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.

• 

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

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.

Fadi el Saadi Comes to Southeast USA

FADI EL SAADI 

LOVE BEING IN THE WARMTH OF THREE COUNTRIES
USA/Lebanon/Mexico

It was our great fortune to meet Fadi through a mutual friend Yazmina Zarod in Tijuana, Baja Mexico. We were invited to a dance show produced by Yazmina. She was sponsoring a CD release for Fadi’s CD release of RANIN. We were introduced and became instant friends. There was an instant spark between Walid and Fadi. This was in the autumn of 2010.

Now I will let him tell you his story. 

Fadi el Saadi

I am Fadi el Saadi or el Musico: I was 17 when I realized that what I really wanted to do with my life was be an artist. I feel the music so deeply. I love it so much. So, I talked my parents into letting me study music. My mother wanted to be sure it was what I really wanted as. She pointed out to me that life will be hard and not like most peoples. I was determined and knew it was something I had to do and do well.

I started with derbecki. As a kid I would sneak a drum to school. The teacher would get upset because the kids would want me to play and not pay attention to school work Sometimes they would send me home but I would sit outside the classroom window. The children would look out the window to see me and hear me play.

I started then studying when I graduated school. I studied with so many wonderful teachers. I was very serious. I do not want to mention names as I might leave some one out and that would not be fair. Everyone needs to be acknowledged. I studied for 5 years and at the same time toured to get experience. This was with my professors. This was a trial period for the student. I was about 20 years old when I started touring to different places and not just around Lebanon.

At a certain point I felt I wanted to do something different. I felt I was really good at derbecki. When I came to Mexico I wanted to try something different with a group so I purchased a keyboard. I had learned all the maqams already. I started training drummers and sang too. Now I have a new profession. I had added keyboard and singing to the derbecki. The scene in Mexico is better now than when I started and their education is getting better and better. I am making sure that Mexico knows about the beauty of Lebanese music and dance.

“Yes, the derbecki makes me happy” Fadi elSaadi

I love playing drums, singing and playing keyboard. By ultimate goal is one day to be able to play the violin. Before then I just want to keep getting better and better. I need to keep growing. When I achieve the same level on keyboard that I have with the derbecki it will be time to take the next step. My style is mine and Lebanese. I am Lebanese but I love all Arabic music. I only listen to western music to relax my brain from what I do daily in my work. I love Arabic music. It is in my blood. Tarab is the best. Love the music of Abdel Halim Hafez and Oum Kaltoum. I love their styles and their music is in my heart.

Let us go to the dance for a minute. Today there is no art in the dance. Some belly dancers today are in the dance for all the wrong reasons. There is too much sex involved. This is the demise of the dance. Too few are creative in an artistic approach to the dance. Most never consider the culture it comes from. Most just want the sexy approach. Even musicians lack an artistic approach today.

I have no favorite dancers. Dancers are all different. I cannot compare. The ones that are true to the art are my favorite. But today people just want instant dance. Some dance to show off. Others love applause. Some are true artists. I need dancers who are good to work with me. I need to like them then I can trust them. I learn from all the people I work with and hopefully they can learn from me. We can then share ideas. This is how art can grow.

When I started playing in the restaurants we started with a few dancers. Gradually and little by little I made contacts and then my business started booming. I now work with Mexican musicians, most I have trained plus Spanish Gypsy Flamenco with other musicians and singers.

The whole music scene has changed in recent years. Everything is modernized and westernized to boot. I personally do not like it. Everything is electronic. This takes the soul out of the music. Since the year 2000 this modern, electronic scene has taken over the market. My music is thought provoking but happy.

Fadi Singing. At recording in Lebanon

I have played throughout the Arabic counties and Europe then came Mexico and now the United States. I left Lebanon in 1998 for tours of Kuwait and Switzerland. In 2005 I came to Mexico City for a one month engagement. After that was over I decided to stay. My first CD was released in 2006. That was Dalaa el Nawaam. In 2012 I rerecorded it in Lebanon and released it again. In 2009 I recorded and released Ranin. Then in 2012 I released Qarawan. I have sold about 5,000 CDs up to this point. Now I am planning my next CD. This takes time and thinking. I want to give to people some-thing that will resonate with them. Think it will be Tarab. It will be a sharing of a gift and a lesson for them on the beauty and fulfillment of Arabic music at its best. All my music is recorded in Lebanon and produced I Mexico. They can be found on Amazon and I-Tunes.

My short term goal is to produce my next CD in 2014. My long term goal is for there to be peace in Lebanon. Peace around the whole world. Music is a great bridge to pull people together. It is an international language that we all interpret a little differently. Like dance it allows people to understand each other.

I love the music of my country. It has been with me all my life so I cannot say why I love it so much. The derbecki has a secret. I play it and it answers me. It gives me great happiness. If I feel sad I play. The derbecki makes me smile no matter what. The keyboard completes the package and speaks to me also. What a great gift from God. It leaves no emptiness. Each key you use with your fingers relays the feeling and passion of the music. Each person hears it differently. While playing and adding singing, it completely completes the bouquet. It describes happiness, sadness and the voice it affects each person differently.

Then yes, I teach! I teach the music at the school. I teach written notes to play music. There is also someone to teach the dance. I have a wonderful person to teach belly-dancing and I assist her by playing for her classes with live music on keyboard or derbecki. This helps the dancers with improvisation and creativity. As they progress I also play for them in the clubs and in shows. They like my music and choreograph to it. Some have done some great works of art. That makes me very happy. They like my work. They like the way I play. Thank goodness more people like my work than those who do not. They also feel that I am easy though very demanding to work with. We are professionals and we work the art together. We each need to be prepared and work hard so we can accomplish good works. Then hopefully we create art.

Dancers and musicians coming into this business need to think things out thoroughly. It is not a game. Prepare yourself as our lives are not for us alone. A performing artist spends their life to make people happy. Often you work on holidays instead of being with family and loved ones. When heartache comes you have to separate your heart and brain and continue. The show must go on and no one must know you are hurting. I was just going on stage when my brother died and I had to continue on as if nothing was wrong. Was it hard? Yes it was hard! You often cry alone so no one will see the hurt in your heart and soul. It can be very hard. On one side you give up a lot but on the other side you give happiness to others. My Mom told me when I was first starting to be sure that this is what I wanted and to understand the drawbacks of an artist’s life. This and the intensive, ongoing studying is all so important.

The life of an artist is not easy. It is not like a 9-5 job where you work eight hours and then go home and put it aside. Mission accomplished! We work holidays, weekends and nights. These are the times regular families are together and enjoying each-others company. Maybe because of this our families and friends are so much more precious to us.

You have to be truthful with yourself and others. This is the key! This allows you to trust, love and respect each other. If we are all honest the world would be a finer place. It might hurt for five minutes but you are set for life.

I started as a drummer in Lebanon. I came to Mexico with a whole group of Arabic musicians. I dreamt of doing something impossible. My dream was to train people in this country I had adopted to be professional drummers. I also wanted to instruct them to be knowledgeable about our culture and music. So I trained people. I started at the beginning. I then started a band to work in nightclubs, theaters and weddings. We started then travelling all over Mexico and beyond. My dream included being a director and owning my own company which would include dancer, musicians and making my own CDs. I learned to play the keyboard. There is a special feeling that I cannot describe when I see people singing and loving my songs. Plus, what a feeling it is to see my pictures in music stores selling my CDs. Funny thing though no body recognizes me. With all of this I have to be down to earth. I cannot let it go to my head.

I wish all the beginners in any profession to connect and follow my steps for success. Be kind to people no matter who they are. Never forget the road you have travelled and where you have come from. We are all beginners at one point. Always be truthful!

So on this note I leave you with the choice if you live in either the Lexington, KY area or Knoxville TN area to save Oct 22nd for Lexington and the 20th and 23rd for Knoxville to attend a wonderful  “Hafli” of live music and dance performances. The 21st will be a dance Workshop in Lexington to live music by both Fadi el Saadi and Walid Assaf. Morwenna will teach how to work with musicians.If you are a dancer and would like to perform in Knoxville please call Morwenna at 865-375-0446.

Morwenna on left
Walid on right

HELPFUL HINTS FOR YOUR PERFORMANCE

Being a performer is more than just knowing steps. That is just the beginning. Here is a list that will get you on your way to giving a more professional show..

BE ORGANIZED so that when you leave for your show you do not have to look for hours for all of the items you need. Store your costumes in the same place all the time. Put everything away after a show (after airing) keep everything in its place. Do not procrastinate.

Maintain your costuming on a regular basis.    

Raks el Anwar performing Bedouin number Pala Casino CA 2006

If you are wearing a costume for the first time, PRACTICE in it. Even if it is only a skirt & leotard. You need to know how it feels & reacts as you dance. You do not want it falling apart on stage.

Get the most out of your dance investments, take care of everything. They will last for years if you do.

MAKE UP & HAIR:

Try to have separate performance make up bag. In it keep all that you need for make up, cotton balls, q-tips, cleanser, towel & handy wipes.

Performance make up is different from your everyday look. A large theater has a different look than small intimate setting. Be sure your make up is complimentary to your venue & that is complimentary to the costume you are wearing. Save your false eyelashes for the theater or night club they do not belong in a restaurant on Sunday afternoon. Use discretion with wigs also.

Use good quality brushes & liners. Try to get make up advice on coloring. Research theatrical make up before trying.

Make sure you have a comb or brush on hand. Have a mister & spray. If you wear hair accessories practice with them on to make sure they don’t fly off. Be careful with your hair. Hair all over your face is distracting but so is too much hair that looks like a 1970’s pin up with every hair in place. Your hair should move naturally. Your hair should be a shining example of health not a prop. It should look finished without looking phony. Even a prop on stage should be an extension of you. You don’t want to be known as the one with the big hair or awful looking wig. If you do wear a wig make sure it is styled & cut to suit your face. If it looks like a wig it is a no go.

COSTUME:   

Costumes & veils should be clean & wrinkle free. They should smell good or not at all. Be careful with perfume, someone might be allergic. It should create an aura not be overpowering. If it is could be distracting. All of your costume including scarves etc. are part of your total look. Jewelry is the finishing touch to your costuming. Look after it.

Carry safety pins of all sizes.

A travel size sewing kit is a plus.

The costume does not a dancer make, but it can detract from your performance if it is not right.

Garment bags are a good investment or better still get a small suitcase on wheels like the airline stewardesses use. They hold everything & keep it clean. An excellent investment. Or a great gift.

If you have to wear a costume to a performance. Make sure you do not sit or travel in your hip belt. They are uncomfortable & you will shorten the life span of it. Also make sure no one sees you in costume when not on stage. It is very unprofessional. You want to keep the mystery of the stage where it belongs. On stage.    

Keep all beaded items in a towel or pillowcase. Do not put them in plastic as it ruins the glass finish on beads & the color finish on sequins. Always keep you street clothes appropriate to the venue. Always look neat & professional as possible. Every time you perform you represent all other dancers. Remember this in your behavior also. You want to make a good impression. The little details do matter. Every detail counts. Your finger & toe nails, hair, make up, grooming, costuming your smile, every scarf, skirt, tassel, ring, necklace, & shoes make the difference.

Good Luck!!

Have Fun, Enjoy & have a great Show.                                  

Rossini Festival, Knoxville, TN April 2015

Having fun performing

HOW TO AVOID DANCE RELATED INJURIES

HOW TO AVOID DANCE RELATED INJURIES

by Morwenna Assaf

Wherever I have traveled in this vast county of ours and overseas I constantly hear dancers complain of an ailment of one kind or another. I felt it is time to face some of these things and get them out in the open. Most ailments and injuries can be handled by common sense. Now I realize what is common sense for one might not make sense at all for another so I will discuss a few things.

Dance is all about line and form, and the movement of that line and form with relation to time and space. Now, how do you accomplish this? “Dancers are athletes of the arts” states Jacques D’Amboise. Dancers have a discipline of constantly working on themselves, toward achieving a goal. The key thing is to believe the achievement of goals is not that important. It is the process of attempting to achieve the goal that should be primary. Enjoy the process of learning to dance. The process, and not the final achievement, is the heart and soul of the dance. Time and circumstances decide the facts, not you.

One has to have a sense of feeling control over your body but also a sense of physical and mental well-being that comes with dance training. This is derived from taking class regularly. It is therapeutic. You don’t have to worry whether you are young or old to participate. Dancing can keep you young through its constant challenge and activity. You feel good when you are dancing, and an interruption of it makes one more sensitive to the dull aches and pains of inactivity. It is after you stop dancing you feel the aches and pains.

Dance must be a supervised exercise and it is important to get the right supervision as well. It is an excellent, satisfying form of exercise and recreation for people who enjoy movement to music, or for anyone in search of a structured physical activity.

DANCE IS SERIOUS EXERCISE       

After making the most personal decision of your life, to be a dancer, you are committed to the ritual of classes for the duration. In the world of ideals this should be a t least one dance class per day. Now I realize most of you hold regular day jobs and this becomes a bit of an impossibility. But still you should do something for your dance training every single day of the year. If not class, then a thorough self -conducted workout. Watching videos doesn’t count. The rules are remorseless and ruthless. But that is the name of the game. If you are a professional and working you also need to rehearse. Class is not rehearsing . Two different animals. If on vacation don’t stay away for more than a week. A week’s rest never hurts but after that, everyday not dancing is like a ball of wool unraveling. Little by little, you are ceasing to become a dancer.

If you don’t “feel” like taking class-tough! If you feel rotten -go! Work within your limits, but work. The ritual of class defines the dancer. The confrontations, with the limitations and possibilities, make it all come together. When finally onstage, all the thinking and studying makes it possible, to think less and dance more. A day missed is certainly not the end of the world, but a pattern of days missed is a matter to be checked into. If your inner self is saying “I love to dance but I don’t want to work at my craft” then stop now. For the chances of injury are multiplied and misery is guaranteed.

PERFORMING CAN BE HAZARDOUS TO YOUR HEALTH    

Dancers come in all shapes and sizes. Performing can become hazardous to your health. Know your limitations. Knee and back injuries, sprained ankles, fractured heels, pulled muscles, laryngitis and exhaustion come from the rigorous demands of shows. A rigorous performing schedule can lead to fatigue related and overuse injuries. But it goes even further because of the time and energy it takes to sustain a lifestyle around performing. A conscientious performer arrives well before a performance to physically warm-up and mentally check props, costumes and floor conditions.

As we have already stated, dancers need to continue studying while performing either taking class, teaching or both. Also doing fitness, strength training or body work of some kind as often as possible. The result is today’s dancers should be amazing and versatile performers. One needs classes as much as possible to retain the quickness in learning what dancers must display. Preparation with classes, rehearsals and maybe preparing future shows place time and energy demands on the performer that far exceed stage time. All these demands and pressures take their toll and frequently leave a performer to sustain a variety of injuries. According to a recent survey every dancer will be injured at least once in their career. For every 1,000 hours of performing 5.1 injuries and 8.4 for shows on a stage.

Most frequent injuries diagnosed were strains and sprains. Most frequent sites were lower extremities. For dancers the most common injury was the knee, then ankle, foot, hip and then calf. Various environmental causes have been implicated. Cold and drafty rehearsal, and performance space, and backstage areas like dressing rooms. Also smoky places and unsuitable staging areas and floors.  Female performers are more likely to sustain injuries that their male counterparts.

Sixty -two percent of all dancers felt injuries preventable. Risk factors included constant repetition of difficult moves, tiredness and undue pressure. Dancers, work the longest hours with the least recognition and careers are notoriously short. But, there are definite steps and lifestyle changes that can prevent injuries and prolong dancing careers.     

Dancers and researchers have some suggestions for preventing injuries. Next week we will delve into this so you can help yourself be a better dancer and performer with less chance of injuries. In the meantime dance and dance well.     

 

 

THE ELEMENTS OF DANCE/FUNDAMENTALS AND MOVEMENT

THE ELEMENTS OF DANCE/FUNDAMENTALS
AND MOVEMENT
by Morwenna Assaf, Director
Based on works by Robert Cohan “The Dance Workshop”

In the world of Arabic dance so often these elements are forgotten. In a truly trained dancer these elements are the basis of the dance. When you start dancing, it is important to recognize the tools a dancer needs. There are eight (8) elements in dance that are most vital. As you progress your understanding will change as you discover what they mean to your body. The total sum of these elements is what is meant by technique.

CENTERING: This is fundamental to your ability to dance well. This is maintaining a sense of your own body center that holds you together as you move. It allows you to move gracefully and freely. This means you have to have the ability to move, to hold, to organize yourself around your own physical body. If you are centered you can eventually learn how to do anything. If you are not centered you may develop beautiful looking arms and legs but never be able to move well. Liken your center to home. If you don’t have a sense of home you will probably get lost every time you go out.Your body needs to be balanced like a see-saw. Position fluctuates between individuals. Center for Middle Eastern Dance is in the solar plexus. Every movement has to go through center. This is what makes it Orientale or eastern. Your natural base is approximately just below the navel but the movements for this dance form come from the solar plexus. Everything emanates from there. Start by feeling how your arms and legs work from the same central point in the back. Moving from your center will make movements easier to control.

GRAVITY: This is the force that holds you to the earth. It is a force you have to work with because it constantly inhibits movement. Try to become aware of the pulls in your own body. What points are taking the most weight? When you push on these points can you feel a rise up from them? You should be holding yourself better. When you dance you want to feel as if someone is pushing you under your buttocks and the base of your spine and directing the energy up through your breastbone.

BALANCE: Balance is concerned with more than balancing on one leg. Your aim is to achieve and constantly maintain an inner balance of the whole body. It is tension of mutual support among all parts that brings the whole together in a new way. It is an inner relationship between all the points of your body which you hold in your awareness. It is not something you do once in awhile. It is constant. A sense of balance whether you are moving or standing. In the actual act of balancing, if you can find inner balance , you are nearly there. If you are aware internally the need for the sensation of balance, you should be able to get it. * Remember, balancing in both states is an active state.

POSTURE:

To achieve this element you need to change your perception of your body, there is often a wide discrepancy between what feels right and what looks right. Dancers work all their dance live on their posture, also called alignment. It is the key to balance and movement. Your posture not only reveals your feelings but can also reveal feelings in you. Learn how to stand properly. You will actually feel brighter and more aware.

GESTURE:

Gesture involves using the body as an expressive instrument to communicate feelings and ideas in patterns of movement. With subtle gestures and postural attitudes we show cooperation, give confidence to friends or display aggression to enemies. Arms crossed over chest are a protective wall. Hands on hips mean “show me”, fists on hips is even more challenging. Anger patterns are depicted very differently form joy or sadness. Weight on one hip -waiting. Hands out in front you ready to give or receive. Raising shoulders is a gesture of not knowing or caring. Shoulders forward expresses pain. Tapping foot boredom. Observe! Recognize what the body is saying.

RHYTHM:                                                       

Finding rhythm is largely a matter of paying attention. It is something everybody has, though, some people are not as aware or sensitive to it. Our hearts beat to a rhythm, our lungs breathe to another. Rhythm is essential for a dancer. Pay attention! Generally the beat is carried by the drum. Make sure you are right on the beat, not slightly late. All the work going into making a beat has already been completed by the time you hear it. In fact to get it right, you have to anticipate the beat slightly. Feel as if you are making the beat with your body as well as hearing it. Try to be at one with it, rather than dancing to it. It is the rhythm and the beat of the dance that form the “threads” which allow you to memorize the structure of the dance.

MOVING in SPACE:

You need to be as aware of the space around you as a cat. You have to move with care and awareness, gauging the space. Space is not just empty air but a tangible element that you move through. Consider the space an area you must go through. Consciously go through space. Feel your accomplishment as a journey through space. You will express thoughts and emotions. Actually press your feelings out through your torso and limbs in such a way as to show other people how we are feeling and to satisfy our desire of movement. Our muscles feel better when they are used, and once we get used to moving them, the whole body will respond by working in harmony with itself; to dance.

BREATHING:

Breathing is crucial to dance. Not only does it bring oxygen to the body but it also gives your movement fluency and harmony. It is an expressive tool. Calm slow breathing suggests a certain degree of self-control. It denotes a specific quality of movement. Also a movement with breath has a controlled and considered extension of time. A clear beginning and end no matter how fast or slow the phrase. A phrase without breath looks stiff and mechanical. It is important to learn how to do two or three things at the same time. You frequently have to divide your attention while dancing. You must learn to breathe deeply expanding your ribs at the back of the body rather than from the front. This will also give a more emotional, organic look.        

Here then are the elements of dance which make up the word TECHNIQUE. This is a dirty word in a lot of circles. This is the sum total of the tools of DANCE.

The Art of Dance in Education

The Magic Lamp of Learning

This week I thought I would stay in the vein of education. here I am referring to all dance but as you know my forte is the Dances of the Eastern Arabic countries. Dance has so much to offer both children and adults and I live in an area where most people do not dance. I think this is very sad. So today we tackle another area of dance and that is where it belongs in or educational upbringing. I was lucky enough to have a mother who was a visual artist. My Dad a designs engineer. From a very young age I was introduced to the arts and thank my parents for allowing this as my gift to the world is dance.

Dance is an art form to be shared by all. The benefits are many and varied.

• Dance as art shares the same characteristics as painting, music and drama.
• Dance is the best medium for the development of creativity, independence, sensitivity, understanding feelings and expressing self to others.
• Also an expression of strength, culture and physical achievement.
• Teaches problem solving, explores activities and helps in information processing.
• Develops social culturalization & desirable social relationships.
• Develops an appreciation of dance heritage, both ritual and historic.
• Skill development to experience the pleasure, confidence, and self esteem from moving with control.
• Develops Fitness
• Entertainment, imagery & drama.
• Dance can be considered a complete learning process.
• Recognize the elements of dance are the elements of life.

Me and my books at ADA dance studio CA

The Value of the ALL Arts 

The Arts need no longer be considered specialized study. Society is pushing towards technology and science however it is art, dancing and music that gives a person a more joyful and a richer life experience. We cannot leave the arts out of our lives.

• Appreciation of the arts is considered a basic need.

• The art experience is indispensable to the production of a stable society.

• The arts help form a balanced, orderly mind.

• The culture, through art will develop the individual.

• A true artist is a leader in reconstruction of personal outlooks and ways of living.

• The arts expand and enrich experience.

• The arts round out and matures the meanings of experience.

BOTH CHILDREN AND ADULTS BENEFIT FROM STUDYING THE ARTS.

• Studying encourages original works

• Develops the imagination.

• Forces one to observe the world around them.

• Exercises of concentration and observation teach tolerance, patience and broad-mindedness.

• The main benefit is the pure joy of accomplishment.

THE MIND’S EYE

To continue with our article on energy. This week we will look inside and see how we can help our performances in whatever realm  you are in. Be it dance, acting, music or just plain life, it is all the same. Enjoy! This article is taken in pert form a chapter out of my new book to be published in the Spring of 2016  called *Performing Your Best as a Middle Eastern Dance Artist*.

Having fun performing

One resource for channeling our performance energies more effectively is mental imagery. Wishing and hoping should be replaced with precise forms of mental imagery such as monitoring imagery, self regulating visualizations and mental rehearsal.

Mental imagery itself is not new; it has been used throughout history in various symbolic, healing, religious and artistic ways. Relaxing, centering or meditating is the clay that forms our aspirations. Mental imagery is the tool that shapes, refines and actualizes these aspirations. Mental imagery is employed in varied pursuits as learning and retention, personal growth and performance. In our daily lives we rely more on mental imagery than we are aware. Our uses of mental imagery have become so automatic that few of us realize how much we really use it. Images precede words. Mental imagery taps into portions of the conscious that verbal and analytical parts of the brain rarely reach. Mental imagery employs lower levels of the brain and is not under direct conscious control. Physiologically, mental imagery is similar to actual perception. When words stop, images resume. Mental imagery is a supplemental way of formulating and expressing these concepts. Without mental imagery our experiences and communications would be extremely limited. Mental imagery is a practical and effective tool in all areas of our lives. The most exciting of these is in improving performance.

1. Mental imagery can be divided into two general forms.
   a. Space out – from oneself or from a given place and time. This is dis-associative imagery.

b. Tune Into – to oneself. This is called associative imagery.

The applications of mental imagery in performance range from remedial to the preventative to the developmental. We can use mental imagery promote high level performances.

MENTAL REHEARSAL:–
This is a state of the art form of visualization that helps performers clarify, prepare, practice, refine and attain their goals. It involves proceeding through a series of events, vividly recalling the minute processes of training or performing and visualizing the desired results of those processes. This includes mental practice, covert practice, symbolic rehearsal, imagery practice, hypnosis rehearsal, implicit practice and visuo-motor behavior rehearsal. Mental rehearsal has been employed to assist in the effective acquisition and retention of a skill and improved performance of that skill. The central nervous system cannot differentiate between something that is actually happening versus that which is being vividly visualized. Studies show that when one is vividly visualizing a movement , all those nerves that fire the muscles used in the movement are being electrically stimulated at a lower, yet significant magnitude. So when you are mentally rehearsing, your body believes that this is actually happening. It fires all those nerves used to stimulate the muscles. Hence, your body gains experience. This is an efficient and effective adjunct in both learning and performing.

1. THE MENTAL IMAGERY PROGRAM:-

Now, let us spends some time organizing these processes into an orderly sequence.

1. Setting the Stage:-

• Start from a base of relaxation. Much of the vividness of your images depends on your being relaxed.
• Create a scene you wish to rehearse. Use as much detail as possible.
• What is in the scene, colors, textures, smells and sounds. Create a precise picture.
• Place yourself in it.. Be in that scene and feel yourself moving.
• Achieve a sense that you are in control.
• Be the producer and director not just a dancer.
• Structure it so you have an idea of what you want to achieve and so achieve it.
• It is important to visualize both the steps in your actions but also the desired results. You are programming your body and mind and will be able to revise so you can make them even more appropriate and effective.

Theater Performance San Diego East County. El Cajon, CA

 

MUSINGS ON ARABIC STYLE/BELLY DANCE

MUSINGS ON ARABIC STYLE/BELLY DANCE

ART/DANCE ACADEMY

Musings on Arabic Style/Belly Dance is not my original piece. It was given to me in the 70’s by the author, the late Ibrahim “Bobby” Farrah who was the dance guru and my teacher for over 25 years. This came , as stated, from his personal archives. I was new to the dance at this time. Had only been around a few years and just recently found my way from Boston to NYC to study with him. When he handed this piece out it made a tremendous impact on my life and dance career. From that day to this I have also given this piece to my students. Thousands have seen it. It is really a piece I would like to have in a frame in my studio as well. So, here I am sharing it with you. it is what Arabic dance and Oriental Dance (belly Dance is all about. ENJOY!

Mahmoud Reda and Morwenna Assaf in San Diego August 2010

Elements of Importance:

1. Stand straight with pulled up spine

2. One should feel as if all prospective movements from the waist down are being drawn into the ground upon which you are standing.

3. The head should be held high but not stiffly. (As one would imagine a noble person would hold his head.) Feel the emotion of pride, but not arrogance as if you are balancing something on your head., something that possesses weight. The neck is like a pedestal —- It should be able to swivel (in any direction you wish.)

4. Your arms are to be treated and looked upon as if they are persons, for they talk and gesticulate as people do in everyday life. They articulate or accentuate emotions very often more eloquently than words.

5. When attempting delicate shifts of weight of the feet, the characteristic shuffle of the feet in Arabic dance is a gently rocking syncopated movement should be sought for. The arms are held a little below shoulder level, with a slight curve forward, as if the air beneath them are actually supporting or reinforcing them in position. They are relaxed but alive, not limp objects lacking heart and soul.

   

   Morwenna and Walid performing in Lebanon. 2011

6. Arabic dance is based on a special musical composition. It has its own rhythmic as well as melodic (medleys actually) background. These melodies and rhythms have been drawn from many genres or schools of Eastern music, though altered over time and with variations from region to region in the East. It is a dance of celebration, a dance of union, one that spectators, one that should inspire spectators to leave their seats and join in the festival. It is a poem to the intoxicating and poetic mood that the music inspires in one. Music is poetry, and the body’s visualizations of melody and rhythm are extensions, comments even, on the poet’s art. For all great art expresses the real, unreal and the imagined language of earth and heaven.

Raks Sharki or dance of the east is the Oriental dance that has distinctive identity throughout the east. That is to say that a person in Baghdad would recognize its form as well as someone in Cairo, Casablanca or Beirut.

The rise of the Phoenix from Phoenecian times

A classical set of instrumentalists who accompany a performance of Raks Sharki consists of the Oud (a lute), the Ney (a flute), the Kemenja (a violin), the Tabl as it is called in Egypt or Derbecki as it is called in Lebanon, a Def as the tambourine is called.

In performance, as one enters the area stage to the preamble of the entire orchestra, one performs the salaam or greeting. The body now takes on the identification of the varied instruments that are being accompanied. The patterns and designs dictated by the individual voices of each instrument.

1. The Oud: We will begin with the sound of the Oud (a lute), that is a stringed instrument. It envelopes you and allows the inner absorption of the basic melody to take hold. The body resets to the physical vibration of the instrument.

2. The Kanoon: The Kanoon (zither) embellishes those initial body patterns that were inspired by the oud. My hands, the very fingers themselves, slide back and forth on invisible strings—-strings played in the air.

3. The Kemenja: This is the violin. This instrument guides one into an entry of another world or dimension of sound. It makes on internalize spiritual and physical energies. One rises in space as the bow rises in intensity and pitch. When the bow diminishes or creates those softened descending notes, or curves one comes back to earth. One returns to their center in space and you feel the earth once again beneath your feet.

4. TheNey: this is the flute and it’s voice is hypnotic. As its timbre enters the body, it invokes a mystic spirit that winds around you. The body’s movement and designs become more compressed, lighter even, adagio like as if the sinews themselves are being released very slowly form a basket –serpent like. This aspect of the dance is like being in a vast tunnel, one from which you seek release into the upper air.

   
   

5. The Tabl/Derbecki: The goblet drum is the major percussive accent. It is that delicious moment of challenge. The feet, the hands and the entire torso are tuned in to its dynamic subtleties. Your mind and ears feed on those finger-taps and counter beats. Your being echos the sound that you actually hear aurally It is a primeval rhythm and the drum is absorbed in you.

Arabic belly dancing is no longer cultural when the dancer fails to comprehend its musical and rhythmic forms, when one does not really understand those movement images in relationship to the intimate marriage between dancer and those unique melodic and percussive voices. When for instance hen introducing a new element into its theme, say that of crawling across the stage on her knees, no matter how technically accomplished to the major melody of the oud – This is unthinkable! Also quite un-traditional! From the Easterner’s point of view, un-esthetic This then becomes a foreign dance and not one of the Orient.

This was originally taken form the Master of the Dance and my mentor and teacher, Mr Ibrahim (Bobby) Farrah. It was written in the mid 70’s in his Dancer’s Note Book called “Musings”.        

The Magic Lamp of the Future

Art/Dance Academy by Morwenna Assaf

http: http://www.ArtDance Academy.com     

760-715-2276 ArabiDanseAcademie@sbcglobal.com

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.