So I guess everyone know by now that I’ve left the UK and am now living in America. I’ll be in Salt Lake City, Utah for the next three years and after that….we’ll see!
One of the things I’m really excited about is having the chance to learn from lots of new dancers. OK, so the first workshops I booked were Little Egypt’s weekend with Randa 🙂 but I am learning from new people as well! Before I arrive in SLC I got in touch with local teacher Stephanie, who told me she was hosting Karim Nagi at the beginning of September, and she was also kind enough to invite me to be part of the Friday night show! I have to tell you how lovely it was to be welcomed like that. I’ve done the same for dancers who were new to Cambridge in the past, inviting them to perform at my haflas, and it felt so good to be on the receiving end this time! So I’d say to other new dancers, don’t be nervous and reach out and established teachers, your reply can mean more than you realise.
Having the show on the horizon was a great motivation to get back in practice, which I’d let slide during the last few weeks of packing. At the moment we only have a few piece of furniture (ours is still on a ship somewhere) but that’s not a bad thing! The empty basement is an excellent studio:
(Not the best photo, admittedly. You can just about see my cat by the computer)
I’ve also brought all my costumes, not wanting them to have to endure a sea journey. When I tried to pick up the costume suitcase it was so heavy that the handle broke off!
I was really interested to see the other dancers in the show, since my main exposure to American bellydance has been the Bellydance Superstars (and I don’t consider a lot of what they do to be bellydance anyway, but that is for another day…). First thing I have to say is what a high standard of dance there was! It looks like there is a strong Egyptian influence round here (apart from the Tribal of course) but with distinctly American touches. For instance, the use of floorwork (splits and a Turkish drop amongst other moves – wow!) and also the use of props. There were a lot of props, often more than one in a routine – I do love it when a dancer discard her veil and suddenly you see the sagat she’s been holding the whole time (and yes I do know sagat are an instrument and not a prop really). The sagat playing – wow again! Really exciting, worked beautifully with the music, so much better than most of what I’ve seen in the UK and I include myself in that.
(I should probably stop calling them sagat and start calling them zills, right? I’m having enough trouble remembering the right names for my groceries but I do want people to understand me 🙂 )
The props were also really well integrated into the performances. Often a performance can turn into “Look at me here with my isis wings” and the actual dancing gets rather left behind, but I didn’t see any of that. So those are my first impressions of what bellydance is like here, I’m sure my thoughts will change as I see more dancing and travel further.
The show was on Friday, then on Saturday and Sunday there were workshops with Karim Nagi. I don’t know if he’s been to the UK (he’s certainly travelled widely) but I don’t recall seeing his name at a festival before so it was great to be able to learn from someone new. Our first workshop was on maqamat and taqasim (hope I’ve spelt those acceptably!). With each maqam we would listen to it, sing it and talk about the emotions it evoked. With Western music I’m used to the ides that major scale = happy and minor scale = sad, but in Arabic music things are much more complicated and just one maqam can bring out a whole range of feelings, even just from a straightforward up and down the set of notes. It was the kind of workshop you could only get from a musician, we explored the music in much greater depth than I’ve done before but we were left in no doubt that really we’d only scratched the surface. Our second workshop was tahtib, and Stephanie had thoughtfully brought spares for everyone – I didn’t think I could get away with bringing my stick on the plane so I was very grateful! We began by just getting a feel for the music, Karim talked about how a man would use the assaya in everyday life, and how that was brough into the dance. Oh yes, we were doing the man’s style! This is something I’ve wanted to learn for a while. Many years ago I had a teacher who said that women shouldn’t do the “masculine” moves, I ignored that and carried on with my twirling. I’ve noticed more and more actual tahtib moves being done by dancers in Cairo though and I think it looks great, but I’ve lacked the knowledge – and the practice space! – to add it to my own dance. So even though I was pretty bad at catching my assaya, especially in my left hand (Karim made us do everything on both sides!) I am determined to be able to do it.
It was a great day of workshops, held in a lovely studio (it belongs to another local teacher, Thia) which is just for bellydance. I would definitely go to more workshops with Karim and would recommend him highly as a teacher. I know a lot of people who would have loved that music workshop! From chatting to the other dancers I met it sounds like there is a lot going on locally and within the rest of the state so hopefully I will be sharing more adventures with you all soon 🙂