I dare. Sometimes too much.
Daring has its risks, no doubt. You never know if an odd experience will turn out fine, great or a plain failure. You never have the security of external approval when you have the guts to extend beyond the limits others live by (or even you live by) and jump into the unknown.
The kamikaze palpitates in me. I thrive on challenge, testing myself and the perceptions the public has of me and of Oriental Dance.
Trying new things, risking expressing myself in an ever growing manner is a way of life for me - not a premeditated marketing strategy. I NEED to grow, experiment and go beyond what I did yesterday in order to breath. It is my nature, my curse and blessing.
These two particular videos of my last performances (Siberia and Spain, respectively) are a practical proof of the guts I insist on having and how they propel me into expressing myself from a raw, honest, vulnerable, deep and FREE place inside myself.
The first performance is a piece from Russian composer Prokofiev *(Romeu and Juliet) and the other is an improvised performance with an orchestra I never met before.
Why did I choose Prokofiev s music for an Oriental Dance performance?!
First because it is probably my all times favourite musical piece and it touches the bare core of my Being - touching its strings with such intensity that I cannot stop myself from dancing it.
Secondly because it is NECESSARY that artists of this area - Oriental Dance - expand their horizons and, by doing so, expand the horizons and perceptions of audiences. This performance is a living proof that Oriental Dance is EVERY DANCE, EVERY MUSIC, EVERYTHING. Although I come from a classical ballet background I do not need to - directly - use it in order to express an iconic classical piece. Then again: the whole subject is beyond me. Inspiration comes from Within*Above. Life itself pushes me off these kinds of cliffs and I gladly let myself go. No artist can be so without surrendering him/herself to the total vulnerability that makes us human.
For the jump to be im-perfect I did not choreograph or intensively prepared this piece. I just knew the music and improvised on the spot - for Russian audiences (talk about crazy!).
As I sat in my backstage room in the heart of Siberia - waiting for my cue to hit (or eat) the stage and watching the snow falling outside the window - I realized what a privilege I was being given (fruit of my work, skills, commitment and, no doubt, God s hand): not only the privilege to teach and perform in Siberia but the opportunity to fly (even if that meant falling on my face). People who hire me with the TRUST in me, just knowing I will surprise them and always deliver them my best - always unexpected, even to myself.
Follow the link and enjoy: http://www.youtube.com/watch?v=Q4t49rnSNVM&feature=youtu.be
The second performance - in Malaga, Spain - was another jump into the unknown. Nothing was prepared in this piece. The tabla solo - here played by my colleague Mohamed el Sayed - was a total novelty for me because I had never heard him play for dance. I had no idea of what he would do but I had to trust him. Here you will find the result of that faith leap.
One thing I love - in particular - about this video is that you can see how I obviously command the orchestra and the audience so that COMUNICATION is possible. Most musicians and even dancers often forget - or are not able - to create a COMMON GROUND of CONNECTION where the language of music and dance UNITES artists and audiences. For me this CONNECTION is a MUST - not an accessory that may happen or not according to luck. No luck over here. It is MY job, as a performer, to make sure there is a magical line UNITING me with me music (or musicians, in case they are there with me on stage) and then me, the music and the audience. If that BRIDGE is not built, sustained and concluded into a LOVE explosion felt by everybody in the theatre then I consider my performance a failure. Simple as that.
Also notice that filling up huge stages where musicians and audience are physically distant from me - as opposed to the kind of stages I have been using these last years of performing in Egypt - require a new approach to Oriental Dance. A visual, expressive, energetic re-adaptation is required in order for the dance and the dancer not to get lost.
Take a sneak peak at the goodie by following the link:
http://www.youtube.com/watch?v=G3KC90IpaPw&feature=youtu.be
P.S. Always be an original: always. Even if that means not being accepted, understood, applauded by everybody. Whoever claims to please everybody is common and non-creative, you can be sure of that.
Creativity implies going out of your comfort zone and trying out new things that can allow a growing leap to yourself, your craft and your audiences. If that means being loved by many and hated by other few, so be it. Only mediocrity follows the sheeps and bows to easy applauses.
Plus: Trust yourself AND your audiences. Never under-estimate the people who watch you dance. Do not presume you are a smart cookie and everybody else is not. Valuing your audiences allows you to expect them to grow WITH YOU and be sure you may be surprised.
Current audiences ARE PREPARED for more than the average, predictable "belly dancer". Not only are they prepared but eager to meet more and more ARTISTS who destroy the rotten image of the cheap seductress with exotic garments and nothing more on her horizon except the seduction of poor defenceless men. Come on, buddies! Time to move on and past this old movie...for God s sake!
Break those old walls: just break them. It is the job of DANCERS to dignify their craft. When they do it, then audiences and mentality will follow.
Daring has its risks, no doubt. You never know if an odd experience will turn out fine, great or a plain failure. You never have the security of external approval when you have the guts to extend beyond the limits others live by (or even you live by) and jump into the unknown.
The kamikaze palpitates in me. I thrive on challenge, testing myself and the perceptions the public has of me and of Oriental Dance.
Trying new things, risking expressing myself in an ever growing manner is a way of life for me - not a premeditated marketing strategy. I NEED to grow, experiment and go beyond what I did yesterday in order to breath. It is my nature, my curse and blessing.
These two particular videos of my last performances (Siberia and Spain, respectively) are a practical proof of the guts I insist on having and how they propel me into expressing myself from a raw, honest, vulnerable, deep and FREE place inside myself.
The first performance is a piece from Russian composer Prokofiev *(Romeu and Juliet) and the other is an improvised performance with an orchestra I never met before. Why did I choose Prokofiev s music for an Oriental Dance performance?!
First because it is probably my all times favourite musical piece and it touches the bare core of my Being - touching its strings with such intensity that I cannot stop myself from dancing it.
Secondly because it is NECESSARY that artists of this area - Oriental Dance - expand their horizons and, by doing so, expand the horizons and perceptions of audiences. This performance is a living proof that Oriental Dance is EVERY DANCE, EVERY MUSIC, EVERYTHING. Although I come from a classical ballet background I do not need to - directly - use it in order to express an iconic classical piece. Then again: the whole subject is beyond me. Inspiration comes from Within*Above. Life itself pushes me off these kinds of cliffs and I gladly let myself go. No artist can be so without surrendering him/herself to the total vulnerability that makes us human.
For the jump to be im-perfect I did not choreograph or intensively prepared this piece. I just knew the music and improvised on the spot - for Russian audiences (talk about crazy!).
As I sat in my backstage room in the heart of Siberia - waiting for my cue to hit (or eat) the stage and watching the snow falling outside the window - I realized what a privilege I was being given (fruit of my work, skills, commitment and, no doubt, God s hand): not only the privilege to teach and perform in Siberia but the opportunity to fly (even if that meant falling on my face). People who hire me with the TRUST in me, just knowing I will surprise them and always deliver them my best - always unexpected, even to myself.
Follow the link and enjoy: http://www.youtube.com/watch?v=Q4t49rnSNVM&feature=youtu.be
The second performance - in Malaga, Spain - was another jump into the unknown. Nothing was prepared in this piece. The tabla solo - here played by my colleague Mohamed el Sayed - was a total novelty for me because I had never heard him play for dance. I had no idea of what he would do but I had to trust him. Here you will find the result of that faith leap.One thing I love - in particular - about this video is that you can see how I obviously command the orchestra and the audience so that COMUNICATION is possible. Most musicians and even dancers often forget - or are not able - to create a COMMON GROUND of CONNECTION where the language of music and dance UNITES artists and audiences. For me this CONNECTION is a MUST - not an accessory that may happen or not according to luck. No luck over here. It is MY job, as a performer, to make sure there is a magical line UNITING me with me music (or musicians, in case they are there with me on stage) and then me, the music and the audience. If that BRIDGE is not built, sustained and concluded into a LOVE explosion felt by everybody in the theatre then I consider my performance a failure. Simple as that.
Also notice that filling up huge stages where musicians and audience are physically distant from me - as opposed to the kind of stages I have been using these last years of performing in Egypt - require a new approach to Oriental Dance. A visual, expressive, energetic re-adaptation is required in order for the dance and the dancer not to get lost.
Take a sneak peak at the goodie by following the link:
http://www.youtube.com/watch?v=G3KC90IpaPw&feature=youtu.be
P.S. Always be an original: always. Even if that means not being accepted, understood, applauded by everybody. Whoever claims to please everybody is common and non-creative, you can be sure of that. Creativity implies going out of your comfort zone and trying out new things that can allow a growing leap to yourself, your craft and your audiences. If that means being loved by many and hated by other few, so be it. Only mediocrity follows the sheeps and bows to easy applauses.
Plus: Trust yourself AND your audiences. Never under-estimate the people who watch you dance. Do not presume you are a smart cookie and everybody else is not. Valuing your audiences allows you to expect them to grow WITH YOU and be sure you may be surprised.
Current audiences ARE PREPARED for more than the average, predictable "belly dancer". Not only are they prepared but eager to meet more and more ARTISTS who destroy the rotten image of the cheap seductress with exotic garments and nothing more on her horizon except the seduction of poor defenceless men. Come on, buddies! Time to move on and past this old movie...for God s sake!
Break those old walls: just break them. It is the job of DANCERS to dignify their craft. When they do it, then audiences and mentality will follow.
1 comment:
I take that,you are cultured as you saw you have some expressions like "kamikaze" LOL.
Nice to share some of your story with us.
For the notes in red in the end of:
I agree with you that a bellydancer is not just a semi naked body(I see many videos for beautiful females with a so seductive costume but they don't dance (their movements are weak and not synced with music).
finally I see myself watch a semi naked woman with upset stomach performance !!! LOL
But some other times, I watch semi naked dacers but with real excellent moves (even if the dance moves are seductive but you feel oriental dance taste)
So finally I agree with you that bellydancer is not only a female body , but also (and most important ,a dancer with good moves and good shake with music)
cheeeers for you.
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