Being Together in Dance

If you are in a group number you need to be able to coordinate your moves with others when on the stage. Here is how to master the art of matching your movements to other dancers. Do not try to stand out from the other dancers. By matching other dancers in movements, style timing, and energy is an equally challenging skill that after practicing at home needs a tune-up. You have to commit from being a soloist to immersing yourself in the group and retaining your individuality. Following are ways to become a better team player and create powerful group performances.

Watch Each Other:

Observing each other helps dancers approach choreography and can help you observe the movement style of others. Take videos at the end of class or at rehearsals then dancers can each study and analyze whether they are dancing as a unit. Also, watch other dancers in class when you are not dancing. Watch as they go across the floor or in the center. Find something you admire and try it yourself.

Refine Your Focus:

You have to have an inner-outer focus by staying aware of your fellow dancers when you perform. You have to practice this inner focus. It helps you to feel what is going on beside and behind you as you see peripherally. As you are looking out, you are also looking in. It is a sophisticated way of focusing. This starts by using the mirror wisely in class and rehearsals. Avoid staring at yourself instead scan the room as you dance.

Master Musicality:

Timing is a must when dancing in a group. Count the music as soon as you get it. If the rhythm is unfamiliar, listen to it while standing still and picture yourself doing the choreography to it or count and clap the rhythm exactly the way the music sounds. Make sure you understand where the beat is. Focus on knowing the music backward and forward before you start to dance to it. Once you know what you are doing and everyone else does too then you will all be together

Breathe Outloud:

The breath is what keeps people together. When beginning a new piece breathe out loud. Once you know the piece (meaning everyone in the piece), then you breathe silently. This helps to keep the dynamics of the piece as one. If all dancers are breathing rhythmically and naturally then they are cohesive. If breathing shallowly it is not sharing with each other. You will not connect.

Connect Backstage:

Just like doing partner work, you have to connect. Squeeze the hands of the hands of the others. etc This allows energy to pass from one to another. This really helps! Be sure to train each dancer on how to move from the wings to the stage and how to leave the stage. This is important, especially in new surroundings This makes sure all performers arrive musically on stage.

Morwenna Assaf, Artistic Director

Art/Dance Academy, Cedar Productions, Tales1001

Walid Assaf, Music Drector,

Art/Dance Academy, Cedar Productions

Get An Uplifting Light Quality in Dance

How to achieve that enchanting quality of lightness.

This is a quality we all need to work on all the time. So how do you acquire that appearance? Lightness is an elusive quality that makes a dancer seem to float across the floor. As with all dance, these things take an enormous amount of work behind the scenes. Then it looks effortless on stage. Whether you are striving for that fast on your feet look or lightness in your arms, here are some tips to help you.

Contrast: – Contrast gives the illusion of lightness versus heaviness. You have to go back and forth between heavy & light. This is what the two are, both visible elements. The key to this is being grounded. You have to push from the floor. This gives you the easiness to lift. Once you have found oppositional energy, which comes from the legs, the core, the back, then you can lift up and move into lightness. If you are already lifted it is hard to go higher. How do you achieve this? Learn how to plie properly Strengthen those legs! The bottom half of the body is more rhythmical.

Raks el Anwar

Strong, Light Arms: – The upper body is more melody. Arm placement, holding the carriage correctly with endurance not, compensating gives you better strength and control. This will make your arms and hands lighter. Will also aid in shoulder stability. Hold your arms up with ease. Soften the elbow as you exhale. Never let it hang on the bottom. The arm is held shoulder down, elbow next facing back wall and lower than shoulders. then hands float down from there. The elbow leads the port de bras. This achieves a look of synchronicity with the body rather than the arms looking separate from the body. Or, moving on their own.

Learning to Float: – Coordinate the breath with what you are doing. Hold your breath a moment at the top of the move and then exhale when finishing. Have a clear picture of the picture you want to create. Then take a little breath at the end. Do not drop the arms down immediately. Try this with small weights, then put the weights down & try without.

Elena Lentine

Breathe Through It: – Breath control is so important to your moves. You never want clenched or stiff hands, a tense jaw, or muscles that are tense. Gripping muscles is a sign of core weakness. A good cardiovascular system and strong core go hand in hand. Practice breathing! Having a better use of breath & pressure (plie) management gives a better sense of ease and lightness.

When dancers use their breath onstage you can feel the energy and dance with them.

Morwenna Assaf
Dance Director of Art/Dance Academy
New Market, TN

760-715-2276

Morwenna Assaf

Hand Artistry

This article has come about after having a week where I realize that hands and arms come last, maybe but are so important to the total dancer. Without artistry in this area then all you do is lost. Be a complete dancer from head to toe. Not easy you say or do! I agree but an area to work on just like all else. If you are not ready yet, I beg you to save this piece and come back to it later in tour training.. It is so important. Without the finishing touch all else is wasted.
Lucia of SD.

Start making your hands with intention and artistry. Think of your hands as part of the whole in dance. Your fingers get energy from the body. The gestures do not stand alone. Think of the palms as the end of the arms. Bear weight mindfully and think of your hands as you do your feet. Hands are designed for articulation, gesture and agility. Feet are designed for stability, grounding and balance. Remain strong in your core and distribute your weight throughout your body. The alignment of hands, elbows and shoulders should be thought of the same way you think of ankles, knees and hips.
Morwenna Assaf at Continental Restaurant, Assonet, MA

Think of your middle finger as a central axis and rotate the hand around it. In classical dance including Arabic dance imagine the hands starting in the forearms. If you do not you will break in the wrist and drop the elbow. Avoid dropping at the wrist. Take care of your hands and pay attention to them. Be patient with the process. Your hands speak volumes. A muddled gesture could completely distort the affect of a movement. Stay diligent about the shape and the movements of the hands and their position in relationship to the rest of your body.
Morwenna Assaf in Boston.

Flexibility does not enter the equation when thinking hands and writs. The wrist is not as flexible as the ankle. Wrist joints have a limited set of movements. Basically they are flexion and extension. Twisting the wrist happens in the forearm. Do not try to over stretch your fingers or wrists. If you over mobilize you can cause deterioration in the ability of the wrists. Rotate your wrists on an axis to maintain a clean, elongated line during port-de-bras as you move from one position to another.
Rlena Lentine NYC

Practice more times than you feel is necessary until you feel it is second nature. Use emotion to fully bring your hand gestures to life. Use imagery to help you. Paint lines with the bones. Use props like fans, canes scarves etc. Do not shy away from simplicity and repetition.
Morwenna & Walid Assaf, Beirut Lebanon

Morwenna Assaf, Choreographer, Dance Educator, and Artistic Director of Art/Dance Academy and Cedar Productions

Morwenna Assaf, author of dance books at Tales 1001
Walid Assaf, Musical Director and educator of rhythm and music at Art/Dance Academy

Walid Assaf, Musical Director and Producer of Cedar Productions

Use Coaching to Improve Your Dance!

Some dancers seem to stand out beyond the others. They have it all. They have mastered what is needed to be a great dancer. No, it does not happen overnight. It is hard work. Getting someone to coach you is so very important. You need someone to guide you. A general studio teacher can give you a head start but is not necessarily the one who can make your rise to the top. Find a dance coach to help you be it in the studio or as so many are doing today find someone virtually. Do not stop your regular classes as they are important. Invest the time and the money into something special which is you. Here are some hints to help you until you find that special person

Dance Outside Your Comfort Zone: If you love Orientale, fine! Now work on Folklore. Folklore is people. There are so many different styles. You might find you like it. It will had depth and distinction to your dance. Pick dances you find difficult. Learn how to be comfortable there so you can express what the dances mean and be part of that tribe.

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Push for Tougher Choreography: Work on dance that is above your level. Work on those extra turns etc. That is what class is all about. Work beyond your comfort zone. Yes, you have to be comfortable when performing. But, in class and practice, if you do not extend yourself you will never grow.

Analyze Every Step: Not only steps but every single movement you make, in every way, shape or form. Make sure you are using the right muscles. This is the way you get longevity in dance. Clean up arm placement, yes. Then look at every step. Look at all the details. Ask yourself am I using my back to support my arms and and overall alignment Then, do this to translate everything you do.

Study your Transitions: This is the space between steps and timing. This helps with technique all the way around. This also helps with timing. Make sure you breathe. Make sure you plie when needed and that when you releve your placement is correct. Make sure your weight is correct when coming out of a turn.

Build Strength with Musicality: Work with the music. When the music swells make that movement juicier, this way your supporting leg will get stronger as you develope the movement. Play with the way you approach your arms. Your arms work with your movements. They are not an added flourish. port de Bras also help with upper body clarity if done correctly. This improves your total carriage and makes a full picture.

Fill In The Blanks On Your Own: If you are struggling with parts of a solo, pay extra attention to particular movements in class. Try working the combination that is giving you trouble on the opposite side. Emotionally connect to your work. Without emotion you have virtually nothing. Research the movement and get a full understanding of the work and of the movement.

Now you have a place for thought. Start here! Work on your own and in class on the above things. Find a dance partner to work with. Hopefully, someone at least on a par with you of better. Help each other. Then search for a coach. We can help you. It is what we do.For the past 20 years or so this is what we have done. We help with not only the movements in both Raks Orientale but also in different regions of Egypt and Lebanon for Folklore but also the musicality, choreography, improvisation and staging required in all forms of Arabic Style Dance. If we do not we can put you in contact with someone who is a leader in the style you want. If you are a teacher who needs help contact us. We can help!

Morwenna Assaf = Author, Choreographer & Educator
Walid Assaf = Percussionist, & Educator
Art/Dance Academy, USA
760-715-2276

ArabiDanseAcademie@sbcglobal.net

Do You Want to Dance Forever? Here is How!

At any level of dance there are certain thing you should know. You should include cardio and and weight training to prepare you for the demands of dance. This is true, no matter the style. This will make you stronger, have more endurance and better technique. You will not gain bulk but will have more developed muscles for what comes in your dance training. Do not stop your other activities. Have outside activities, than just dance. Try a yoga class, Somatics, or Pilates class. People who do keep healthier and can help make you a better dancer. So, have a life! Early retirement is no longer a given. Caring properly for your body will ensure that you can dance as long as you want.

If you are very supple, take heed. You must control your range of motion to prevent injury. If you are tight you have to be careful too. You are the other end of the spectrum. It is all about control. Be patient and focus on good technique! No one wants an injury. Always warm up before you dance. Dance training can become very repetitious. Do not let it become mundane. Listen to your body. Learn the difference between soreness that comes from working hard and getting stronger and pain from overdoing. There is a difference. Recognize it! Overdoing will affect your ability to perform and limit your future. Do not be afraid to try new things. Investigate any injuries. Do not ignore them. Plan your recovery. Ask yourself how you feel in your body every day. If not up to it, do not go to class. “Experience gives you more choices” says Risa Steinberg, so find them. Remember flexibility declines as you get older. Be prepared. Be realistic on how you need to adapt without losing your technique.

Make sure you eat properly. You need the energy. Under-nutrition can affect dancers of all levels. It creates a hormonal imbalance and a slow healing from injuries due to low bone density. Make the necessary adjustments to your classes. As you get older it is harder to dance with no discomfort. Make sure you are breathing properly. Breathe fully and think of moving with less force. Use your emotions and feelings while maintaining your technique. Make sure you have a health care team that understand your needs. Maybe, seek advice from a dietician. Maintain your body. Take two days a week off from dancing. Sleep at least 8 hours a night. Dancers usually have busy schedules. As you age you might want or should cut back. Be extra vigilant to rest and recover. Work with your body, do not ignore it.

CEDAR CAFE

Remember experience gives you more choices. Your years of study and good technique are there to support you. Rather than focusing on things you may not be able to do anymore, listen to your instincts and use other moves and feelings. “Play the instrument you have” says Gus Solomon. Remember when you first learned to do improvisation? Get that feeling back. Create! We are performing Middle Easter Dance of one form or another so pace yourself. We are always dancing! There really is no stopping. Follow your dream but just be sensible.

Morwenna Assaf
https://Tales1001.webs.com
Tales1001@sbcglobal.net
760-715-2276/865-375-0446 Morwenna & Walid Assaf
Dance2Drum/Drum4Dance

 

 

 

GET OUT OF A DANCE RUT

No matter what your situation or your level of dance, this is inevitable at any stage of your career. Maybe you just got a job? It has been fine so far but you do not feel like you are growing as an artist. You are in a rut! These slumps hit hard no matter at what level you are. They are difficult to shake but with the correct mindset you can and will find your love for dance again. Now, as we face this pandemic that is affecting all of our lives we need to readjust.

The way of a dancer’s life

Why does this happen? Maybe you are focusing on the things you have given up for dance and not focusing on your accomplishments. At first you are really excited, then at some point you lose momentum. You start looking at what you left behind and not on what you have accomplished. It can be frustrating. You feel stagnant. You are in a motivational hole.

Initially you are grateful but then the excitement wears off. The mind-set changes. You want more out of this life. It is a natural part of the developmental process. Dancers need the tools but also the strength to be able to face all the challenges that come with the territory. You have to be more independent to be successful. It is part of the education and journey. Sometimes you will feel invisible but that does not mean you are doing something wrong. You are just not the main topic of conversation. At times you need help adjusting to a move or a situation. At other times you do not.

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OVERCOMING:

With practice you can overcome this set back and get back on track.

1. Set Reasonable and productive goals:
Focus on what you put into your work. Not, what you get out of it. Goals should be centered on things you can control: Applying corrections. Etc. Work on it.

2. Sit in on rehearsals and classes:
See shows – you need to be inspired. Look for other inspirational outlets. Take a class in another style. Another teacher maybe. But, make sure you take classes even if it is on line.

3. Expand your horizons:
Most people start dance as a hobby but then it becomes work, the joyful escape is gone. Find something else for a hobby. I happen to write.

4. Do not forget your value:
Realize you are needed where you are. You are valued.

Hopefully, these suggestions will help you. Even after 40 plus years in this business I have my days. After a week or so of doing nothing, I realize I am here for the long haul and will always be a part of the dance world. It is who I am!

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  A working artist at that!

Morwenna Assaf
Tales1001

Tales1001@sbcglobal.net
https://tales1001.webs.com

865-375-0446 or760-715-2276

Little Christmas in Eastern TN

In San Diego it was an annual event that every Christmas Eve we would have an open house and invite any and all involved with the dance studio etc. People were invited to come to our house . Basically the idea was to invite everyone who had migrated to Southern CA and had no family with which to celebrate Christmas. We became a family. We did that for 17 years and loved it.

In January 2019 we had invited a couple we consider close friends with a friend we had met through them and their son. The date happened to be “The 12th Night of Christmas which fell on Jan 6th. The Feast of the Epiphany. No one here celebrates 12th Night. Most people have their Christmas trees down on the latest the day after Christmas which to me is Boxing Day. Yes, we are different. I was raised between England and Montreal, Canada. In our family a tree was not put up till Christmas Eve and stayed up through 12th Night. Plus, my Lebanese husband and the 6th of January is a big day of celebration.

So, this year we decided to invite those same friends from last year plus a couple more friends that are dear to us- Marlayne and Maggie! So, with us there was eight people in all. A small but wonderful group. Walid cooked all day. This was to be a treat. Something we will repeat every year. Our guests arrived at 6:30pm We had a wonderful dinner. Conversation was great! Our friend Doctor John had just retired so this was something to celebrate. He was a professor at UT for 34 years. Also, this year he got his Phd from UT Something else to celebrate. Laurie a friend of John & Sharon’s had just graduated with her BS. Go, Laurie! Her son, Jonathon, a special needs person of 17 graduated from high school. Walid, gave him a derbecki. (Lebanese hand drum) as a gift. He was elated. He was a happy camper. Our friend Marlayne had just turned 70 a few months ago. So that was her milestone. Maggie got a divorce and has a new lease on life. She is going to Europe for the first time in a few months. Walid and I were celebrating our good health and the good health of a close family member. So much to be thankful for. We all had so much to share and celebrate.

After dinner we all went downstairs to the dance and music studio. The music started, the keyboard and drums were brought out. The music started. Someone played the keyboard and others played drums including Jonathon on his new drum. Everyone was dancing. The party was on. This was OUR Little Christmas in Eastern TN. What a great time of celebrating with good, good, no great company. A tradition is started. Maybe not the original idea of the Epiphany but definitely a day to remember for the second year in a row. We all realize good friends are few and far between.The date for next year is set. So remember January 6th is the Feast of the Epiphany or 12th NIght, if you like. And, yes, that is why we have Christmas lights outside till after 12th night. The Three Kings need to follow the light.

NB: Sorry no pictures this year. Will make up for it I promise.

Morwenna Assaf – New Market TN
Tales1001@sbcglobal.net

The Rose Center

What a beautiful name for an absolutely fabulous place. As I was perusing my emails back in the week before Christmas, I came across an advertisement for a FREE concert. This sparked my interest. I had no idea what to expect. We decided to go as we live in an area where the arts and culture is next to nothing.

The Rose Center is located in Morristown, TN about 15 miles from where we live. The function was called “Java Jive”. We got there about 6:30. Found our way to the theater which is actually a dual purpose room. It was set up banquet style. A beautiful room that was decorated for Christmas.

At 7pm sharp the musicians entered the room. We were in for a treat. The show was called “Christmas With the Collective” The leader of the group was Antonio Gomez. There was an excellent guitarist, drummer and a female singer. They were a jazz group. Now, Jazz is not my favorite thing but they were so good and so professional that we enjoyed the whole thing. I was mesmerized. I am hooked on these concerts.

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We are totally hooked. We spent considerable time talking to the artists. Plus the director of the Rose Center and people in the audience. These monthly concerts are open to the public and sponsored by the Tennessee Arts Commission. You can bring snacks and beverages in. Everyone is so cordial. We will be going back. This week is a concert by a guitarist. I will be sure to take pictures.

If you are interested in the arts or just music. Add their schedule to yours. The artists they bring are so talented. You will have an evening out with great people. Will not cost you a dime unless you want to donate. They do pass the hat. There is no pressure. Support the arts commission by attending. This also supports the artists from the area. There is something for everyone’s taste. The Rose Center is downtown Morristown. There is plenty of parking. Enjoy the evening and listening to music. See you there.

Morwenna Assaf, New Market, TN
Tales1001@sbcglobal.net

How Does Appreciation Become Appropriation

After being in the business of Arabic Dance styles for over 45 years this business of appropriation has become a huge subject. It puzzles me. When I started it was not even suggested. I lived in a primarily Lebanese community and danced in every club in the Boston/Rhode Island/New Hampshire area. They were clubs where the Middle Eastern people attended any night of the week. I was never accused by the natives of Lebanon as appropriating their culture. They helped me in every way. Even after moving away across country in 1996 we are still friends. I am British by birth and my husband is Lebanese and a percussionist. I believe that no one of our era in the area ever got accused of this. Today it is everywhere by native dancers and non-native dancers. In those days we were a community. We were all one.

Onstage Beirut Lebanon

Yes, I still have friends who are of the culture who are dancers. We all respected each other. So, now I have delved into this subject I will try to unravel it. Let us start with hip hop. This dance form has made global impact and a voice for so many around the world. Yes, sometimes it is used in ways the culture does not benefit from it. This includes marketing, including products, music, videos, classes to sell an attitude. It has become an energy that has been stripped of its history and significance. It is sprinkled in everything including Broadway shows to fashion and even spices. Sound familiar?

Morwenna & Walid Byblos, Boston

People think all they have to do is have certain steps, wear certain costumes, dance to certain music and that makes it a cultural dance. Donning toe shoes, and a tutu and dancing to Swan Lake music does not make one a ballet dancer. This is a disconnect from the origins of the culture and the people who created the style. This is problematic.

The Magic Lamp of the Future

This shallow aesthetic of borrowing and disconnect is “cultural appropriation”. It has a long history in dance. Ballets like L Bayadere, Le Cosaire, tap in vaudeville. Even Ruth St Denis who found inspiration in Egyptian and Indian cultures. Cultural appropriation is taking the external trappings of cultural traditions and using them for decorations on your own history without developing mutually supporting relationships in the community that you are taking from.

It is not a matter of ethnic dances as all dance forms are an ethnic dance form. This includes ballet, modern and jazz. What matters is the power of dynamics. It should not be from a position of privilege to just borrow from a marginalized community. That is imperialism! One has to enter a cultural identity in a respectful way.

There has been a history of America appropriating cultural forms of dance and then enacting cultural imperialism. One has to study not only the movement but the culture around the movement and to build relationships in that culture. Even if you cannot move abroad, visiting a dance country’s roots is important. Go and experience the country and learn from different teachers so you understand what the culture is all about. Gain first hand exposure to the culture. Have continuous recognition of the dance forms pioneers and the teachers that have guided you. Always give recognition to to where dances come from and where you learned it.

Crediting teachers and trail blazers on social media, in program notes, and in interviews is a way of acknowledging a lineage of the culture and gratitude and humility. This is often a step people miss and it leads to conflict that is not intended. But immersion and recognition is not always enough. Often it is the entertainment business, cultural institutions, and private dance studios that do not uphold high enough standards for incoming and upcoming dancers.

Ibrahim Bobby Farrah

Mahmoud Reda in San Diego

Study with teachers who know the culture and the dance. Study with those willing to share the culture and the knowledge. Not just the pretty young girl at the local club. What is her history? Just taking a few classes or being born into it is not enough. One has to understand dance, the culture, the costuming, the mannerisms and the music.

I hope this article helps in some way. When I started we were committed to all of the above. We know we had to keep on learning and striving. This has to be a way of life. Not just a fun excursion. We are missing a big piece of the equation if we do not have better intent. Think about what you are creating and the audience/students you wish to attract.

ROOTS: The story line has to change. When on stage we have to get rid of the stereotypical style of a exotic body .

Ancient Phoenician Dancers

CHANGE OF NARRATIVE: Encourage productive discussions for everyone including instructors, staff and students.

TRUST THE NEXT GENERATION: Let new dancers have an enhanced vocabulary. The training and teaching of dancers is not the same as what we brought with us when we came as immigrants. We are all valued.

I am appalled at the lack of knowledge that the average student get from their instructors. This is a complex business. We need to know the culture the dance and more. We have let people with no background in any of these areas. A few lessons with a teacher who knows no more than they do. Workshops are not studying. This is exposure to something. This is wrong. We need to raise the barre and keep it high or this beloved dance form will die away.

Yallah Lebanese Debke

Morwenna Assaf has run Art/Dance Academy for almost 40 years. She is married to Walid Assaf one of the finest percussionists in the USA. She studied in NYC for 20 years under the tutelage of Ibrahim “Bobby” Farrah. She has taught internationally in Canada, Mexico and Lebanon plus across the USA. C
Contact information = Tales1001@sbcglobal.net https://tales1001.webs.com
Morwenna Assaf = 760-715-2276 Walid Assaf = 760-715-2220
Art/Dance Academy = 865-375-0446

Winging It-Improvisation!

Winging It – Improvisation

Middle Eastern dance styles are made up of both choreography and improvisation. Theater dance and group are done with choreography. Restaurant and night club dance, commonly called belly dance in America but is really Oriental Dance or Danse Orientale in the rest of the world is done by improvisation. Winging it is actually a misnomer. It is planned! Why improvisation when in this situation? Mainly because you as a performer are working with musicians. This is the ultimate in performing for this style. Today many clubs have closed as owners do not want to pay musicians and dancers. This is a travesty and harming our business. But, if you are lucky enough to live in an area where live music is available or you get the opportunity to work with musicians, take it. It is so worth it.

After being in Los Angeles and seeing a theater performance with live music where 9 out of 10 dancers just did not know what they were doing. All dancers were excellent, not just students. After analyzing and talking with musicians around the country, I realized it is because most dancers do not have the opportunity to dance with live music. Everyone, choreographs and then cannot deviate. This was sad to see. It is a test for individual artistry , a test of decision making skills in a high pressure environment. Improvisation is rooted in spontaneity but needs to be fine tuned to make it ready for the stage.

Most dancers have spent years perfecting their technique and learning how to execute the choreography with exact detail as to the instructors demands. Improvisation, on the other hand encourages free thinking and artistry. It adds a bigger picture of of elements. Dancers have to think how the audience will perceive the art and the dancers have to shape the piece in the moment. The challenge of improv is different for each dancer. Shy people will be timid. Technical dancers will fall back on their generic favorite steps. Outgoing dancers may try to overpower the music.

You really have to check your ego at the door. One needs to feel the people around them while still working with the music. You need to know how to improv in a high in a high pressure environment. You have to put yourself inside your dance. You need to make the audience forget and not realize it is improv.

A huge part of improvisation is connecting with the music From entrance to finale connect with the music. Use movements that are unique to you or are your favorites. Be individual! Do not just string steps together. Be an authentic dancer from inside you. Make sure you include build a movement with intensity or structure. It is no just a free for all. Not every time you dance will be wonderful. Practice performing depends on trial and error.

TIPS:

1. Have a beginning: Plan your entrance. Not choreograph but planning where you are going to be where you need to be to start the dance.
2. Think of what makes a dance successful: Use the whole stage and vary the heights- on the ground to the space above the head. Have texture in your dance.
3. Set goals for the dance: It is always a good idea to come into the dance space for specific tasks. Do not move for movement’s sake. Have a purpose. Include slow and rhythmic moves. Have a loose checklist. Cover the ground in all aspects.
4. Less is more: Sometimes you are part of the dance by not moving by just being in the space and standing there. Let the energy guide you.
5. Work with musicians: Ask for music you are familiar with. If you are polite with the leader and the guys, they will help you. Also, know your instrumentation as this will tell you what type of moves to use.
6. Stage your dance: No, you do not choreograph each step but you plan where you are going at different points. First plan your entrance. Plan your drum solo. Then plan your finale. The rest will come to you.Do not let an opportunity pass to not dance this way. It is the ultimate for this type of dance.

Morwenna Assaf- Director of Art/Dance Academy
https://ArtDanceAcademy.webs.com ArabiDanseAcademie@sbcglobal.netAuthor of Tales 1001 https://Tales1001.webs.com Tales1001@sbcglobal.net
Walid Assaf – Director of Cedar Productions https://CedarProductions.webs.com CedarRep@sbcglobal.net

Reviewing Your Work

The work does not end when you bow at the end of a piece. It is not over! It is the beginning of getting better. Post performance analysis can help you progress and grow. After show take some time to calm down and be grateful for what you have just done. Taking time to reflect gives you a chance to recognize the full value of the work you just did and take control of how you want to proceed in the future. Use each show as an opportunity to evolve. It is only a means to an end, not the end. Learn how to calmly evaluate your work will make sure you do not turn into a machine that dances by rote. You will actually learn and improve each time you perform. Real growth as a dancer comes once you have learned to evaluate productively. Just give yourself a chance to calm down before trying to figure out what happened, good or bad.

1. Start With the Good Stuff:

Yes, start with the being positive! Think about all the things that went well before dwelling on the not so good. Have a moment for yourself. Pat yourself on the back a little. Have a feeling of gratitude. Feel positive, it will help you have more momentum and energy to improve. Did you enjoy the show? Also reflect on the things you did right in leading up to the show. The preparation you did. Even diet and before the show rest. Think about what went well in the performance. Where you improved? What you nailed! What can you learn from this performance? People are naturally inclined to reflect on the negative. Being overly negative is not productive.

Morwenna & Walid In Beirut Lebanon

2. Put Your Thoughts on Paper:

Get in that positive frame of mind. Writing gets problems good and bad out of your head and onto the page. From there be an outsider and be honest with yourself. Then you can move on.

Make three columns: 1. Things that worked. 2. The things that did not work. 3. Things to work on. This way you will not just fixate on the things that went wrong. Seeing all sides and a place to work and will help you not to fixate on just what was not up to par.Always ask yourself, Is this a productive thought?

Having fun performing

3. Take Criticism Calmly:

Getting others opinions is essential. You might not like what you will hear but it gives you thought. Your own subjective thoughts of what you did, do not give you the full picture You might feel something went wrong but not why. Someone else’s perspective may give you insight. Then you can work in fixing it! It is very easy to get defensive. Remember you are a performing artist. How many times have you heard “Breathe”? Develop the skill of deep breathing. Breathing deeply occupies space in your brain and allows you to reset. Yes, feedback can be overwhelming. Decide on a few people to really listen to.

Theater Performance San Diego East County. El Cajon, CA

4. Watch A Replay:

Seeing yourself dance is really important. Get comfortable using video as a tool. Video helps you understand what sort of dancer you are. Just, try not to focus on all the things you do not like. You have to look at yourself and understand how to make things look better. Step back and think less about yourself and more about the whole thing. You are just part of it. Be able to understand your role in the big picture is important and helpful. Trust that the sky will not fall. You are part of a bigger experience. That is art!

Final Bows in Beirut, Lebanon

Contact: Morwenna Assaf / Walid Assaf
Art/Dance academy/Tales1001/ Cedar Productions
ArabiDanseAcademie@sbcglobal.net – 760-715-2276
Tales1001@sbcglobal.net or Cedar Productions@sbcglobal.net
https://Art-Dance-Academy.webs.com https://Tales1001.webs.com
https://CedarProductions.webs.com

On Line Dance Classes?

I am a firm believer that dance classes at all levels should really be held in person. The student and instructor need to be together in the same room. Yet, on the other hand there are times and situations where this is impossible. So, yes, there is a need for on line coaching and classes. As time goes by and as I have moved from a city where cultural development was everywhere to a location where culture might as well be a foreign word. Today, I see a need for online teaching. While not a replacement for studio training, Online classes gain a particular following.

SOME OF BOOKS IN STUDIO

Musicians can learn from a score but dancers have always learned from person to person. The true work of dancers still remains solidly in the studio. A dance student needs personal feedback. It is the older generation of students not the kids who go for online classes. They are far less experienced and confident in their abilities but are fascinated by dance. So the appeal is there, especially for beginners. It suits their timetable, their level and held in the comfort and privacy of their own home.

These particular students find that they may make fools of themselves in a dance classroom. At home there is little risk of embarrassment. Afterwards they might sign up for an in studio class. These aging students are realizing a new consciousness of exercise, nutrition, and fitness. An adult beginner class is a big seller. For a lot of adults a beginner class in a studio is too advanced. Classes need to be developed for these people

TEACHING IN BOSTON MA

There are also adults who want to learn how to dance, but many of them do not have access to a studio who offers these classes for adults. It takes a lot from the instructor who already has to have the knowledge to teach good classes in technique and knows how to work with adults and not children and teens. An instructor needs to start posting instructional videos, teaching herself how to film, edit and post material. These classes need to be paid for. They need to be in an interactive format, where you can see the student and she can see the instructor. It needs to be a a completely judgment-free zone for the student. The instructor does not want the student/students to feel self-conscious or that they have to be perfect before even starting.

Classes can be run on Skype or Zoom depending on the preference. Chat boxes are great where students can ask questions, get answers and then can be saved saved to website so students in different time zones can watch later. Classes can be offered from 30 minutes to 1 & 1/2 hrs. I offer coaching sessions that work this way. Classes can be scheduled from weekly to anything the teacher decides.

Dance classes of all types are offered. Everything from Ballet, Yoga, and Pilates. International dance styles like Flamenco, Arabic Style/Belly Dance, Folk styles, and Hula etc. can all be found. Plus anything else you might be interested in. The technology can be frustrating at times but it connects with a global audience which is a bonus.

MAHMOUD REDA OF CAIRO EGYPT 2012

There are also platforms that offer on line systems. Research places like Yes Course, Teachable, Thinkific and Course Craft. Do your home work and decide from there if teaching this way or taking classes this way is for you. My studio is called Art/Dance Academy. I offer a variety of classes that are designed just for the student. YOU! I do coaching for students of any level on Skype or Zoom. My classes on a platform are based on my books. So, everything from playing Finger Cymbals to Choreography or Improvisation and everything in between. Contact ArabiDanseAcademie@sbcglobal.net for information. Check our website at https://Art/DanceAcademy-El Fen.webs.com. Call us at 760-715-2276 or 865-375-0446. Please leave a message. We are always expanding our services. Arabic Drumming and Musicality will be offered the autumn of 2019.

Using Your Upper Body in Dance

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  Walid & Morwenna Assaf
  Beirut Lebanon

Epaulement should be a natural part of your dancing. This term epaulement actually means shouldering in French. This is in fact a fallacy as it has nothing to do with the shoulders per se. Using epaulement can elevate your technical proficiency. It can be a be subtle dynamic and exciting. It is the punctuation at the end of a sentence. The head and eyes are the exclamation point.

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  Morwenna Assaf
  Boston, MA

Epaulement gives gives a third dimension to the dance. It shades what you are doing and gives it depth and color. It creates energy from the inside out. Yes, the shoulders move. But it is movement that involves the rib cage upwards. The whole upper body is utilized – ribs, shoulders, neck, head, arms, hands and even the eyes. Look a beautiful statue (say Venus) and flatten out the front, remove the angling of the torso and shoulders. Now it is just plain uninteresting!

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  Sahra Saeeda, Riverside CA

Tricks of the Trade:

1. Do a combination with a fan. This will give you the feeling of having to lift chest, shoulders and head in opposition. The pretend you have a fan and do the same combination.
2. Do not overturn your body to the corner. It makes you look like a washing machine, throwing yourself from side to side. Why? Because there is no opposition.
3. Do not let your movement end at the neck. Energy needs to run through your complete torso, lengthened waist, lifted chest, swan neck, and eyes that look and see.
4. Do not forget epaulement in fast work. This makes your work even more exciting.
5. Do not sacrifice epaulement for height in extensions. See where the head and arms should be. Put these in your muscle memory. Now extend!
6. Do not let your collarbone be parallel to the floor. Strive for it to be on a diagonal. This comes from having life in the waist, back and chest.
7. Do not overturn your chin to your downstage shoulder when on a diagonal/croise. Turn your face ahead, then tilt the head allowing the jaw to move in space as the chest lifts simultaneously.

Lucia of San Diego

Try these things and see how much better your dance will look. Any questions give me a shout at ArabiDanseAcademie@sbcglobal.net or by phone at 760-715-2276. We can even get together online on Skype at MoWalid22. We run Art/Dance Academy and have been teaching and coaching dancers for over 40 years.We will be glad to answer any questions about either Arabic dance or Arabic drumming.

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  Morwenna & Walid Assaf, Oceanside CA

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  Morwenna & Walid Assaf, Boston MA

GET YOUR MIND READY TO PERFORM

Last month we talked about ideas for improvisation. Today we will look further into this with how to get your mind ready to do those things we covered. You know you have to warm-up your body before you do any kind of exercising or performing. Well what about your mind? Yes, you have to be prepared there too. While waiting moments before performing your mind might be racing. In reality as you warm up your body you need to think of your mind too. Your mind readiness will dictate how you will perform.

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ENERGY: You need to be calm, relaxed and confident when stepping out onto the stage. You need to figure out what works for you. If you feel sluggish, jump up and down or shimmy. Or maybe you need to calm down, then do some arms or undulations. Tell yourself how wonderful it will be and how lucky you are to be able to perform for this group, whatever it may be. Experiment in rehearsal and find your key.

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  Mel’Keta

MAKE MINIMUM DECISIONS: Make decisions before a show as limited as possible. Clear your mind. Develop a before performance routine. Having a ritual frees your mind for predictability. Always keep your routine the same. This frees your mind.

CHOOSE YOUR FRIENDS WELL: Surround yourself with people who have the right mind set. Do not listen to complaining. Walk away. Control your environment. Use headphones to listen to your music. Think of the vibes you want and need at this time.

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DO NOT LET YOUR NERVES GET THE BEST OF YOU: Emotions, nerves, and anxiety are all contagious. Stress can actually work for you if in the right mind set. Positive=Helps your muscles to work better and stronger & your mind will be clearer. But, if your nerves are negative then you will just be more anxious. Get it under control. Use what is right for you.

PRACTICE: Backstage, visualize your choreography with as much detail as is necessary.Your brain does not know the difference between a mental version and the real thing.. You are creating a closer bond between what your mind and body wants.

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  Theater Performance San Diego East County. El Cajon, CA

BREATHE: How often do I have to say this word? Focus on your breath. I prefer deep breathing from deep down in the diaphragm just as i step on stage. It seems to release all anxiety

GOALS: Do not focus so much on the performance just let the movements flow. Be in the moment. Enjoy the movements. I usually have a goal that is something to accomplish that has nothing to do with the choreography. e.g Looking in a certain direction or making eye contact etc.

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WHAT IF ALL GOES WRONG?: No matter how much you prepare or how long you have been performing, things can go wrong. How do you recoup and quickly?

1. Self Evaluation: Do not dwell on the mistakes handle it right away, like the next day. Work those things out so you will not repeat them.
2. Quickly Move on: Get your mind back on track. Get in the moment. Breathe! It is ok. You are human!
3. Change Your Mind Set: Most people fear failure. Look at a mistake as an opportunity to learn and grow. You will improve faster. Your worst performances can be your most valuable.

Choose one of these strategies at first then try another. It will not ALL happen overnight.

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  Raks el Anwar performing Bedouin number Pala Casino CA 2006

INSPIRE INDIVIDUALITY IN YOUR DANCERS

Develop a sense of artistry in your students and dancers. Nothing is worse than cookie cutter dancers. Yes, group dances need to be synchronized but that does not mean they have no personality. Have them reach out and find answers. A true dancer has to find her own voice.

Lucia of San Diego, CA

There is so much emphasize on technique and yes, I feel good technique is very important. Without it you will not only abuse your body but you will also not be able to dance. Technique uses the vocabulary of the dance to tell your story. No technique would be like a story teller telling a story with no vocabulary etc. But, you have to go above and beyond technique. Do not let dancers lose their voice or not find it at all. Those will stay students forever. The lack of self-expression leads to robotic movements, lifeless and dead. Inspire individuality!

Sahra Saeeda of Riverside CA

1. Nurture Enthusiasm: Have them love dance. Yes, teach them well but do not be a task master. Our dance form especially is open to all peoples. No matter age, size or age. But they must also realize where they belong. Yes, to be a professional dancer there are guidelines but that does not mean everyone will reach that level. Have things for the student dancer, be it: recitals or any student shows, that they can perform in. As they grow, let them advance.
2. Encourage Ownership: Let students articulate themselves verbally and physically. Establish their identity and learn that dance is not about imitating their teacher. I tell students to tell themselves a story to learn. It is their story. No one else’s! No one needs to know it. It is their secret. It does not matter what others think or feel. It is about you.
3. Include Improvisation:Dancers wh create movement on their own get a deeper understanding of how their bodies move, what feels good to them and how to express themselves. For the club dancer or anyone working with live music this is a must. It is creating movement off the cuff, off the top of your head and just freely dancing. You have to have an individual style ( this is you). You can free style from given combinations. I always start students with 2 movements. First a moving or traveling step. Then a movement in place Then repeat the first traveling step. Then switch them. This way they get to move between moving and being in place by themselves. Hopefully learning choreography has instilled this in them. Most new dancers are afraid to experiment so this eases them in. Help them find their individual voices. Gradually lengthen the exercises. I have everyone dance together at first.
4. Develop Stage presence: Personality in dance is part confidence, part vocabulary and part showmanship. Facial expression is is an important part of the equation. Without facial expression there is no story being told. Do not train robots. Gradually after the last exercise, I do 2 things. Number one is I have dance captains (this can rotate every class) who create the exercises for the others. Number two is dividing into groups and having each person perform a chosen exercise for all. Being complete is part of the job.
5. Observation: Dancers sometimes need to get out of the mirror image to find themselves. Encourage them to observe other dancers. This can be done in the studio at class, in performances and also on line. The one who touches their heart is the one to watch as they will recognize themselves. Ask students what it is about the dancer that excites the student and inspires them. Dancers cannot give their best if they cannot even find themselves. When they do they will start to shine. There is no competition here. Each is an individual.
6. Outside Inspiration: Have students bring in a piece of art that speaks to them. Talk about it. Art is art! Then have them create a short piece that defines that art piece. It can be anything. A couple of counts of 8 will do. Music is great.
7. Exposure to Other Instructors: Studying with another instructor cn also inspire an new approach to movement and help students learn more about themselves. Learn other styles of dance to become versatile and well rounded. Have them work well with others and gin confidence. Build their vocabulary. It will help them find themselves.
8. Be Real: One last note. Taking workshops and seminars is not studying. It is exposure! That is all. Now go and study. Dancers and students, find your passion and go for it!

Amani Beirut Lebanon

The Little Things That Count

To begin dancers are told to not work so hard. Make it look effortless. What does that mean? How do you achieve this? Dancing with efficiency helps you conserve energy and minimize wear and tear on the body. It allows you to achieve big impressions out of little moments and creates last memories to the viewer. Mastering the art of effortless movement requires a new perspective. “Less is More” is often the term we hear. This equals priorities towards simplicity and ease.

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  Mel’Keta

Use rehearsals to determine when to step on the gas and when to coast. Giving 100% all the time wears you out physically and mentally. It makes it impossible to keep going. Each time you repeat a sequence you are recording it physically and connecting with the sensation. Movements have sweet spots. Pause, ask yourself how much force you are using? You will usually find you have some to spare. Pull it back! It is all about following through. The idea of release is not collapse. It is actually poise! Then, you are a magnet for the audience to focus on your dance. Not, trying to capture the audience’s attention. Small details can have a big impact.

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  Magdelena

Think what you admire about other performers.. Never mind the tricks. What makes them sparkle? You are performing not a machine. The artistry can make or break a performance. Build the sense of anticipation by playing with the timing and musicality. During transitions make sure you shift weight with a softness of the knees (slight plie). Thinking about arm placement to maintain control. The audience sees all! Hands are the most expressive part of the body. Be aware of hands from the spine, the shoulder blades, through bicep, tricep and elbow. Let your arms and hands talk.

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Back to Focus: Sternum needs to be lifted and eye level just above the horizon. When dancing in a group make contact with the dancer next to you. Focus all the time.. Think about what kind of energy you should be expressing. Is it soft, intense or some where in between?

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In your entrance you often do running or walking steps. This again is all about transfer of weight. Make it seamless. Use your shoulders and back. I like to say “have the wind at your back” Move through the space. Stay in character throughout. The piece is not over until it is over. Thoroughly rehearse bows. Be thankful for your audience. Define your finish. Leave it all onstage.

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  Dance has been with us forever. Orientalist view of the Oriental Dance.

So- You Think You Can’t Dance

Think again! You certainly can and should by joining a a dance class that is accessible, vibrant and a lot of fun. It is all about moving. So let us get busy. Age makes no difference. Even if you have never taken up dance before. This is the first time. That is ok. Haven’t danced in years but want to start again, then let’s go. You will fit in, have fun and maybe even learn to love dancing.

It is like working out without the feeling of actually working out because it is artistic. You can go at your own pace. Stop if you want. Sit down and dance while sitting. Or just sit back and watch. Listen until you are ready to jump back in again.

Our bodies get set in our ways from repeated, habitual ways of doing things. You will gain flexibility, balance, stability in a short while. Dance can really change your posture and give you overall strength. It is about moving. Life is moving. You do not need a certain type of body or look a certain way, be a certain age or flexibility.

Relieve tension and keep muscles limber:

1. Morning = Lower-back stretch. Sit o floor or bed with one leg extended and the other drawn into upper thigh. Lean over straight leg with straight back, with both hands. Reach as far as you can. Alternate legs. Prevents pain from sitting too long.
2. Midday = Calf-Stretch. Place both hands on a wall or countertop. Place one leg forward with knee bent. Stretch back leg. Keep the full foot on the floor. Alternate legs. This limbers calf muscles and is beneficial before and after dancing, walking or running.
3. Evening = Shoulder & Neck Stretch. Get a towel and place over your shoulder. With the other hand grab the towel from behind. Pull gently in opposite directions while bending your head and neck away from the side the towel is on. Switch sides. This relieves neck tension.

When On Down -Time re-examine your alignment. Down time habits can directly impact our bodies and if left unchecked and can cause problems. A few simple adjustments could save you from injury.

1. SITTING SLUMPED OVER A SCREEN:- Many of us decompress by curling up with a phone , lap-top or watching tv. Then we look down at the screen. These are some of the worst things we can do for our bodies. Why? Because we let go of all our postural support and strength. Instead: Minimize your time sitting in one position.
2. STRETCHING COLD MUSCLES:-Holding muscles muscles when you are cold can damage muscle fibers. This reduces the power and strength of a muscle. Instead: Save for after dancing. Before warm up well.
3. WALKING TURNED IN OR OUT:- Instead: Turn feet to parallel. Actively practice muscle engagement. Hold up ankles. Develop muscles evenly.
4. WEARING FIP-FLOPS:- Wearing these makes you grip with your toes to keep them on. This can lead to shin splints. Plus without support you are likely to roll in, putting pressure on the tendons on the inside of the ankle. This can change the alignment of the knees and hips. Instead: Choose shoes that have arch support and room for the toes to stay wide. When buying, put shoes on. and go into a deep knee bend. If toes can stretch and Achilles tendon says long- you should be good.
5. LUGGING AROUND A HEAVY BAG OR A BABY:- Carrying excessive weight on one side can give you functional scoliosis. The muscles and joints get imbalanced and cause skeletal injuries. It can also change your walking pattern to contribute to having a weaker side. Instead: Clean out your bag. Only keep what you really need. Invest in a back-pack etc. A stroller for the baby. Or at least alternate shoulders.

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Dance As It Began

DANCE AS IT BEGAN

Dance in general is a performing type of movement. But where did it come from and why is it so important? Here we will start to find out about the thread that ties us all together.

The information I share here is twofold. One, from what I have personally studied and learned in my career and life in dance. Secondly from what I have researched and gleaned from the wonderful people I have been fortunate enough to have befriended over the years. Those like La Meri, Ibrahim (Bobby) Farrah, Mariano Parra and the master Mahmoud Reda. Dancers it seems seem to love to talk and share about the art they love so much. So, here is to dance and a few things to share.

The dance is, undoubtedly, the oldest of the arts as rhythm is the oldest element of music and was created for and with the dance. That dance is an art, as such needs no defense.

What does the word “art” mean? The dictionary says, “skill in performance acquired by experience, study or observation; application of skill and taste to production according to aesthetic principles”. This is the cold way of looking at it. Others have said 1. “the active, practical exercise of self-discipline.” 2. “concerned more or less with the unconscious creation of beauty”. 3. “having aesthetics principles”. 4. “the creation of beauty”.  So, dance is therefore an art form.

In the beginning the dance was life. Science and legend agree that the cosmos moves in a rhythmic beat. Aesthetics is the theory or philosophy of taste; the sense of the beautiful.” The philosophic appreciation of any or all the arts, its discovery and contemplation.” Art therefore is creative and reflective. Rhythmic movement is always an art. Sometimes the state of beauty goes asunder due to man’s stupidity.  But as God created the world by his art, so true art will never die while this world exists.

It is not beauty an artist wants or needs to portray, but truth. Truth as it is seen through the temperament of the creative artist. The function of technique is only to stimulate the original emotion which gives birth to the work. The work of art is to excite the imagination of the spectator to the emotion of beauty. The audience is half of any art form. Without the receiver, no matter how perfect, all is lost in a void. From the beginning, the inspiration of art has been religion. Think of the immortal statues of Greek gods and religious subjects in Oriental dances.

If beauty is sought, and only lies in truth then then do we need to understand the means through which it is expressed? If the task is to see the beauty then the task is to wipe away all that is ugly, distasteful or crude.

By no means the least of the maladies of the art of dance is the semi-artist. These are dancers who have not the humility to seek the truth nor the sincerity to seek it. Artistry is a quality of the soul, not a matter of public position. The true artist does not set out to create beauty for the applause of the masses. This is called by greed. This person works and only thinks of him/herself. This does not mean the artist is indifferent to appreciation and understanding.

The semi-artist who brings sensationalism to society is a very real menace. He/she copies the greats, follows the fashion of the moment, looks for the easiest route, licks up compliments, spends money on a few lessons, expensive costumes and a chic presentation. He is content with the little circle around him/her and basks in empty smiles. This person will not last long, he will retire in a snit the moment something goes wrong or there is discouragement. There is always knowledge to attain, culture of mind and infinite training of the body.

Today we are sadly lacking in humility. Audience, critic and dancer alike!  Art is composed of three substances-Truth, Labor and Humility. Let artists teach aesthetics through peace. It is not conquering, but teaching, that is our responsibility, that lies before us now.

The Ancient Phoenicians and Roman Dance

💃💃There are several forms of the dance in Lebanon today which originated from what it was called back in ancient times, Phoenicia. The Debke, Raks Sharki and the Andulusian Moushahat just for starters. There are several forms of the dance in Lebanon today which originated from what it was called back in ancient times, Phoenicia. The Debke, Raks Sharki and the Andulusian Moushahat just for starters. The origins of Raks Sharki/Belly Dance also found in the Ancient Egyptian background as they were neighbors and often traded across the Mediterranean Sea. The Ancient Phoenicians were spiritual people and danced to worship their gods and goddesses. Astarte was the goddess of life. They believed the female body was sacred.

The Rise of the Phoenix from Phoenician times

Rhythm was the basic element of the dance. The dances were ritualistic. Simple loud, rhythms, had effect on the human psyche. The chorus dance was performed in a circle to honor a god or goddess. Dance was also a display of rejoicing in celebration.

Phoenician, Canaanite engravings from as early as 1400 BC depict another appeal of dancing. Dancers accompanied by musicians. This requires no elaboration. Dance was used as a political ploy.

There is a striking similarity in the below picture to modern day Debke. It predates the Arabs and most other invaders of the land of the Phoenicians. In Lebanon today the Debke is still danced and is one of its most famous traditions. It has been passed down from generation to generation and is performed by all. It is the National Dance of Lebanon.

The Andulusian Moushahat is a court dance in Lebanon and Raks Sharki/Belly Dance are also still performed. Raks Sharki is still in almost every household. There are remnants of a woman doing a skirt dance. Whirling dances were also performed. Acrobatics were also added for enjoyment.

The artistry of Belly Dance continues today in most Lebanese communities

The island of Crete which is now considered Greece but is just off the coast of Lebanon and was considered Phoenicia. It was also where the Phoenicians lived so they are included in this piece. It was a stepping stone between Egypt and Greece. Each civilization borrowed from the other with Phoenicia in the middle. The Phoenicians built boats from Cedar that grew in Lebanon. Gave us our first alphabet and discovered the color purple. Ancient Phoenicians worked the entire Mediterranean Sea from Lebanon to Malta. Lebanon is the first country in Asia on the east and sits at the west side of the Mediterranean Sea.

Rossini Festival, Knoxville, TN April 2015-Moushahat Costume

ROMAN DANCE

The Phoenicians along with the Greeks from Crete brought their culture, architecture, mythology, institutions and art to the Italian peninsula which provided the foundation for the development of Roman dance. Plus, the largest Roman ruins in the world are located at Baalbek in Lebanon. The 41 year of Roman reign by Augustus (The Golden Age) led to 200 hundred years of peace. During this time art and literature flourished. Visiting teachers taught music and dance. Tolerance of cultural differences was one thing the Romans taught us.

Professional dancers, flute players and acrobats were imported from Greece and elsewhere. The dancers were called “crotalisterias” because they wore bells and clappers (early finger cymbals). (Note finger cymbals on the modern dancer above. Also there are ancient pictures from Phoenicia with girls wearing brass cymbals.) Strolling players performed. Pantomime came into being. Burlesque was born. The Latin word for dance was “saltio”. The root word “sal” came from the Phoenicians. Their priestly leaders were called “salii”. Dance elements yielded three elements: 1. Motion = An all-encompassing term. 2. Posture= The dancers or actors’ attitude.  3. Indication= Gesture.

When the Roman empire fell in 476 AD the world was plunged into a long period where only the church and powerful nobles provided structure for society. From history you can tell the quality of a country and its leaders by the quantity and quality of the country’s art.

ADA -EL FEN TALES 1001 CEDAR PRODUCTIONS

WINTER QUARTERLY NEWSLETTER:

This year is almost over. Walid and I are looking forward to a prosperous and healthier 2019. We are making many changes to our schedules. We will keep you notified with monthly News updates as well as a quarterly overall rundown.

2018 has been an interesting year with some ups and downs.There has been disappointments and high points. Our lows have been due to some health issues that will not go away. Because of this there will be changes to our schedules. Life here in TN is quiet. 2018 found us in both Jacksonville, FL to visit dear friends and Orlando, FL to teach and visit with peers from up north. Thank you Donna Salem and Melanie LaJoie along with Milly and Neva. Was great to be there and rekindle old friendships and new. We also went to New England. Vermont , to be precise. Enjoyed a fabulous time with Kay Campbell and old friend from MA and author of the best selling book “Caravan of Brides”. Plus Samantha Burnstein from Montreal and Alia Thabit author of “Midnight at the Crossroads” The workshop was excellent and we thank Amity Alize for that. We then proceeded to go to Montreal and visited old friends from San Diego. My old alma mater. Loved it. We then drove back to Upstate NY. Forgot how beautiful the Adirondaks are. Stayed in a summer place and taught a one on one. Very pleasurable. Visited in New Bedford MA, Taught Origins in Worcester MA. Finally arrived home completely wiped out after visiting with family friends (both dancers and musicians. Finalized the year with a visit from long time friend Linda Berry aka Nezera. We spent a great few days checking out the local place here. Like I said TN is a quiet place.

In 2019 we have plans on staying put so we can get allergies under control. There are plans in the works for us to be in Los Angeles the last week of March into April. Our friend Fadi el Saadi of Lebanon will be there working with his drummer Diana Rash of Mexico City. Time to catch up again. Plus Enheduanna formerly of Rhode Island and Lucia of San Diego will both be in the show. Cannot wait. Then off to San Diego to teach a workshop. The dates for that are tentatively April 6^th & 7^th. More on all of this later.

Later in the year we will be teaching again in New England. This time in Rhode Island for Kanina. The dates are not set yet. Either the end of May when we are there for a family wedding or in the fall. Of course going to New England means visiting our dear friends the Matzens in CT.

Am very happy to announce I have been asked and I said yes. I am honored to be on the Board of Directors of the Beledi Dance Company of Rhode Island along with some very prestigious New England names. These ladies are fantastic and I am thrilled to be included.

As our direction changes due to the logistics of the dance at this time, we will be doing more on line and locally. We will be continuing the Blog posts on WordPress and expand. We will be adding Podcasting the beginning of the year Possibly later more on line and Videocasting. All of these are run through Tales 1001 but include the studio of course. Still doing some research in the above areas. But am sure it will keep us busy and close to home but still helping to share the dance with those interested.

That is our aim as it always has been, to educate and help dancers achieve their wishes in our dance.

We will be running several things through Cedar Productions. Since there are no other musicians or venues to perform in the area. We will be starting several things to bridge this gap:

1. CEDAR CAFE: This will be held the last Thursday of the month starting Jan 31^st. It will be held in our studio and covered on Skype from 7:30-8pm. This will be a chance to listen to your favorite songs. Learn a few rhythms with Walid. Learn to Debke and just generally have a good time. Come and ENJOY!

   

2. ADA-EL FEN: Open Belly Dance Classes will be held on a monthly basis on Saturdays from 1:30-3pm. These will be a mixed level class. Every month will be a different theme..g. 1. Back to Basics. 2. Zills & Rhythms 3. Veil Work. These will be Skype classes so no one has to leave their home. These will be dance classes and will be informative too

3. R.A.I.S. TRAINING:This will be a quarterly. Class will offer Certification classes to all attendees who are interested in being an instructor of belly dance. This is open to new and experienced teachers. A definite MUST for instructors at all levels.The first class will be held Tuesday February 26^th from 7-9pm on Skype. Then again in May, August & Nov.

4. QUICK START – BELLY DANCE: This is for the new or want to be students of belly dance. The curious ones who do not know really what it is all about. We will cover a little background on the dance, costuming and how to take class. Find out the truth about belly dancing. We will cover basic movements and steps and maybe a short combination. This is also run quarterly. Tuesday January 29^th at 7:30-9pm. On Skype.

   5. LIFE IS MOVEMENT: This class is for those who need basic moves for health and welfare. Do you need help , want to move better? Have more confidence and self esteem. This will give you the basics of Unity Yoga, Petite Pilates, Somatics and a Basic Ballet Barre. This can be done in the studio or on Skype. Time slots can be anywhere from15 minutes to 1 hour, depending on your needs. Open days are Mon and Thurs 1-4pm. Book your time segments.

   

6. REGULAR BELLY DANCE: Classes and coaching available on a regular basis. Available days Mon & Thurs 11am -12:30pm. Plus Tuesday 5-7pm Wednesdays 1-5pm. Grab your slot before they are all gone.

7. CREATIVITY – Checkout our daily blog on Creativity starting Jan 3^rd on Facebook. This is something I started Jan 2018 and swore I would do daily for a year. I did take time off in July and then came back. Roughly 100 days to go. Checkit out. Can be used to help any creative endeavor. FB=Morwenna Assaf

8. BLOGGING – Daily on Facebook under Morwenna Assaf starting January 3^rd. Complete the year I started. This one is all about creativity as an artist. Check it out. Regular bogging will be the 1^st and 3^rd Wednesday of every month. Check out WordPress and our website (https://Tales1001.webs.com) . You will get notification of other places as we progress.

9. PODCASTING – This will be broadcast the 2^nd and 4^th Thursday of every month.

Thank you all for a wonderful and exciting 2018. See you next year.

ALEXIA VIVERETTE SMITH-

This is the second year of presenting this material as things have grown and changed over the past year.  I had the pleasure of interviewing my friend and peer Alexia Viverette Smith a wonderful performer from Knoxville TN. We originally met in NYC many years agao under the tutelage of the Master Ibrahim Farrah. I would travel down from the Boston/RI area of New England and Alexia would come up from Knoxville. We continued this for many years. Even when I moved to CA we stayed in contact. We met several times in LA & Las Vegas. We have followed each other’s careers. On moving to the Knoxville area I immediately contacted my old friend. Her professionalism and dedication to the dance has remained steady all these years. The dancers in this area have been very lucky to have her in their area to study and appreciate. Like all of us of that era Alexia loves the dance and aims to share it with the community and other dancers.

Alexia  2014

1. Morwenna: Alexia when did you realize belly dance was your thing?

Alexia: 8 weeks after taking my first class. The music was so intriguing to me and how free the movements made me feel.

2. Morwenna:  Where did you study?

Alexia: My first class in Knoxville was with Debka who just left New York from taking a series of classes with Bobby Farrah. I continued with some classes in Knoxville and decided to go directly to the master teacher in New York.

3. Morwenna: Where was this and for how long?

Alexia: In New York for week long workshops with Bobby Farrah, and many other teachers who taught weekend workshops, Dahlena of Chicago, and others east coast dance teachers on the circuit. Living in a small city we didn’t have access to these great instructors on a weekly basis only the workshops.

4. Morwenna:  How did your interest in Event Organizing come into this and how did Oriental dancers figure into it?

Alexia: Not being able to always travel to every week for long workshop or every workshop on the weekends, I decided to bring one of Bobby’s dancers Elena Lentini whom I had watched numerous times performing in New York.  I was the first dancer to sponsor Elena.  We had such a great turn out and I  knew then, there was a hunger from other local dancers besides my students to study with knowledgeable dance artists and teachers.  So after Elena I sponsored Ahmed Hussein who Bobby helped promote as a dance artist.  I had also watched him perform in New York. Then I moved away for 16 years to pursue my career and dance professionally. After I moved back to Tennessee after 13 years, I had a friend who is a well know dance artist and teacher Samara come and visit and last minute decided to have her teach a 2 hour class on a Wednesday night. Had a great turn out even with last minute announcing and by accident that is how I got started again in promoting workshops. Samara is also an oriental dancer who has a style similar to the style that I teach.

5. Morwenna: How has it evolved with the event planning?

Alexia: I saw a need to bring good dance artists to the Knoxville area to help spread cultural awareness and educate other local dancers in the true art form of this dance, and especially so that my students could get outside training from the best, because it was difficult for a lot of them to take time and travel to New York or other places to see these artists.

6. Morwenna: Have your aspirations changed over time?

Alexia: Yes, I’m slowing down a bit My focus was training a solid dance company, produce and direct theater shows in which I did for 10 years. How? Lol, with age.

7.Morwenna: Who do you admire in the Arabic dance world for their work? Why?

Alexia: Well of course I admired Bobby Farrah who made the biggest impression on me and made me want to learn to be the best that I could be because of what he would give in his classes. (he made you yearn for more) But other great artist such as Yousry Sharif, because no one could touch his pure classical Egyptian folklore! He was also another dance artist who could mesmerize the audience when he performed.

8.Morwenna:  Are there others that have come along that have influenced you as you attained professional status as a dancer? This might be locally, nationally or internationally?.

Alexia: Oh yes, many……Besides Yousry, Elena Lentini both of New York,   I so remember telling Elena I wanted to learn to dance just like her.  Well no one can do that!  These Egyptian female artists had great influence on me, Soheir Zaki, who I thought was the queen of Belly Dance.  I never forget when I saw her dance at a club in Cairo and she invited me up to dance with her in a segment of her show.  That was such a honor and I have two pictures of that moment! What a thrill!  Also while in Cairo I got to see Fifi Abdo, who had the most fabulous shimmies and turns! Another great artist during that time was Nagwa Fouad.  I used to watch many videos of her performances which also inspired me.

9. Morwenna: What do you like to see in your students as they work with you?

Alexia: I want to see them grow in this dance and have an understanding of the culture and the music.

10. Morwenna: Are there others that have come along that have influenced you as you attained professional status as a performer and promoter in the Knoxville area?

Alexia: Samara of New York, not only a great friend but such a giving artist, great teacher, choreographer and someone who would encourage me to keep my vision!

The next section will complete my interview with Alexia and more about her fabulous event in April of this year.  Morwenna Assaf

 

 

 

Cynthia Turnage – Dancer/Teacher – Dance Studio Owner-Event Center

Cynthia Turnage – Dancer/Teacher – Dance Studio Owner-Event Center

Cindy Turnage with Sharon Mansoor

To begin this interview, I met Cindy Turnage way back in time in NYC. We were both attending our first week long Teachers’ Intensive in NYC with the late, great Ibrahim “Bobby” Farrah. It is a friendship that has lasted all these years. We both knew we were in the right place and we have both continued our love for the dance from this moment on. On moving to Knoxville last year she was one of the first people I looked up. I only knew 2 people from the past plus my family.  Our friendship has endured the years as we both went on different paths in the dance. On getting together with old friends I was interested in what made them tick and what they have done in the dance and the dance community over the years. So I decided to jump in and get some answers. Here is the first part of the interview with this incredible person and her journey.

1. When did you realize belly dance was your thing? My mother married an Iranian gentlemen from Tehran and before that dated a greek doctor. I lived in the DC area and they would take us to the Middle Eastern clubs. That’s the first time I saw Bobby Farrah.  I think the music was instilled in me then and with the music comes the dance.
   
2. Where did you study? Where else and for how long? With whom?I studied ballet and tap starting at four years old with the Schuyler school of dance and continued with modern and Jazz throughout high school and college. Took my first class in middle eastern dance with Debka at the University of Tennessee. Then took a seminar in Atlanta with Dahlena and Bobby. And I went to Chicago to take a week long seminar with Dahlena.. Then a few months later went to New York to take Bobby Farrahs week long seminar and from their continued study with him in New York City along with his seminars around the country. I was heavily influenced by Elena Lentini and Valerie Camille also. I must include all the dancers that in a performance exhibited a breath or dynamic that I could never forget. All these factors help create a dancer.
3. How did your interest in opening a dance studio come into this and how did Oriental dancers figure into it?
   
   I have always wanted to open the dance studio. One that was beautiful as well as clean! Where artists can create their works in an area that promotes peace and beauty. It’s my way of giving back to the dance which has given me such joy and freedom. Oriental dance was a vehicle that kept me teaching and living the art. But my studio was for all dance and theater and performing arts.  Middle eastern dance was the form that gave me frame and structure in order to open the studio and take another adventure.4.What is the name of your academy of dance? How has it evolved into what it is today?

   Broadway Academy of Performing Arts and Event Center started out as a dance studio. There are  three studios two which are 2400 ft.² and one small that is 800 ft.². It was an old warehouse and I walked in with a paintbrush and a gallon of the flamingo paint and a portrait of my dad. The warehouse belonged to him and I needed his inspiration to get me through. The building was over 100 years old. After refinishing the floors I knew I had something special and the venue was so lovely that I could have weddings there also.       
   So it became a wedding venue and a professional arts studio. Since then Broadway has evolved into an auction house, retreat venue, class reunion hall, meeting space, party venue as well as theatre Playhouse. Several community acting ensembles have produced their place at Broadway Academy. Go figure what a dream and a gallon of paint can accomplish. Yes and add a lot of luck! I also secured a federal grant to renovate the outside of the studio.  I am so proud of Broadway Academy and the positive innovative energy that resides  inside its doors.

   5. Have your aspirations changed over time? How?

   The basic love of dancing will never change. That will remain inevitably the same. But as you mature the reasons for dancing will take on a journey of its own. As a young dancer I took classes, I performed in clubs and on the stage ,I taught classes ,I taught seminars and studied the history of the dance. That journey was  about discovering who I was as an artist. Now my focus is giving back to the art that has given me so much. I want to pass on what I have learned in my journey. The great artists I studied with one of which is Ibrahim “Bobby” Farrah I want his theories and method to be passed to other young artists. That is so important, he has to be remembered. He lives on in his Cheoreography  and with his students. as you well know, Mo.  You move away from who you are as a dancer and into what you can give in the big picture to your art form.

   6. Who do you admire in the Arabic dance world for their work? Why?

   Who do I admire. So many!!  They are the beginning. From Lebanon Nadia Gamal and from Egypt Suheir Zaki.  Nadia Fouad from Egypt. Ahmed Hussien from Egypt. They all give us the essence of the Arabic flavor that is the dance. Ibrahim Farrah whose parents came here from Lebanon. I have left so many artists out of this list   But The list would be a mile long. A student of the dance must revert back to study the roots of the history of the art form to become a complete artist. The classic artists have so much to offer in spirit and understanding the music. 
   

   7. Are there others that have come along that have influenced you as you attained professional status as a dancer? This might be locally, nationally or internationally?.
   I think he last answer covers this question well. Except that I learn everyday from my students. They are current and gifted in their own right. 
   
   8. What do you like to see in your students and other teachers as they work with you? 

   I like to see passion and excitement in my students.  I love to see them get lost in a choreography and forget the steps and become the music. That’s when they understand what it means to be a dancer. It is a freedom like no other. A teacher must help her students find who they are in the dance, sometimes it is a life long journey. I hate to see a performance when a group of dancers all display the same passion, the same energy of expression. Each one should tell their own story. The steps can be the same but the essence of each performer should be her own. A dancer needs to say something even if the conversation is within herself. The audience will feel her story, her journey. 

   9. Are there others that have come along that have influenced you as you attained professional status as a performer and a well known dance academy in the Knoxville area?

   I owe my students, throughout the years, who have inspired me and supported my style of dance. They help me become a better teacher as well as giving me a purpose to grow as an artist. They are wonderful and accomplished dancers and I have had to work to give them material that would challenge them and make them better artists. 
   

   10. Do you go or have you been outside the USA as a professional performer or to study? Explain.

   I have talked seminars in Canada. I have toured with turquoise international to Europe as a performer. I have performed in Egypt on a tour with IBrahim Farrah and a group of dancers who all got to dance. So awesome!!!!  Also on that tour I performed in Marrakesh Morocco in a club called The Casino. Now that is a wonderful story that I need to write and share with everyone!!!!!
   

   11. How do you think this has helped you in your professional status? Has it helped if at all in your interest in promoting your dance and studio? Why? How is that going? Tell me about that end of your business and why it is important?          

   Any kind of travel to the Middle East which is the origin of our art form is beneficial and very prevalent in the growth of a dancer if she has the opportunity. The dance studio Broadway Academy offers all dancers a lovely place to create and grow as an artist. A place to share her or his talents with others.  A positive energy resides there and I am very grateful for the wonderful artists that choose to share in that energy. The studios are there for all artists of every dance style, for actors and plays, and for parties and weddings and all celebrations. I am so blessed to offer these opportunities for study and performance. Broadway Academy is growing as a business and thriving as a home for the arts. I feel that this studio is making a difference in artistic endeavors in Knoxville and that is my dream.
   

   12. What are your short term goals? 13. What are your long term goals?

   Long term: To promote Broadway Academy and maintain its importance. To share my knowledge with others. And to grow as an artist. Short term goals: I would like to help underprivileged children through Broadway somehow. I have contacted some non profit organizations and will see what comes of that idea. I would like to be successful in teaching Bobby’s method of dance in the seminars like the one in Lexington. I would hope that students leave inspired and have a new perspective on the meaning behind the steps. The texture and the delivery of the movements.  Just like Bobby taught us. 

Choreography and Improvisation in Belly Dance.

Choreography and Improvisation in Belly Dance.

There are many discussions on whether Belly Dance should be choreographed or not. Coming from the world of classical dance I was used to choreography. That does not make it right or wrong. I had to learn how to improvise. Some people believe you should just improvise from the start. I personally find these dancers very boring as they just repeat what is the most comfortable for them. I believe choreography has its place in training to teach patterns and shifts of weight for a vocabulary in dance. When working in groups or theatrical setting choreography really works best. When working in restaurants and clubs and doing 15 -25 minutes shows you have to be able to improvise. So, like many things in this dance form it is not just one thing or the other. You need to be able to do both well. Here are some ideas on how to handle this. Some things work in both fields. It is all dance after all!

Choreography needs to be learned and remembered. Here are some suggestions to help with this. I find this also helps in teaching choreography.        

Raks el Anwar performing Bedouin number Pala Casino CA 2006

1. Work on the big picture first then bring it in for details. Macro to Micro.

2. Group sections together that make sense to you. Do this at your ability. Have sign posts. Have chunks and set markers.

3. Say steps and have mental images.

4. Talk to yourself.

5. Tell yourself a story.

Improvisation This list will probably work with the ones above.

1. Listen to the music. It is true, the music tells you what to do.

2. Do what your body tells you.

3. Have linking steps and combinations.

4. Have slow and fast content.

5. Have emotion an body and form.

6. Be in the moment.

7. Relax!

8. Do not compare to others.

9. Be confident.

10. Be you!

    ALSO! And these things DO work for both!

1. Choreograph-Patterns help you know where you have come from and where you are going.

2. Imagining-Dance is story telling.      

   

   Theater Show from wings Raks el Anwar 2013

3. Know counts this equals a blueprint. Muscle memory works if set up correctly.

4. Be observant-Know where feet, head, arms etc. are supposed to be. Keep your eyes and ears open.

5. Track shifts of weight. Ask where is my weight? Practice weight transitions a lot.

6. Write it down. This helps organize thoughts and retention.

7. Sleep on it.

8. Practice makes perfect. Teaches us to pick up quickly.

Now How Do We Add Feeling to this Mix?

1. Take an acing class to get comfortable.

2. Perform enough so you get comfortable.

3. The music needs to be inside you. 

   

   Rossini Festival, Knoxville, TN April 2015

4. Only one you, do not imitate.

5. Once you put a costume on, your show face goes on too.

6. Practice one thing at a time.

7. Make a point of focusing.

8. If looking in the eyes is unnerving then look just over the head.

9. Look at specific things in the room, stage, theater etc. to focus on.

10. You can do it, Yes you can!

Hope this list helps you. You know you can do it but yes it takes work. Always be the best you can. Why be good when you can be great!  

Dance has been with us forever. Orientalist view of the Oriental Dance. What story does this tell you? 

The rise of the Phoenix from Phoenecian times. Rise like a Phoenix. You can do it!

THE PASSION OF DANCE by Morwenna Assaf of Tales 1001

What makes someone give up anything and everything in his or her life? This is what true dancers do. Have you ever wondered why? Maybe only dancers can answer these questions. But as a dancer myself, I do not have the answers. I have pondered the situation many times in my life and career. I do know that dance is life and without life there is nothing. There is no breath, no passion, no sky, no earth, nothing. Dance is all of these things to a dancer. Without passion there would be no you and me. People all over the world choose their work and career. Some feel they have a calling. This might be so but dancers go above and beyond the general boundaries of a calling.

Dancers will give up eating and sleeping and will work around the clock for their calling. Dancers are the hardest working group of people. They leave their homes and families to pursue a future in an location where they have no friends. They physically work from dawn to dusk and beyond just to be among the chosen ones. They are not happy living in an area where the arts do not flourish. A dancer dances till she or he has blisters, bleeding feet or aching muscles. They eat little for fear of gaining an ounce. A dancer takes a class in any style of dance available to help her grow artistically. There are rehearsals half the night when there is not a show. They might also study how to teach as another career in dance is advisable.  A performing career is short at best. This life style continues as long as she or breathes. Dance is a tough, hard life.

Morwenna and Walid performing in Lebanon. 2011

Few will make the cut as performers. Some may have the talent, some may have the wrong body type. God created each of us to be individual. Certain things we cannot change. How cruel to be on the end of that short straw! Many young people realizing how short the performing career is will opt for a teaching career. Most will end up teaching children in studios they run or own. They try to pass on their love for dance. Most children who study dance never train long or hard enough and do not have the desire to be professional. But the love of dance is passed on any way. Other people opt for a normal life of marriage and family but always miss the dance. A few will blend the two.

Mahmoud Reda and Morwenna Assaf in San Diego August 2010

The life of a dance instructor is not an easy one. There is a great deal of responsibility involved. There is dealing with other people’s children several hours a day trying to inspire them to acquire the love you feel for dance. One also has to deal with the parents. Not an easy chore. There are recitals, purchasing of costumes, choreographing, bookkeeping  and making and keeping schedules. You work 24/7 to get a return on your investment. But continue one does, all for the love of dance.

There are those lucky enough to stay in the performing arena longer. One day though it is over. At this time teaching looms on the horizon. But this time it is teaching amateur and professional dancers to be like you. You want to share your knowledge and passion. Colleges, dance studios and even maybe adult centers are the locations to teach. There are also master classes and workshops to be taught around the USA or abroad. Watching the newer dancers achieve and grow is your new passion. They will continue the path you are sharing. These teachers still work like mad and now live through their apprentices as they grope for the next rung up the ladder of achievement and maybe fame.

Walid and Morwenna Teaching in Knoxville for Alexia Productions. 2015

Still after all of this and whichever path and dancer chooses, a dancer they will always be until the day they die. It is a wonderful life even with all its drawbacks. After all this the monetary awards have not been mentioned. These are few and slim. No one gets rich being a dance artist.

Me and my books at ADA dance studio CA 2014

Over the course of my life in dance I have pondered all of the above and more. Yet, I can honestly say there is no better life. I love my life. I would not choose another. I have no regrets. But I still cannot figure out what drives us in this passion. God gave me a gift and I need to share it with others. There is no greater gift of sharing dance. It can be shared with an audience, with children and adults.

“To Dance Is Life”

Banner of ADA with Logos for DancerAndDrummer.

 

LIFE IS SO PRECIOUS – Mystery of Percussion & Dance

This is actually Part 2 of So Many Drums, So Little Time. Since our lives have changed so much over the past seven months, I changed the name to suit the situation. Because life indeed is precious. Having good health is everything. We are two of the most fortunate people on earth. So here is the finale on Walid Assaf and his illustrious career so far. Plus I would like to thank him for being my husband and life partner in all we do. Thank you, Habibi.

Walid & Morwenna Teaching in Knoxville for Alexia Productions.

It starts with whom Walid owes his career to:

I admire: – Wadi el Safi as a singer who also plays a fabulous oud. Feiruz, with her golden voice, and the Rhabani Brothers who composed her music!. Then the incomparable Sabah who has made more movies than anyone else I can think of. These names are like the Lebanese flag. They will be with us forever. They are the stars and I will admire them to my grave.   They are the foundation of Lebanese music for me and will never die. All generations in Lebanon revere them. These are the true artists, they can never be replaced. One fairly new person I admire very much is Fadi el Saadi of both Mexico and Lebanon. You will hear more of him later.

The Oriental Dancers I admire the most are: Number one was Nadia Gamal and the famous legends of Egypt starting with Badia Masabni who was also Lebanese. Nadia was married to my cousin, Chafik Hachim and used to come to my grandmothers for lunch every Sunday. I was young then and fell in love with her, she was so beautiful and the best belly dancer. Others come and go but these icons of the dance were the foundation. I admire my wife Morwenna Assaf who is a true artist and excellent teacher. With her I include Dolores Riskallah Matzen of CT, she introduced my wife to Ibrahim Farrah and NYC. Elena Lentine is probably the best in the USA. She is a true artist. Amani in Lebanon is without a doubt the queen of the stage today. Then there is Phaedra and Katia of MA, Kanina of Rhode Island, Suhaila Salimpour of CA and Amaya of NM. All these and more that I have not mentioned. All are stars in their own right. I also respect my newest dance partner who has come so far. This is Lucia of San Diego. Lucia came in second internationally in Lebanon in 2011. She is a bright star that you will be seeing a lot more of soon. She has her sights on the stars and I feel she will grasp them.
I appreciate dancers who know what they are doing. They know and understand the music. They know what they are dancing to. They understand the instrumentation and interpret the music with their bodies. They must dance from the heart. They must be educated dancers. they must dress and behave professionally at all times. They must know their venues. Dance must be second nature to them. They do not show off. The dance must come naturally. Their attitude should be ask, and you will learn! They have to take the time to understand the songs and the music.

I do want to mention someone who was instrumental in my career in the New England area is Sy Matta (known as the professor). He taught me such a great deal. He was an awesome musician. He knew what he was talking about. He played oud, violin plus wrote music. I was lucky to be inspired and have him in my life.

My brother Fowzi Assaf was also very instrumental in helping find my way in this business and my wife Morwenna Assaf who introduced me to the performing serious side of belly-dancing. To her it has always been special and she treats it as a cultural art form. I also worked with wonderfully talented musicians who guided my way: Mounir Ayash, Ibrahim Osco, Ryad Khoury, Sami Medeny, John Nassar and Jamal Sino all from the Boston area. I cannot forget Tony Barbour who owned the Continental Restaurant in Assonet, MA and where I worked every weekend for 25 years. In Boston at that time we had music to die for. I never realize how great it was till I moved to San Diego and there were no Arabic bands and even those that were in LA were nowhere near as good as what we had in the Boston area. There were many other greats in the Boston, Rhode Island area that I have not mentioned. Most of these musicians still work on a regular basis. Now I have been fortunate to find Fadi elSaadi who is a native of Lebanon but lives in Mexico City.  We met through a mutual friend who runs a dance studio in Tijuana, Baja Mexico. She had hired him for a performance and workshop series and invited my wife and I to attend. She wanted us to meet him. From then, and that was 2010 I believe, we have become close friends. He is a wonderful musician. He plays key-board, sings and plays a mean derbecki too. We are planning on working together a whole lot more in the future. We hope all goes well. I am excited about this joining of forces.

Every time you play you learn more and more. It is all a learning experience. I have played for three generations of people and I am still playing. I am an entertainer, not just a drummer.  I can also play other Middle Eastern percussion instruments. I organize and produce shows and offer a sound system.
My short term goals are to keep educating people as to the goodness in the culture of the Middle East. Our music and dance does this. Dance and music are international. It allows people to understand us better. We hope within a year to target Orange County and LA County. Then expand to Northern CA, AZ and NV. before the end of the year 2014. As we stand today we really have no competition in the area as no one in this area has the education and background in the business that the Assaf’s do. We bring out ethics, honesty and love of the art to this new venture.
My long term goals are that as long as I can breathe and have my health I can share my love for this art form. It is my life and my breath. My drum is my life and it is the beat of life that goes with my heartbeat. I have woken up all my life to hearing the beats of the drum. Possibly I heard it before I was born. This is a blending of the finfinest minds in the business. There is no one at this time that has the advantage we have. We have the talent, know- how and ability. We know people who will work with us. Our management will be strong. There are very few artists that are in demand anywhere in America like Fadi elSaadi. We operate on a daily basis. Office hours are set and class hours are too. Performances and workshops are on a need basis and offered beyond the studio’s clients. We are constantly working towards new ideas and locations to share our talent. We want to take our talents across the country and share our love and knowledge with everyone. This means Americans and Middle Easterners alike.
I enjoy a teaching and sharing with others. Each country has different rhythms. I specialize in in Lebanese rhythms for dancers but today all rhythms are needed to be well versed. Because music and dance is a marriage, you need to know both. My wife really helped me to learn all the different levels of the dance be it theater, nightclub, house parties, student level or professional level, folklore and classical. I look for a dancer that knows what she is doing and is professional at all levels including her attitude, dancing and her costuming. I try to help them by being honest about their dance making them listen to music and, correcting them. Not filling their head with fluff! They need to rehearse with the drummer to become one on stage. This is the secret! There has to be a connection. They need to know the rhythms and how to move to them. They need to understand the instrumentation and how to move to move to each. I will even suggest they get with a good, well informed instructor. We each help each other.  The music plays better with a good dancer and a dancer dances better with good music and dance.

   
People have to feel comfortable with you. There has to be a give and take. Each teacher has his own magic. There I enjoy and am capable of showing the right way to play drums is only one person like you. So be your-self! I am me!
I advise that people learn from the best and practice, practice, practice! Learn by your mistakes. Only pursue if you love it. Being an entertainer of any kind is not an easy or glamorous life. Day and night you are an artist. Married or single you have to have trust and have respect for your profession, yourself and all artists around the world.  You always have to know what you want and to be able to say what you want.

Morwenna Assaf

http://www.Tales1001.com

SHIMMY YOUR TROUBLES AWAY

SHIMMY YOUR TROUBLES AWAY

Would you prefer to shimmy or do sit-ups? Would you rather belly dance or be on a treadmill? Fitness research is in your favor if you would prefer to dance. Studies show that dancing can provide many of the same benefits as aerobic exercise like biking or swimming. It is also easier to motivate yourself to dance than to drag yourself to the gym.

You do not need to jump, leap or limbo to reap the health benefits either. You can shimmy, shake and undulate at your own fitness level as long as you keep your heart rate up and your muscles moving. All styles of dancing apply, whether you are grooving to belly dance, salsa or swing.

Shall we have a dance or two?

Find an educated teacher

Regular physical exercise helps to keep your body and mind young. If you enjoy dancing it is an ideal way to pursue pleasure, and fitness at the same time. There are studies that show physical activity like dancing can play an important role in preventing illnesses, such as diabetes, high blood pressure, heart disease, osteoporosis and depression.

Let me how you the way. Come and kick up your heals or do a belly flutter or more:

Increase your flexibility: Dancing often requires you to use a full range of motion for many muscle groups. Belly dancing uses muscles in all areas of the body. Whether it is belly dancing or ballroom moves, you are bending and stretching your arms, legs and torso.
Strengthen the bones: Keeping rhythm in belly dance gives your legs and hips a workout without hurting your joints. Dancing strengthens and tones by forcing muscles to resist against against your own body weight. A style that includes jumping (Debke and some folklore) can give legs extra power.
Build endurance: With practice you will be able to work your dancing muscles for a long time without tiring. Lung capacity and energy levels will likely increase, too. Try belly dance or line dancing to build stamina.
Burn calories: Someone who is 150 pounds can burn off about 150 calories after 30 minutes of moderate dancing. Rigorous dancing like saidi, shimmies and some other folklore styles can help you drop even more calories. It is good for your body and especially your skin to sweat.
Improve posture and balance: Dancing requires balance and coordination. This is turn, helps to strengthen the core and make you less prone to falls. Try doing a hip drop without good balance.
Keep your mind sharp: Exercise increases the level of brain chemicals that promote nerve cell growth. Dancing 2x per week made seniors less likely to develop dementia. Having to remember steps in a choreography can sharpen your skills.
Help your heart: Dancing gets your hear rate up and improves circulation. Aim for at least 30 minutes of moderate activity most days of the week and get optimal heart benefits. Walk between dance days or practice.
Relieve stress and tension: Dance your troubles away. Swaying to the beat helps people sleep better and fret less. The AHA (American Heart Association) reported regular slow dancing significantly improved quality of life for people with chronic heart failure.
Enhance overall well-being: Dancing is fun! Being on the studio floor, dancing to a favorite piece of music or tune can boost your mood, instill confidence and ward off depression.
Provide social benefits: Dancing usually is done in a classroom situation, so there is opportunity to meet new people. Having social ties is linked to better health, highert self-esteem and a positive outlook on life.
So, are you ready to boogie and give it a try? Always check with your doctor first before you increase your activity level. You might need to restrict or modify your dance activity if you have certain medical problems. Make sure your instructor knows if you have any reason to pull back in class. As a general rule, start out slow and step it up gradually. Today an undulation tomorrow, perhaps, a shimmy.

ETERNAL LEBANON – The Land of Milk and Honey

Wed March 11th, 2015

ETERNAL LEBANON
Land of Milk and Honey

Decided after being serious for a few weeks to remininesce. After being sick for 2 weeks and finally feeling a bit better my thoughts went to a trip we made that was really heaven on earth. We were there three weeks. It was not enough time to grasp the culture and the feeling of the country. Thank goodness I had almost 37 years to be married to the culture and had lived in Southeastern MA among the culture. I did understand it. I do realize it can be a little overwhelming if one does not understand the nature of the people. Not only is it the land of milk and honey but it is also the Phoenix Rising. This country shall never die.

Lebanon was the most awe inspiring place I have ever been. Not only because it is the root of Middle Eastern Dance but because of the country and the people. We were there for the Amani Oriental Festival which in itself was awesome. We met the finest instructors in dance that Lebanon had to share. That in itself puts Lebanon on a par with NYC for dance teachers at a professional level. The teachers from other countries were excellent too. We all participated in the festival as teachers and performers. I will never forget this my first trip but I await the news of the next festival. We want to go back to Lebanon and want to take more people with us and want it to coincide with Amani’s next festival. We want to do more research into the roots of the dance through Lebanon.

Fo those who do not know, Amani is the prima danseuse of Oriental dance in the Middle East. Not only does she look for perfection in the art but she demands it from each and every teacher in her midst. I was honered and priveleged to be part of this group. And also to be invited to be one of her teachers. This lady is a wonder to behold and is also the nicest person you could ever meet. She will be attending a seminar in her honor in Houston TX on May 1-3rd 2015.
The tour day in Lebanon was perfect. We went to a private castle and to the Hall of Fame plus Beit el Din before heading beck to the coast to Byblos and Jounieh. Dinner was wonderful at Tony Hanna’s restaurant O’ de Mer. He was very gracious, he sang for us and joined the party. He even remembered my husband,. We met him in Assonet MA one year. My husband was the drummer that night.. There was a debke lesson but after the meal that was not a good idea. The weather was warm and beautiful the entire time.

We also spent ten days after the festival and expored on our own. We visited a wedding for research on Zeffet. This was so awe inspiring. A friend Talal who owns a Zeffet performing company took us as guests. It was so exciting. We spent a day at Baalbak which was amazing. The Roman ruins are the largest in the world. Plus I had always wanted to walk the stasge there. I did! To round out our trip we spent two nights at the local night clubs checking out the entertainment. We visited family and friends before coming home on the Sunday morning. A perfect trip in every way.

Of course we came home tired and exhausted. Hated coming back into Newark. But our wonderful trip of a lifetime can never be taken away from us. Cannot wait to return.

Till next time I remain,
Morwenna Assaf.
Tales1001@sbcglobal.net
http://www.Tales1001.com

Autumn Dance Season is Here

Life IS Movement

SUMMER 2021 Art/Dance Academy

SPRING 2021 Art/Dance Academy

Virtual/Digital Shows! – Make Yourself Stand Out

Covid -19 has made us all look for other ways to share our talents. Have to admit I am not a technician and this stuff scares the daylights out of me. I was using Zoom etc. when nobody had heard of it to keep in touch with my students far and wide. I now have a lot to learn. I envy those you have come to terms with the situation. I only ever used it for coaching. I remember my my first class on Zoom. I learned a lot.

This article though is for those who are performing in shows produced on Zoom or Skype etc. I cannot sit through one more. The people running the shows do the best they can. Most do well. It is the dancers that I worry about. All get a great introduction. After that it is all over. Most just dance to one person the camera. No, no there is not one person there. Why aren’t Arabic style dancers taught more in their choreography classes than just steps? I was taught that things done face on were flat. Have no depth whatsoever!. Facing the side has no personality. Use you angles!!!

I think most of the problem is focus. No one knows where to look. Going across the floor means just that. Have energy, unique presence and dynamics. This is called “See and Be Seen”! Focus on really performing the movement. You have to have direction on your look. It demands that you imagine an audience and show them where to look. Do not focus on your self in the camera, really be aware of where you are focusing your eyes. Sustaining warm, friendly eye contact when ever appropriate also lets the audience know your personality. You need to be present and focused. Easy to forget in a virtual realm. Be yourself and and feel you are being seen all around you. Carry yourself accordingly. This is not just your imagination at work.

You are not performing to an empty house. You have to have stage presence. Pretend you are on stage. Envision communicating to a person. Tap into that feeling of performing for others. Have a confident presence. Learn the nuances of your choreography or improvisation not just steps and moves. Really hone in to what is really being offered, it is more than just reproducing a movement or series of moves. Know the phrases of the music. Take ownership of the material and show you understand the musicality. When using improvisation, feel free embrace and respond to the music. Be an artist!

While two dimensional representation onscreen cannot fully show the richness and complexity of your dancing like in person, getting your dynamics can give a more accurate idea of who you are as a performer. The screen flattens us out and we are not fed by the energy in the theater or restaurant. So, it is even more important and imperative to compensate by being highly articulate and dynamic in your movements. Hit a movement a little harder. It turns the volume up in subtlety and nuance. Make the movement clear rhythmically, feel your connection to the music.

Practice is a great idea. Let go of imperfections or technological mishaps as quickly as possible. Keep dancing full out at least as much as you can in your limited space.

For anyone who really has no idea what I am saying, give us a call and schedule a coaching session. We can do this, it is really commonsense. But if you do not know we can help you.

Morwenna Assaf Educator an Choreographer
Arabic Style Dance & Movement
ArabiDanseAcademie@sbcglobal.net
https://ArtDanceAcademy.webs.com

Walid Assaf, Rhythm Master & Musical Director
760-715-2276

SPRING 2021 Art/Dance Academy

Egyptian (REDA ) WORKSHOP