mekyria: (Default)
I finally went to a workshop by prof dr dr Hassan Khallil, who is 79 but happened to be in the Reda Troupe in 1956 and has been coasting on his reputation ever since.

I thought that I should expose myself to his pressence at least once, considering that I've been bellydancing for sixteen years now and have managed to avoid him all these years. Plus I am eager to get out there and network a bit, meet new people and dance.

I travelled to Vught (small town near Den Bosch) and took Hannan Sultan's workshop called skillful and slinky hips. Got aome good ideas about what exercises to use to level the hipwork and avoid injury. I hated how she let us drill in a different tempo compared to the music she put on. I cannot ignore a beat and dance in a different tempo. It's also a bit moot considering the teacher picking the music for class. Would be easier to pick something the right tempo instead of making the students go off beat. She is one hard working woman, I respect that.

The second workshop was the long awaited prof dr dr etc. Yes, he uses his titles all the time. I suspect once he bought them, he wanted to use them to get his money's worth. Mr khallil arrived late, and all the ladies stared to applaud when he entered. Little did I know that applauding was mandatory and expected at almost every instant he opened his mouth. He is very charismatic and positive, joking around, hugging women (he's an old dog, he is) and smiling. Can't help but like the guy.

We started 30 min late and Hassan explained that we were doing bellydance theater. An hommage to Cleopatra and het tragic story. He proceeded by showing us the most dramatic overacting ever. It included pining, sighing, yearning, reaching with the arms and putting on an obstipated face.

I was okay with it, saying to myself 'it's only three hours'. But when he told us to lie on the floor and wiggle like a snake, I reached my limit. That was right after he saw me yawn, walked up to me and said:'you should sleep at night'. I replied:'my baby won't let me', making him laugh out loud. 'Baby girl' I added, and he buggerrd off.

After a badly edited zar song attached to Mohammed Abdel Wahab, we pounced the floor with our fist, crawled on fours, picked up a small sized snake and theatrically dropping it in our shirt, the workshop was over. An hour early.

Let me get this straight: 25 people paid 75 euro to attend this three hour workshop. That is 1875 euro. Let's say 1/3 is going to the hostess, that leaves us with 1200 ish. He arrived 30 min late and we finished 1 hour early. For one and a half hour of prancing around, he made 1200ish euro. Tell me again that the bellydance market sucks and people are not willing to pay for workshops.

To be fair, One and a half hour of this was more than enough for me. Once, but never again. I did get to experience prof dr dr first hand and polished my snake writhing skills. Ozma, it reminded me of our floorwork workshop with Princess Banu in Istanbul. Good to know the crazy is equally distributed among teachers globally
mekyria: (Default)
It's been a while but I got back on the bellydance workshop horse. With two days of Sadie's Raqs Flow, travelling to Breda (a city to the East, about an hour away by car and two hours by train).

Regardless of the workshops, I am patting my back for having the guts and making an effort in going. Eliza is still waking up a couple of times each night and I am still breastfeeding. being tired and pumping milk on lunchbreaks, then walking to the employees kitchen and store the mill in their utterly gross fridge adds an extra dimension to the whole experience.

But let's talk about the workshops! Sadie was relaxed and happy to explain why she developed her program. I did not ask her many of the questions that went through my head, like why create a certification program when there are so many out there, what do you think of other certification programs, what are the requierements to stay certified, and why isn't this information online if you've been teaching Raqs Flow for three years now. Somewhere along the way I turned into the critical thinker party pooper and it's not good to be that person when the rest of the people in the room are gushing over how much they adore Sadie.

I like Sadie. She is a technically strong dancer and this program showed how she is starting to develop more as an emotional and expressive dancer, which is good. I wouldn't call her my mentor though.

The program itself has a solid foundation in bellydance techniques: hip up/down, hip forward/back, and hiprolls which is a different way to say camel and reversed camel. All of this combined with five basic arm positions and working with weighted/unweighted leg. That kept us busy for 3/4 of the time. The pther quarter was filled with her husband coming over and playing and explaining the beledi, saaidi and maqsum rhythm. Coincidently I covered that in class last Monday so I was on top of my game.

Then Sadie talked us through the written questions on the exam, which were from the top of my head:
What would you call our danceform and why, what are some common terms to refer to our dance?

In what century did the Romani travel from India towards the Middle East?

Are Flamenco and bellydance connected, and if so, how?

What are the names of bellydancers in Turkey, male and female?

Write down one of the rhythms we talked about, in name and with dums and teks

How did the word bellydance evolve?

We finished with a short and rather cute choreography to a classic version of Habeena. It incorporated all the material of the past two days, which was nice. I really liked how she took her time to explain background details.

I also had a flashback to Suhaila's level 1 program with all the drills. We drilled a lot with Sadie as well in pretty much the same way. Part of what I didn't like was the emphasis on some ballet technique (she had us do tendu's without a barre and chainee turns across the floor) while she admitted to not being qualified to teach ballet. For the people who never had ballet, this is possibly harmful and most certainly out of context. Let me add that after taking classes for six years I still suck at ballet. But if I wanted to learn ballet I rather go to ballet class.

The second thing I didn't like was the amount of general strengthening and pilates exercises. I have to minds about this: I do these exercises in my regular exercise program and I believe core strengthening is essential for improving technique and training the muscles. But once more: of I wanted to plank, I could do so on my own.

It's good that she put it in the program. I didn't stay for certification because I had a bus to catch and I wanted to be home before 20.30 so I could have dinner with E and my mum, and see Eliza. Certification was between 18.15-19.15 and was moved to that time last minute. Had I known this before, I might have reconsidered and stay for the certification. That would have meant being home after 22.00 and I don't think I could have stayed awake for so long. Honestly, I was totally knackered for the next three days. Not being able to have a full nights rest is killing for recouperation. Plus my student recital was this Sunday, no rest for the wicked but it sure was a lot of fun!
mekyria: (Default)

I'm way behind on Lj stuff, so I'm trying to catch up! LAst sunday was the workshop about Oum Kalthoum and Mohammed Abdul Wahab, by Caroline Nuijts. She was in my year during the 2-year course and she's an amazing teacher. I arrived early and found most of the other workshop participants waiting outside the studio. To my suprise I knew almost everyone already. One of the students from the time that I took classes with Leila was there too and she looked great! She told me most of the advanced group has quit since Ikaiya and me left. Maybe I could take a couple of classes with leila again.

 

Farouq and Caroline arrived and after a confusing about the starting date and people who had to bring the keys, we got inside. Some more time was lost on getting the equipment to work, so I had time to catch up with Rosemarie and Germaine. The workshop was wonderful: an in depth story about Oum and Mohammed, how they are somtimes called competitors while they worked together for a very long time. Then on to dancing: how to interpret oum Kalthoum songs? We worked with a basic choreography and added drama arms, exploring the possibilities of dramatizing without overdancing. It worked and was great fun!!

Class update

It's that time of the year when people start dropping out. We had relative small groups last monday so I customized it a bit to the wishes of the students. I prepped a half choreography on Habeena Habeena for the beginners to start working on transitions and putting a dance together. With the advanced, the request was transitions and rerun on the camel. I recycled Habeena Habeena to suit this purposes, jazzing it up. Difference between beginner and intermediate is the added transitions, direction changes and level changes.
 

mekyria: (coin costume)

 I was hired in june by the organisation of a neighbourhood party. I'm not sure of the correct translation, but some streets or neighbourhoods arganise an annual party where the kids can play games, the adults can drink and crawl discretely back to their own house afterwards. It's perfect, you don't need  ababysitter because you're right outside! You don't need a driver to get home because it's in your street!

read the extended edition of this post! )An offer of staying for dinner was made, but I declined. After being admired by thirty girls, it would be a let down if I joined them in my after-performance clothes.  

I got back home within half an hour, enjoying the feeling of doing well.

 

Ah, live is good!

mekyria: (zills and practice gear)
I just entered my subscription for the Asli Sharqi festival at the end of september. I signed up for workshops with Wendy Buonaventura, Mayodi and Laudi. Most of them on stage pressence, use of space and how to connect to the music/audience through dance. This will be an interesting weekend! I also asked if I could perform on the open stage on sunday, because I'm uncertain of the purpose of the stage. Is it meant to give students more stage experience? In which case my entering would deprive a student of gaining valuable experience, or is it a kind of try-out stage, everything goes? In which case it's the perfect place to experiment with a couple of ideas.

The masterclass with Wendy includes showing a three minute performance, so I have to work on that . Four weeks to go and I have two ideas that I'd like to try:

-Mohamed Abdel Wahab- classic Egyptian, smooth but with flamenco elements (music asks for it)
- oriental fantasy performance with zills and skirtwork (haven't picked music yet)

Or i could dust of Faddah or the melaya choreography and use that in class. What would you do?
mekyria: (zills and practice gear)
Since there's a lot to go over, I'm splitting the review into seperate pieces and I'll send a non-lj friendly email to Artemisia. On to the workshops! For those of you who don't want to read all the details, here's a rating overview:

Farida Fahmy - saidi choreography: nice
Randa kamel- modern cairo style: technique: mwah
yasmina- baladi: loved it
Nour - baladi technique: mwah
Oranit - costume workshop: nice
Fathiem: shimmy layers/combinations: loved it
Asi Haskal - egyptian style mix : nice

on to the details! )
mekyria: (tribal dance castle fest)
Today was another 'bellydance for beginners' workshop. I had two no shows (grrr) but also to women who came over to see what a workshop looks like. The left smiling and confirming an appointment for a bachelorette workshop in march, so that's great!

We only had four people in this workshop, but they worked great together. During the last half hour I suddenly felt my uterus kick in. Not surprising because I was expecting to get my period, but why now? Due to very, very bad cramps I didn't continue training afterwards but packed up and went home. I'm going to crawl in bed, watch Afrita Hanem with Samia Gamal and drink tea.

I didn't make any money with today's workshop, but I had a great time and got a lot of satisfaction of working with the participants. I also finally send an email to the organisers of oriental magic. They're already arganizing next year and I made a proposition for the fashion show. I want to incorporate historic costumes ike the ghawazee, cengi, gypsy, spanish-arabic etc. Simon emailed that he could make a videocollage for the background and mix suitable music and a voiceover on forehand.

This fashionshow could be very, very professional if I start with the planning and sewing right right now. Perhaps even ask the models to learn bit about the style that they're presenting so they can match their dancing to it.

Only ten months to go!

And the last three days I got errors every time I try to read the journals of my friensds (or my own entries). I'd love to know what's happening to you all, but can't read your journal right now.

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