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Hey everyone,

Hope you all enjoyed your weekend!

I didn’t do much, but I did watch an episode of Mickela Mallozzi’s show Bare Feet, which I just recently learned about –  where have I been??????

If you haven’t seen her show, you need to! Mickela is a dancer who travels around the world learning about the dance, music, and culture of each place she visits ( Best.Job.Ever). There is so much inspiration in each episode, I highly recommend watching! 

So why am I telling you this?

I’m telling you because she did an episode in Turkey and it is beautiful. She see’s Sufi dancers, discusses Turkish music with an expert and is taught belly dance and traditional Turkish dance.

 

*(Click on the screenshot to go right to the video!)

 

 

Screen Shot 2016-01-24 at 7.38.31 PM

 

 

 

The Rundown

1:50 The sufi dancers come in right at the beginning of the show

6:33 Mickela discusses music with Bora Ozkok: music historian, musician (find some of his cd’s here), folk dancer, Cappadocia Cave Suites owner. He shows Mickela how he plays the spoons, what he calls, “the original grandmother of the castanets.” This isn’t the first time I’ve posted about playing spoons – remember Sugar Mary Vartanian?!? 😉 Bora also teaches Mickela Turkish rhythms and she gets a chance at the spoons – which she plays incredibly well by the way. While I was watching this I had a flash back to the first time my teacher said I had to dance and play zills at the same time….lol…anyway…

12:52 Mickela learns belly dance from beautiful self taught dancer Ydm and does a great job.

Directly following this segment…

16:19 Ydm and traditional Turkish dancers perform.

24:59 Romani music and dance

 

Hope you enjoy!

For more info on Mickela and her show visit her website 🙂

 

 

 

 

 

Okay so before we get started on Hoda, let me just tell you the back story about this post. I came across Hoda’s name a while ago and wrote it down on my list of posts to do. Yesterday, I picked her name at random and began to do some research, only to find there was nothing out there about her. This intrigued me more, so I searched through all kinds of sites – saw some things that I can’t un-see, lol, and finally came upon another blog that mentioned her name. The awesome/very informative blog is called unmundodeluz and it’s run by dancer, Giselle Habibi, who is a Mexican journalist, translator, belly dancer, and total sweetheart. The site was in spanish, but thanks to the interwebs I translated the page and my curiosity was heightened even more. Giselle wrote that Hoda was known for having clairvoyant dreams and that other dancers were superstitious and scared of her. I looked at the bottom of Giselle’s post and found that this information had come from a book entitled, “El Reinado de las Bailarinas” by Shokry Mohamed. So, I started trying to find the book. It doesn’t exist in America – obviously (*pulling out hair!*). I found out it was published in Madrid and I began searching for the title in Madrid library databases -Resultados de la búsqueda…0000. I looked for a bibliography so I could find out where Mohamed got his info – nada. Then I thought – why not just email Giselle? So that’s what I did, and literally minutes later I had a response and images of the section from the book about Hoda AND photos! I was so excited and it really reminded me of how tight knit our community is and how it and extends far beyond national borders  – so thank you, thank you, thank you Giselle for making this post possible! <3

SO HERE’S THE DEAL:

Hoda Shams El Din was one of the many amazing golden era dancers that performed at Badia Masabni‘s Casino Opera Club.

She was born in Damascus Syria in 1930, of Armenian parents (have not been able to confirm this). At an unknown time Hoda moved to Cairo, where her belly dance career began. She was an active dancer from about 1945-1965 and during that time was also featured in several films.

 

So…. what does it take to make a great drum solo???

I asked 16 amazing dancers and 2 drummers, and here’s what they had to say! 

Yasmine“Leave room for playfulness when there are pauses. Add rhythm changes for variety.”~ Yasmine
@Yasminedance

Uza Mitra “The drummer has to be good and work with the dancer. It has to be musical, not just for show. Both the drummer and dancer need to be emotionally connected to the music.” ~ Uza Mitra (read my interview with Uza here!)
@uzanyc

Tava Naiyin“I want to see that a dancer is breathing, relaxed and having a good time; showcasing technique is fine but not at the expense of those three qualities.” ~ Tava Naiyin
@DancingTava

Tatianna“Dynamic presence, sharp accents & a fluidity in emotion.” ~ Tatianna

Sadie Marquardt“Charisma it ultimately what makes a great drum solo!  If the dancer is playful and engages her audience into the fun and excitement of the music then they have succeeded. Clean, sharp isolations and combos are also important but don’t forget to add movement around the stage, and fluid soft movements as well” ~ Sadie Marquardt

Buy Sadie’s drum solo instructional dvd – “Drum Solo Secrets” here!
@SadieMarquardt

Sira“Fire. Really hitting accents with a punch but having dynamics in movement for greater effect. I get drawn in more by someone who’s soul is driven by a drum solo than someone who is just technically solid.” ~ Sira
@Bellydancer_NYC

Ranya Renee“I like a good mix of spontaneity and control, freedom and containment. And, the dancer cannot be the victim of the drummer—she must remain calm and take her time, even if she feels the drummer is pushing her. So, she has to listen well…but push back if necessary—by choosing not to hit everything thrown at her—to retain her power onstage. She has to be the leader and control the chaos. In a nice way, of course.” ~Ranya Renée
(check out my interview with Ranya here!)
@ranyarenee

Rachel Kay Brookmire“Drum solos are best when there is dynamic and playful chemistry between the drummer and dancer.  It feels like the audience is invited to be part of their party.  A great drum solo has a range of emotional expressiveness, and excellent timing with exceptional technique.” ~ Rachel Kay Brookmire (read my interview with Rachel here!)
@saharadance

Mariyah“Most importantly, I like to see a dancer genuinely having a good time and also really connecting with the music, interpreting dynamics, subtleties etc., just as you would any piece of music, and of course connecting with the drummer if it is live.” ~ Maryiah
Buy Mariya’s drum solo instructional DVD – “Belly Dance Drum Solos: Concepts for Dancers and Drummers” here!
@Mariyah13

Layla Isis“I would say most importantly it’s all about being in the moment, letting your connection to the music/drummer and your audience dictate the mood of the phrasing, be it powerhouse hips and shimmies, precise intricate flutters, or full, fluid movements. If she’s really in the moment, you will never see her thinking or anticipating – it’s just unfolding to the surprise of everyone, which is true of any good dancing.” ~ Layla Isis

Kay Kizi'ah“To me a great Drum solo has a unique take and something unexpected. Meaning most of us are familiar with 4/4 rhythms and kind of know how we would take the accents. Its great to anticipate a dancers accent and then for them to do something different. For  me that is always very impressive.” ~Kay Kizi’ah (read my interview with Kay here!)

Dorit“Just two words: listen, move. And eye contact with whoever is the percussionist of the moment.” ~Dorit
@DoritMusic

Eva Cernik“Spontaneity!” ~ Eva Cernik

Badaweyah Kareem“To me, if there’s an oud leading the drums. There’s nothing sweeter than watching a dancer layer their shimmies with the sound of an oud and accenting with a drum.”

“Connecting with any instrument is so the key for me. Drummers are displaying great talents with their skills and the language of whatever rhythm they’re playing. A novice dancer connecting to that rhythm and the musician can display far more beauty than an experienced dancer with great shimmy skills and techniques.” ~Badaweyah (check out my interview with Badaweyah here!)

Alia Thabit“A great drum solo focuses on the dancer–the drummer’s job is to make her look fabulous. It has consistency so the dancer can hit the changes with confidence, and wild style so she can get crazy and have fun.” ~ Alia Thabit (read my interview with Alia here!)
@aliathabit

Aszmara Sherry“I love a Drum Solo that has meat on the bones with interesting rhythm changes that create drama in the piece.  But not too many changes!  Too many changes take away from the arc of the piece.

There are drum solos that start off with a few accents and build faster and faster to a climax – love those.  There’s the typical maqsoum walk around beginning that warms the audience to the coming interplay of dancer and musician, goes into beledi, saidi  and/or masmoudi, drops tempo down to a slow trance ayub that increases tempo to a frenetic ending.  Those are fun, too – especially when shared with a musician on stage!

The interplay with a musician is what makes drum solos so exciting – there’s a walking the tightrope feeling of being totally present in the moment, reading each other’s inner music and expressing it outwards to the audience.” ~Aszmara Sherry

DRUMMERS

     Michael Beach“I could and should write a book about this. There are so many different dance styles now so a drum solo is such a personal thing. One dancer may want Folkloric/North African rhythms, some want very basic, some want strictly Egyptian Saidi, some don’t even want a drum solo and others might say, “ Play whatever you want.” I always try to meet and discuss the music and the drum solo with dancers before we go on stage. It only takes a few minutes. We figure out your level and knowledge of the music and rhythms, I take requests and then I have a ‘formula’ I use with dancers that allows us to end together. In my opinion, we can do just about anything in the solo but it’s really about the big ending. If you can really end together —— that’s what brings the house down. “~ Michael Beach, Brothers of the Baladi
@BrothersBaladi

Richard Khuzami “First: both musician and dancer should understand that the dancer is a musician playing the original instrument: their body, and the musician must understand that they need to dance with their drum in order for it to sing. With this they will have a common language they both understand. And if they did not have time to practice or value spontaneity they should work out the signs (or punctuation) beforehand that allows the free flow of ideas questions and answers.”~ Richard Khuzami

Here’s what some of you had to say:

watch some drum solos! (some of the videos you have to skip to the end)

[youtube http://www.youtube.com/playlist?list=PLjrrLz1h3298WUFZ233UrYTCSICvFGbcV]

share some of your favorite drum solo videos in the comment section! 😀

hope you all have a great weekend!

xoxo

N

Anahid Sofian….where should I start????? Anahid has been a HUGE INSPIRATION in my life. Not only is she an incredible dancer, but she is the symbol of perseverance and strength.

You guys might have seen the What’s Coming Up posts promoting Anahid’s 35th anniversary show, well, Crain’s NY Business wrote an article about it and about Anahid’s studio. They also shot an absolutely beautiful 4 min. documentary of Anahid. You can really get a sense of her passion and love for oriental dance. She never gives up and she makes things happen for herself. Take a look below and read the article here!

 

 

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SO HERE’S THE DEAL:

In honor of Black History Month we thought we should recognize the wonderful Nakish. Nakish is known as the first African American belly dancer in the US and worldwide. She was also the first and only Black dancer in Bal- Anat in the early 70’s. Her other firsts include being first Black woman to teach at the YWCA (in San Fran) in 1977, and one of the first teachers to ever teach at Rakkasah.

Nakish was born in San Francisco. She was a dancer from a very early age. At 6 she took ballet and later in high school she studied flamenco and modern dance. Although she was studying the Martha Graham technique, she did not want to pursue this in New York after school, where she didn’t know anyone. Instead she went to the San Francisco Conservatory of Dance and studied Modern Dance at City College simultaneously.

In 1962, Nakish explored other aspects of her creativity and went to the Louise Slinger Academy of Fashion and graduated in 1966 becoming an assistant to Patricia of London Design in 1967. Nakish also took interest in stone and gem cutting and jewelry design.

Nakish was introduced to belly dance through her boyfriend who worked at a Renaissance Pleasure Faire as a blacksmith. At first she didn’t’ feel right about participating as a belly dancer because it wasn’t part of her ethnic culture. A year later, she went to watch and saw Jamila Salimpour’s troupe Bal-Anat perform. In an interview with Gilded Serpent, Nakish said, “ Rhea (Rhea of Athens) was performing with her sword. She saw me standing there watching the dancers and came up to me and said, ‘You should be in our group!’”

And so it happened. In 1969 Nakish began studying with Jamila and became the next sword dancer in the group when Rhea left to go to Greece.

In 1973 Nakish left Bal-Anat and began teaching. Although she didn’t really like the nightclub scene she would gig about once a month and she was very protective of her students. She demanded that club owners respect her students, saying that if they were disrespected she would not dance at their club. If they were respected she would pack the house.

In 1983 Nakish was invited by Dr. Bousaini Farid, the President of the Women’s Club in Egypt at the time, to go to Egypt and dance for the Friendship Force International program. She said this experience was her pride and joy. She danced at the Nile Hilton for Egypt’s elite. While she was there she also danced on NYE at the Yacht Club for over 50,000 people, but it was cut short because she had pneumonia.

She stopped teaching in 1993 when she injured herself working on “The Phantom of the Opera” where she worked in the wardrobe department. She does teach the occasional workshop.read more