Take Care of Your Muscles

No matter whether you are into fitness, dance or tennis you need to make sure you are taking care of your muscles. You do want to strengthen but nor over strain them. Know there is a difference between muscle soreness from use and a strained or pulled muscle. Both, do need a balance of rest and strengthening. A pulled or strained muscle has distinct symptoms. You know it is not just a back from a vacation soreness.

Muscles like to be warm. Coming into class and not doing a warm up before dancing is asking for trouble. So. take the time for even a quick stretch before starting full out.
There are three levels of muscle tears.
1. This level is where a few fibers have been torn and stretched beyond their natural resting spot.

2. Level three is where All or most of the fibers have been severed.

3. Level 2 is somewhere in between.

SYMPTOMS:
1. Pain When Stretching: If it is painful to move, minimize the range of motion. If still painful you might have a muscle strain.

2. Lack of Strength: Soreness accompanied by lack of strength distinguishes soreness from strain.

3. Redness, Swelling & Bruising: Any combination of these three can indicate a a strained muscle. The onset of symptoms can develop itself differently.

TREATMENT: It is important to see a medical professional. Get it diagnosed and create a treatment plan. Muscles DO repair.
It is easy to push the muscle too much or too little. To repair properly it must be used. So think walking. If not the body will create a scar tissue instead of rebuilding. Scar tissue is weaker and less pliable than regular muscle tissue. Then, one becomes weaker and less flexible. If you push too hard you will end up with a worse injury.

PREVENTION: The best way to prevent a muscle strain is to warm up before dancing, sprinting etc. Avoid static stretches when muscles are cold. A static stretch is one that stretches beyond its flexibility and holds it there. This produces the muscle to decrease its ability to contract and use force. These static stretches should be used t the end of class to cool down as your muscles are warm. Dynamic stretching, where muscles are moving through a range of motions but not stopping at the end point for too long. You are moving the muscles back and forth like an accordion.

DYNAMIC STRETCHES:
1. HAMSTRING BOTTOMS UP: 1.Feet in parallel, hip distance apart 2. Bend knees, Put forearms on thighs with flat back. 3. Straighten knees. Lean forward pressing weight into forearms 4. Keep the back long reach out with sitz bones up to the ceiling. 5. Only straighten legs to point where you can keep back flat. 6 Squat down as deeply as possible keeping weight on knees. 7. Repeat 10 times slowly.

2. HIP FLEXOR: 1. Stand with left leg front & right foot back in a wide lunge with back heel lifted. Keep hips square. 2. Keep back straight and body centered. Slowly lower as you bend both knees. As you lower bring right arm up over head. Keep left knee of left ankle . You should feel a lengthening of the back thigh and hips into belly. 3. Bring arm back down as you slowly straighten up to starting position. 4. Repeat 5-10 times before switching to the other side.

For an extra challenge lean slightly forward and do a contraction. Do this with one hand on the barre for support.

Do not hold any position. Move slowly to the end of your range of motion and then back out of it. NO BOUNCING EVER!!

Morwenna & Walid Assaf
Art/Dance Academy
East TN 37820
760=715-2276
ArabiDanseAcademie@sbcglobal.net
https:://ArtDanceAcademy.webs.com

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

 

 

 

The Veiled Dancer

I was going through old papers and found an article from an Arabesque Magazine dated March/April 1994. This magazine was published by an old friend who was also my dance teacher for over 20 years the late Ibrahim Farrah. When I saw it I was immediately drawn to it as my friend Elena Lentini and I had just spoke. She had one of these statues and had shown me hers. I also because of her have one too. This statue is at the Metropolitan Museum of Art in New York. I will not be repeating the whole article. I am just giving you an over view of this fascinating subject. The pictures are taken of my statue so you can see the depth of the art here. If you have ever seen Elena perform you know that this statue is the basis of her veil piece. So, enjoy this synopsis. When in NYC go to the Museum make sure you see this beautiful piece of art handed down to us from the early Hellenistic age in Egypt.

Ancient dancers

This tiny masterpiece is only eight inches high has come to us from the ancient world. Scholars have placed the statue at around 225-175 BC. She is so exquisite and a rare example of both Hellenistic sculpture from Egypt and complex natural looking pose depicted in dance movement from antiquity. The ancient origins can be seen here for those interested in the in the origins of Middle Eastern Dance and historians alike. You get an enriched appreciation for this style of dance. Many Greeks absorbed many Egyptian cultural elements.

Most amazingly she has Egyptian eyes reflecting the distinctive enhancement of Egyptian eye makeup. This touch of the Orient raises the possibility she could have been an Egyptian dancer. He costume reflects the rich culture with beads ans spangles. Plus she is wearing a mantle or veil The naturalness of her movements, her shy demeanor and her garments all are the perfection of a dancer’s pose. The skillful handling of her draped veil to enhance her movements, suggest a professional dancer. Her large, beautiful eyes shown averting her glance and drawing the veil across her face as her glance suggests inaccessibility.

She always eludes us as she draws her cape/veil around her. She extends one leg drawing the veil around her to highlight the movement. She is caught mid-step. She is perfectly balanced. Could she be dancing a Hellenistic cult dance to one of the gods or goddesses? Or is she dancing a more generic type of dance? She has the artful combination of modesty and flirtatiousness. She subtly holds the material to draw attention her hip and the soft contours of her body. Maybe, hoping to attract the attention of the young men in the audience?

She looks like she is doing a traveling step. Possibly a glisse’ which was very popular in the ancient days. Her weight is evenly distributed while maintaining a pose. The extreme angle of the dancer’s body as she glances back over her right shoulder suggests she is moving in a circular manner. The sculptor may have chosen this from her entrance.

Today’s dancers often costume themselves in much the same manner with a voluminous skirt and diaphanous veil. Across the span of of two millennia, the little dancer from Alexandria is their antique sister, a timeless embodiment of the eternal feminine expressed in the dance.

The original piece written by Patricia Friedman

Written by Morwenna Assaf
Tales1001, New Market TN
https://Tales1001.webs.com
Tales1001@sbcglobal.net
760-715-227

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!

• 

  A working artist at that!

Morwenna Assaf
Tales1001

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

865-375-0446 or760-715-2276

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.

• 

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

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

Identity Crisis- To Be or Not To Be?

After being a professional dancer and instructor for over 40 years I realized the pain that I had been feeling for the past 5 years was not going away. I had been ignoring the signs of an aging dancer. I had never stopped dancing. Had never taken time off. In fact even vacations were always dance vacations. Then it dawned on me that this is the beginning of the end of my dance career. At some point in our lives all dancers face this in one form or another.

So, I cut back. Started just coaching instead of teaching classes. Cut back on teaching workshops when I broke my right big toe 3 days before a workshop in San Diego. Taught the first day in excruciating pain. The next day it was a no can do. My husband ended up running the class for me. Figured a rest and healing of my foot would take care of it. Guess what? I was wrong! The pain did get better with rest of both the foot and the Periphiral Neuropathy. I did learn that I was overdoing things and that by letting up some the pain eased off.

Morwenna & Walid

At first it was nice, no pressure but then I realized things were not getting done. I really had no idea what to do with myself. I felt lonely. I was terrified! Who am I? I felt like I had lost everything. I did not know who I was. I was losing everything. Or at least anything that meant anything to me. Although unplanned, it made me think seriously about my career and what I really wanted out of life at this time of my life. It has left me in a situation where I am dealing with insurance, doctors, and unable to pay bills. I realize I am not a kid anymore. Had my 79th birthday last week. So I have had to ask, what do I really want?

These are all questions that need to be answered.

1. What do I do with myself? – What other dance related things can I do? Movement classes like Pilates, Somatics or Yoga. Nutrition has always been a thing I was interested in. Writing dance books and blogging. learn podcasting and video casting. Prepare for retirement show in Ct next April
2. Give yourself space to rest. – Get healthy again.
3. Stay involved with dance in other ways? Writing is one way. Running things on line. Taking a trip to Lebanon again to do research. Help husband set up his side of the business. Talk to other dancers.
4. Remove yourself entirely? – This is not an option for me. How about you?
5. Stay on a schedule – As a dancer and teacher our lives are very regimented. Structure your days. This helps combat symptoms of depression.
6. Celebrate small victories? – Mentally maintain a sense of momentum. Somatics are my main source of exercises which keeps me sane. I need to move and it is healthy for me.
7. Find other creative outlets? – Write, blog, paint, podcast, sing. Use the same amount of energy you used in the dance
8. Cross-train? – Do something physical. Again somatics, pilates or yoga. Look for ways to keep your body in shape and moving forward. Use it or lose it!
9. Find a group? Do not allow yourself to get isolated. Find a friend or group that holds your interest. Even a book club.
10. Take advantage of the time off. – Take classes, socialize Build other parts of your personality regardless of age.

Yes, this is my future plan for my retirement. No more classes. Coaching instead. I am done running from state to state teaching. Yes, even country to country. I have loved every moment of it but now it is too exhausting. I look at what is written above and realize I have so many choices to make and still be in the dance I love so. I have had a wonderful career and do not regret one moment of it. It is time for family and loved ones. I thank God for my love of this dance form, my talent and the people it has brought into my life. It will always be a part of me.

So anyone who is going through a similar situation. Sit down and ask yourself the above questions. Turn yourself around and see where you can be aiming. By being calm and rational you can find the answers. Yes, sometimes one has to dig deep. But, the answers are there, inside you. The only thing I ask is that you treat dance with respect. There is a time when we each have to step aside and leave the stage and classroom to the younger ones we have trained. We leave its destiny in their hands. Our job is done. I have done my best and hope you have too. That is all that is important. Yes, I am still a dancer at heart.

Written by Morwenna Assaf, owner/Choreographer and Producer of Art/Dance Academy-El Fen, being located in Jefferson County, TN., Oceanside, CA & South Eastern MA and Rhode Island. 760-715-2276
https://ArtDanceAcademyElFen.webs.com
ArabiDanseAcademie@sbcglobal.net
https://Tales1001.webs.com Tales1001@sbcglobal.net
https://CedarProductions.webs.com CedarRep@sbcglobal.net

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.

Egyptian vs Lebanese Style Orientale

In Danse Orientale, Raks Sharki or what ever you call belly dance. There are different styles in different countries. We will not discuss Turkish, Greek or Persian styles as they are just called Arabic Dance in those countries. So they emulate the two we will be discussing. Turkish is a much bolder style with little subtlety and grace. Greek dance and Persian dance just pick up the nuances of their countries. Now, Lebanon and Egypt have their own styles. They are the two countries that pass on their heredity to us as belly dancers around the world.

Debke Theater Dance Group in Lebanon.

The dance does not originate from either of these two countries. Strangely enough according to Amani of Lebanon in an interview with her in (2011). She stated that through her research the dance originated in Iraq. Think biblical! The hanging gardens of Babylon, Salome and very well educated people in the cradle of the world. This was also the spiritual and artistic center of the world back in the day for many centuries. From there it passed to the educated of both Lebanon and Egypt. Back in ancient times you had the Pharaonic (time of the Pharoahs) period and the Phoenicians. In Iraq (Mesopotamia, the Sumerian race .The Pharoahs were the rulers of Egypt and Nubia etc. The Phoenicians were the for-runners of the Lebanese and ruled at the same time as the Pharoahs of Egypt. Being so close in proximity they dealt in business one with the other. True Egyptians and true Lebanese will tell you they are not Arab they are either Pharaonic or Phoenicain. Have even heard Iraqis say they are Assyrian not Arab.

Ancient Phoenician Dance

So many people today think belly dance comes from Egypt. As I said earlier it did not originate in either country. There is a parallel between Egypt and Lebanon in ancient days. I believe it came from Sumeria into the two countries. In recent history we are led to believe it’s home is in Egypt. Not so! The conservatories and the arts were in Lebanon. The dance has always been in Lebanon, until their war in the late 70s. At that time the artists left Lebanon to be able to work and went to Egypt which was and is the film capitol of the Middle East. So the dancers, musicians etc all left Lebanon to be able to survive. Some turned to acting and films. Now the war is over in Lebanon these stars are moving back. Lebanon has always been where the music and dance reside. It is there in the hearts and minds of the people.

Raks Oriental in all Arabic speaking countries means the educated dancer. Not to be confused with the colloquial dancer who is a country dance and depicts just one area. Lebanon and Egypt have two distinct styles of dancing. Here are a few of the differences you can see right at the onset.

Bedouin Dancers of Lebanon

Lebanon:

Lebanese styled dancers usually wear high heels. They do not wear body stockings. Lebanese dancers use larger, more exaggerated movements and sharper hip work. More extensions and beautiful sometimes dramatic arm work. Veil work is used. Staging is used to make he dance more appreciated. Body line is very important. Grounded but lifted above the waist. The dancing is of an energetic demeanor because Lebanese music is happy music for dancing. The dancer lives the music and the music is part of her. The dancer is married to the music. The upper body is used to lead the movements. Everything comes back to the center of the body (solar plexus). Movements come from the heart. The Lebanese style is classy and refined in style. The Lebanese style covers the dance space and uses her stage. This is where theatricalized, theater dance originated. Lebanese dancers do veil work and use wings called Butterfly wings. Body line is on an angle for a more complete look. The dancer uses both plies and releves, to fill space. They use lots of level changes. The Lebanese style can also be influenced at times by the debke style of dance. The head is often used for accent.

Amani of Lebanon wearing a Lebanese Druze costume. Lebanon Theater Show.
We are the only ones from out of the country in this picture.

**The person who taught all of this so well was Mr. Ibrahim (Bobby) Farrah. It is from him we teach the Lebanese Style of dance. It is classy and refined in all aspects. Also he was a choreographic genius. Another famous dancer is the late Nadia Gamal. Today Amani of Lebanon and Margo Kalfeyan uphold the high ideals of the dance.

Ibrahim Farrah, Lebanese

Egypt:

Egyptian styled dancers usually dance barefoot, with flat ballet type slippers sometimes but rarely in heels. A body stocking is required by their government so as not to show mid section of body. The dance is more in the body with intricate body accents, locks, pops and hip work. It is contained. It is said an Egyptian dancer can dance on a dime. Languid relaxed demeanor they just let the music take them wherever. Very subtle though modern trends are getting away from that. Hands and arms even appear limp. Little if ever any head movements. Egypt has less locomotion, very brief veil in entrance, if any. Is much more linear or two dimensional. Straight knees no level changes to speak of. The dance may sometimes be Influenced by the saiidi (peasants) and the felaheen (farmer) styles of the country.

Mahmoud Reda of Egypt, Walid Assaf of Lebanon, DaVid of Norway
Oceanside, CA

**The exception to the above is the Mr. Mahmoud Reda style of dancing. Mr. Reda has worked all of his life to represent the dances of his country in a theatrical and very classy manner. He has achieved this. His style is the exception to the rest of the Egyptian dance style. It is very elegant and influenced with ballet and ballroom movements. Yet, he remains in the genre of the dance form. It is always Orientale. For this reason this is the style of dance we teach and follow from Egypt. Mr. Reda is the master. Oriental means eastern.

Morwenna & Walid Assaf Egyptian Style

Walid and Morwenna Lebanese Style, Lebanon 2011

Walid Assaf, Lebanon Tubl Beledi

Know your music and rhythms. Make sure you understand the music from which ever style you decide to follow, even if you do both. The music is different as the dance is different. The classical music is for all countries regardless. Do not use Egyptian folk for a Lebanese show or visa versa.