fee to watch a professional, well-presented as New Age, soundtrack, modern rock or or fairground entertainment because we and conceived show. The challenge to pop, etc). have made it less an art than something we dancers, teachers and troupes is to make Finally, in terms of choreographic form do for exercise or a fun hobby. This is the commitment to work hard and perfect and structure, because of our own ignorance about the movement technique, stagecraft and there is a big folkloric roots of the originating dance as choreography skills, and not allow ego to separation of intent, well as the lack of our understanding of the hold standards back. function. function‘ and dance itself. Another major reason is that As I explore the differences between raks Understanding we have too often chosen to allow shoddy sharqi ‘belly dance’ and its inspired variants why you are essence… training and low performance standards in and sub- dancing and what ’ our dance community to dominate under variants, I am you are trying to express and to whom is a the pretense of ‘kindness and inclusivity’ for more convinced embrace big factor in intent, function and essence all dancers, no matter how ill-prepared for than ever that ‘the root of any dance form. performance they are. I will repeat, often: dancers in these there is a reason we have recitals, haflas, Raks sharqi is an abstract dance form in genres should inspirations… shows and full stage shows, and there are that the purpose of the dancer is to embrace the ’ boundaries for who should be performing embody the feeling within the music for differences, celebrate the root inspirations at them and what should be presented. the audience. In other derived dance and move forward to develop new venues forms such as American danse orientale, If we understand that public for their dance forms rather than cling to Fusion and Synthesised, movement takes performances should be limited to belly dance venues and performance

24 ISSUE 80 traditions. One of the benefits of the new felt chagrined that the audience was not for the art, depending on what the audience dance forms is that they DO allow this and seeing this as a dance form, but as a sees. allow more freedom for venue novelty act that was a bit titillating. What happens in the future is up to the development if staged/presented and Watching them attempt to play the zils students and dancers who are even now performed correctly. was also disturbing... these are musical deciding whether to strive to become Let me give a final example of the direction I instruments and should have added to, good dancers and invest in their training, hope you will decide not to take. On a not detracted from, the performance. improve movement technique, sunny day recently, another professional Now, I realise that it has become understand stagecraft, and focus on dancer and I were visiting a nearby town. I unpopular for anyone to criticise developing their skills through practice. heard the tones of a piece of music I someone who All this would enable them to present a recognised and saw four dancers, all in wants to dance. beautiful dance to new audiences and bedlah and skimpy skirts (and one in a Let’s be clear, unpopular help create real careers in teaching and badly fitted bra that had several of us though. I and many for‘ anyone to performance. Alternatively, if being seen concerned!!!). One was obviously their others are not criticise… as a novelty act is more important, they teacher or ‘troupe leader’, the other three saying a person ’ could spend money on a pretty costume were students (at least, I hope they were cannot/should not so they can be seen on stage and not not also teachers!). The costumes on the dance. We ARE saying, as people who spend time and investment in good three were amateur at best, the dancing invested long hours and years into our art training or practice. poorly presented and it was obviously not and as people who danced under the So there it is. One practised as much as should have been. judging eyes of outspoken experts in the depends on your love The movement execution and technique genre, that there are appropriate venues of the art form itself, in love of needed much improvement and the and times to dance, depending on your whatever variant; the ‘the art professionalism in presentation was abilities, skills, experience, training, dance other on ego or a absent. Watching the women go out into form… level and understanding of what you are desire for fun and the audience and try to get people up to ’ doing. Necessary points of good judgment fitness.Both have a dance with them was uncomfortable. I and discernment need to be used regarding place – one on stage wondered why they had been costuming, music use, impact on audience and public performance as encouraged to dance that day, since they and who should be performing as a public representatives of dance, the other in were not ready for a public presentation. representation of the art, and so on recitals as students and at haflas as As dancer, I could not help but wonder informal parties. Which will you choose? what the objective of this was. The Every student, every dancer, every show, costumes were not appropriate for the every event is an opportunity to promote Fini time of day or the venue. To be honest, I the art as a legitimate art form or a disaster © 2019 Prima Beladi 2020 EVENTS: free listings for members – send to [email protected] MADN Membership Keep it brief: when/where/what’s on/contact details & Insurance D September 8th-15th: Funoon Dance Camp, Taroudante, Morocco DON’T FORGET TO www.facebook.com/events/s/funoon-dance-camp-taroudante- RENEW YOUR m/613471202815085 Contact Nawarra: [email protected] MEMBERSHIP AND

D September 18th–20th: Victoria Hotel, Torquay INSURANCE BY Jan’s 10th Anniversary Bellyspa Weekend MAY 1ST 2020! Contact Jan: [email protected] and FB Jan’s Torquay Bellyspa MADN membership brings you be there or be square! a fab deal on insurance!! See pages 7 and 16 for details. Check with your dance teacher and other outlets like FB for ‘virtual’ events… we can’t stop dancing!

ISSUE 80 25 Belly Dance and the Rhythm of Life by Rosemary Le Fevre

The connection between rhythm and the The practice of belly dance includes brain is a fascinating subject. Studies several parts of the brain. Music engages show that music and rhythm can hearing and memory centres potentially heal trauma, prevent (hippocampus, frontal lobe). Belly dance dementia and help in conditions such has exciting and varied rhythms which Parkinson’s Disease. It can help prevent can be expressed using the hands and ‘sun-downing ‘ which is when dementia feet. Tapping out rhythms involves the sufferers get depressed and agitated in cerebellum. The movement of dance adds the late afternoon. It can generally help the caudate nucleus and the primary tackle depression and some mental illness sensory and primary motor cortex to the by overriding or creating a new focus. list of brain areas affected. As steps, Rhythm can help movements and sequences are learned recalibrate the and implemented, memory can be brain. Studies recalibrate improved. suggest that a the“ brain… Dance is one of several things that helps possible key to ” the body produce the enzyme unlocking and ‘telomerase’ which can help prevent releasing trauma is through rhythm which telomeres (the DNA caps that protect can help regulate the primitive fight or linear chromosomes) from shortening, as it works with the body’s inbuilt flight parts of the brain. which they do in everyone with age. inclination, unlike a number of other When telomeres get too short, tissue cells dance styles (wonderful in their own are unable to regenerate and right) which work counter to the way the eventually they perish. It is body does naturally. known that telomerase can slow down the Arthritis and spinal degeneration are shortening of telomeres. common symptoms of ageing. Belly Recent research suggests that dance is a load-bearing exercise and can telomerase may even be able help increase bone density and prevent to lengthen telomeres. This is osteoarthritis. Even seated, it helps gently potentially exciting news lubricate the joints and ease them into because this means that not action. Elderly people often sit for long only can ageing be slowed, stretches of time and, like anyone at any but potentially reversed, at age, this can least to some extent. Belly dance exacerbate aches and also releases helpful hormones such pains and cause ease as oxytosin (feel good) and stiffness. Unlike some pain“ and endorphins which act like more conventional morphine, inhibiting pain and also movement practices physical make you feel elevated. which can be more stress… linear, belly dance As the body ages it loses muscle ” ranges through a tone; joints start to stiffen; series of linear and circular movements. strength, agility and suppleness Belly dance can ease pain and physical decrease. Even the body’s stress. By moving the whole body amazing capacity to regenerate including the limbs and spine, it can almost every part, diminishes. release built-up of tension. The body can literally start to wear out. Belly dancing through It is not just physical tension that is life can help ease these released. Belly dance and music can help symptoms and even in some with mental health and ease depression cases prevent them. There is no and anxiety. Familiar music can bring back age limit to dance and it can memories, improve cognitive capacity and actively help prevent ‘ageing’. It recall the body to dance as it used to. helps ease the joints and keep Unfamiliar music can equally be beneficial the muscle tone needed to do as it requires the brain to process everyday things such as walking, something new and stimulates eating and even sitting. Belly dance engagement. For some, belly dance and Rosemary in pink! is a wonderful way to move the body its accompanying music may be unfamiliar

26 ISSUE 80 at first, but if you have regular sessions Belly dance and rhythm is an area that great way to socialise. Positive group with the same group it will become part of could do with more research in relation to energy is known to be very beneficial. their memory, short and long term, and age and the brain. Science is still Remember the wonderful Yvette Cowles thus part of their experience. searching for answers to so many and her Dance Yourself Happy classes. An Even the bedridden can benefit through questions. The ageing population is set to atmosphere of acceptance, shared activity gentle and, if needed, assisted movement. increase and the need to study this area and common goals fosters supportive Circles and figures of eights, arm and has probably never been as necessary or actions. All age groups can mix while some leg movements can work well with as available to dancing, giving a common bond between the support of a floor or firm bed. It may scrutiny as it is generations. Friendships may well grow be essential to have two people at least to now. Belly dance belly dance within the group that then extend beyond the dance class. So dancing, in support safe movement or even lifting. has no age limit, “ has no age For the very ill or frail, listening and for even the turn, enriches and nurtures the rhythms watching may be enough to help physically limit… of everyday life. stimulation and healing, even these are incapable can hear, ” forms of exercise and not to be see or feel the underestimated. Don’t assume incapacity dance. There are possibly more belly is total; some people see and hear far dancers in the realms of the elderly than beyond their physical capability. ever. So what better time than now to bring belly dance and related exercise to On this note, just because one part of the this demographic. body fails to work, it doesn’t mean that all References things also don’t work. Dysphasia is a The emotional aspects of belly dance Book: Learning to speak Alzheimer’s by Joanne prime example. A person can be very must not be forgotten! As well as actual Koenig Coste. intelligent, can hear perfectly with no loss chemical changes that occur as you dance Internet: Dr. Perry; Rhythm Regulates the Brain; of understanding, yet their words come that benefit mood and outlook, the very Alzheimer’s Reading Room – rhythm for dementia. out as a complete scramble of lucid act of tying on a sparkly hip-belt cheers Rhythm on the brain, and why we can’t stop phrases and gibberish. Currently it is the little girl in you who loves to dress up. dancing – The Conversation. thought there is no cure. But we know Dancing is a form of play… and how often T.A. sciences.com – telomeres and cellular from research that different rhythms and do adults just play for the delight of it? ageing; Scholarly Articles for Telomeres and sounds stimulate different parts of the What a life-affirming hobby! If you set Ageing; Scholarly Articles for Endorphins and brain and that neural pathways can be yourself goals to make particular gains, it exercise. created. Could crossed wires in the brain gives purpose and structure to the dance, Science Daily.com – Cells are resourceful when be bypassed to create a new mode of feeding your self-esteem as you progress. it comes to copying DNA even if it is damaged. function? Dancing with like-minded others is a Overview of the UK population July 2017.

ISSUE 80 27 Teacher’s Listing Spring 2020

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ENGLAND Cumbria Southampton, Portsmouth Heike Humphries (Akasha) 07989 305859 Bristol Rita Williamson [email protected] www.ritawilliamsondesigns.co.uk [email protected] Sacha Tremain 07971 578151 www.akashatribal.co.uk [email protected] Devon Fordingbridge, Dibden, New Forest www.sachabellydance.co.uk Exeter, Plymouth Jan Piggott [email protected] Saeeda Jameel 01275 855016 Ameera www.ameeradance.com Jan’s Gem’s event Page Facebook [email protected] Exeter, Tiverton www.saeedabellydance.com Herefordshire Kelley Beeston 01398 331143/ 07808 740828 Oldland, Bristol and Yate [email protected] Hereford, Leominster, Ledbury Gaye (Gabrielle) Collier www.bellymixtures.com www.kalash-tribal.co.uk Alanya 07962 161081 [email protected] Exeter Bedfordshire www.alanyabellydance.com Jacqui Spiers [email protected] Christine Warwick [email protected] Katherine Hough [email protected] Dorset Sharlene Pratt 07946 126148 Kent [email protected] Christchurch www.yarabellydance.com Jan Piggott [email protected] Medway Towns Jan’s Gem’s event Page Facebook Rosie Tamplin [email protected]flowers.co.uk Berkshire www.thedesertflowers.co.uk essex Windsor Chislehurst, New Eltham, London SE9, Bromley Clare Campbell 07754053179 Southend on Sea, Hadleigh Elaine Armstrong 07986 357603 Denise Taylor 07729 803783 Feyza Howell 07718 905433 [email protected] [email protected] www.bellydancingclasses.org.uk [email protected] www.denizbellydancer.com www.Feyzabellydance.co.uk Leicestershire Facebook/Feyza Dancer Harold Hill Rosemarie Flint 01277 374378 / 07913 888581 Lutterworth, Walcote Buckinghamshire [email protected] Lynne Chapman 01327 843352 Aylesbury Saffron Walden, Dunmow [email protected] Deadre Appleton 01296 431040 Jessica Boughtwood (Aahminah) www.kookiekaftan.co.uk www.barefootbellydance.org [email protected] Barbara Henderson [email protected] Cambridgeshire Gloucestershire Ickleton, North Cambridge, Linton, Saffron Carol Gibbon 07885 733968 London [email protected] Walden, King’s Hedges Vashti [email protected] Sue Baker [email protected] www.miragebellydance.co.uk www.buckletonbellydancers.webs.com Yate, S. Gloucestershire Merseyside Ely Sacha Tremain 07971 578151 Carol Hall 0151 280 9599 Elizabeth Aitken [email protected] [email protected] www.sachabellydance.co.uk Norfolk www.elysianbellydance.co.uk Nicola Livermore 07400 228722 Hopton [email protected] Pauline Shreeve 01502 563319 Cornwall www.celebratingdance.com Rosemary Le Fevre 07949 850322 Penzance, Ponsanooth Charlotte Jaggard 01452 554234 / 07840401187 Liz Newman 01326 564744 www.rosiebellydance.com [email protected] [email protected] Hampshire www.bellybolly.co.uk Havant, Portsmouth Northamptonshire Liskeard, Devon, Plymouth Susan Richardson 07814 656551 Northampton Amanda-Rees Murray [email protected] [email protected] Lynne Chapman 01327 843352/07941 021693 www.shunnareh.webs.com Launceston [email protected] Jacqui Spiers [email protected] Melissa Hoare www.bellytricks.co.uk www.kookiekaftan.co.uk

28 ISSUE 80 oxfordshire Warwickshire CHANNEL ISLANDS

Kidlington, Banbury Rugby Jersey Hannah Newton 07932 141355 Lynne Chapman 01327 843352/07941 021693 [email protected] [email protected] Susan Reid 07797 724163 www.kookiekaftan.co.uk [email protected] Abingdon, Oxford Wantage Loreley Rice [email protected] Whitnash www.loreleyrice.co.uk Colleen Scott 01926 422204 / 07973 142971 NORTHERN IRELAND [email protected] Northern Ireland, Bangor shropshire Kristyene Boreland 07821 697116 Oswestry, Shrewsbury West Midlands [email protected] Lindsey Salomon 01939 233835 Solihull www.lailadesertrose.co.uk Christine Brookes 07792 814607 Sandra Newey 0121 603 3204 Jennifer Houle [email protected] www.ashiqui.co.uk [email protected] www.jenbellydance.com Telford Wiltshire Niki Jones [email protected] SCOTLAND Salisbury, Wilton Craven Arms, Ludlow Sabine Dawson 07720292376 Forres, Morayshire Kathleen Webb 07977801522 [email protected] Caroline Bury 01340810258 [email protected] [email protected] Swindon somerset Sue Dickinson 01793 538288 Deidre Clitheroe www.hipswithattitude.co.uk [email protected] Somerton Stephi Briggs 07709 433643 Amesbury WALES [email protected] Geraldine Scott 07900 360357 www.sjb-bellydanceinbristol.co.uk flintshire Wiltshire, Chippenham Wrexham and Flintshire North Somerset Rachel Terry www.saharasisters.org.uk Saeeda Jameel 01275 855016 Rachel Walker [email protected] [email protected] Worcestershire Abergavenny and surrounding area www.saeedabellydance.com Redditch Wendy Hughes 07530 099265 Bath Emma Wheate-Price 07810 440877 [email protected] Carmen Jones www.clubcairo.co.uk [email protected] www.topaztribalbellydance.co.uk www.belly-jewels.co.uk Sacha Tremain 07971 578151 radnorshire [email protected] yorkshire www.sachabellydance.co.uk Sandra Lee [email protected] Sharon Crosby [email protected] www.facebook.com/swansea.ats/ staffordshire Zara Key [email protected] Rugeley, Uttoxeter, Cannock NETHERLANDS Christine Brookes 07792 814607 Larissa Collins [email protected] Siobhan Milner www.greenstonebellydance.com [email protected] www.snakesandrosesbellydance.co.uk Tadcaster stafford Samantha Stubbs UNITED STATES Aileen Welch [email protected] [email protected] Felton Santa Cruz Helené 831 335 4567 www.magicalvision.uk [email protected] suffolk www.facebook.com/KarunaTribalBellydance/ Facebook: Belly dance international with helene Lowestoft Pauline Shreeve 01502 563319 Southend on Sea, Hadleigh Denise Taylor 07729 803783 [email protected] Please check your details www.denizbellydancer.com and let the Membership surrey Secretary know they are Camberley Elodie Morgant [email protected] incorrect or need updating! sussex east [email protected] Bexhill Sarah-Fay Berry 07905116694 and please quote MADN when [email protected] contacting teachers. www.faeholistic.com

ISSUE 80 29 ‘All shall be well and all shall be well and all manner of things shall be well’

Julian of Norwich, 1342–1416

DeADLiNe for sUMMer issUe of MosAiC MAGAziNe: JULy 1sT 2020