Showing posts with label Egyptian dance. Show all posts
Showing posts with label Egyptian dance. Show all posts

Tuesday, December 2, 2014

THE ASSIUT QUEEN


 Assiut Queen Dawn Devine aka Davina: Photo by Alisha Westerfield


Quite a few dancers can brag about having a career  that spans a quarter of a century, but not that many of them can also claim concurrent and wildly  successful careers  as costumers,  art historians and  authors! The multi-talented  Davina, aka Dawn Devine  can…only thing is, she doesn’t gloat about it, she’s  much too  nice – and busy- for that sort of thing. Easy-going, sweet and funny, Davina is so understated about her vast accomplishments, that even if you know her, they might surprise you!

Dawn has so many college degrees, they practically form their own alphabet, and in addition to performing and teaching belly dancing and costuming classes throughout the USA, she also has numerous museums show credits.  She is an expert on antique textiles  (especially Assiut, but more on that in a minute!)  Victorian clothing, and vintage couture, with many lecturing engagements under her tasseled hip belt.  She also   a slew of informative, instructional   costuming books to her credit, including Embellished Bras, Costuming from the Hip, From Turban to Toe Ring, Bedlah, Baubles and Beads and Style File.

Rayah wears a vintage assiut shawl from the collection of Judeen Esau.  This gorgeous piece has a rich blue groundcloth and a golden hue to the metal.  Photo by Alisha Westerfeld
 As anyone who knows her can attest, Dawn is a walking encyclopedia on anything concerning belly dance costuming, but her favorite subject, and most enduring obsession is Assiut, the gorgeous traditional net and metal fabric named for the    Egyptian city of the same name.  All belly dancers, no matter what their preferred style, are in love with Assiut.  Spotting a vintage piece of Assiut on eBay causes dancers to bid like maniacs, eager to  part with their rent money. Merely mentioning it  on social media causes comments like “I’m drooling all over my keyboard!”  And in real life, a shawl of vintage Assuit at a flea market has been known to induce catfights.

 Davina’s  own Assiut mania began this way:

My love story began in a crowded antique store, filled with dusty cases holding tumults of vintage items. I turned and looked across a crowded room and my life changed.  In an instant the rest of the world disappeared and I only had eyes for one thing. My love story began in a crowded antique store, filled with dusty cases holding tumults of vintage items.  There were jewelry pieces and objects d’art. There were trinkets and baubles, the day-to-day objects that populated the lives of our ancestors, 60, 80, 100 years ago.  But there, draped gently over the edge of a photo frame, and laid delicately across a shelf was my beauty.  She was creamy and soft, with pewter-toned metal stitches.  It was Assiut, and it was going to be mine!”
 
                        1920's French silent screen actress Stacia Napierkowska in Assiut


 Since that fateful moment, she’s been hooked on Assiut, also known as tulle bi telli.  It became a hobby, moved into a personal mania phase, and then, it took over her life! Now, she’s spreading the love- and her vast knowledge.


Davina’s latest book, done with  photographer and belly dancer Alisha Westerfield,  The Cloth of Egypt: All About Assiut was just published.  The book is gigantic, highly informative, impeccably researched, and loaded with incredible  vintage photos of Assuit, as well as step-by-step instructions  for fabricating costumes.

Even before the book was a glimmer in her eye, Davina   spent years researching Assuit, not to mention fabricating high-end, custom-made costumes for herself and many other dancers.

She says,

“I committed myself to a massive interdisciplinary research project with one simple mission, find out everything there is to know about the cloth we call Assiut or tulle bi telli.  The result of years of research, months of writing, crafting hundreds of costumes, dozens of photo shoots, is my new book “The Cloth of Egypt: All About Assiut.” 


 In honor of the book’s publication, Davina has  complied a list of facts on Assiut exclusively for this blog, here it is:


1 - Assiut is made from cotton.  Frequently, antique Assiut is labeled as silk, linen, or a blend, but the truth is that vintage Assiut cloth is made from finely spun, high-twist Egyptian cotton.  

2 - Assiut can be spelled in a myriad of ways.  Arabic cannot be easily translated, so rather, it’s transliterated by ear from spoken Arabic to written English, with British and Americans sounding out the words and writing them down phonetically.  This leads to more than 50 spelling variations.

3 - Most people know that the phrase tulle bi telli means “mesh with metal”... but few know that this is a marriage of three languages.  Tulle is from the name of the lace-making capital of France.  Telli is from Turkish word Tel, which means metal.  Bi is “with” in Arabic. 

4 - Assiut is a single-stitch embroidery technique.  The stitch is made with flattened metal wire called plate, and the stitch is made using a blunt tipped double-eyed needle. 

5 – Antique Assiut cloth was made by the thousands of yards and was considered the essential souvenir for travelers down the Nile during the British occupation of Egypt.  British, American, Russian, French, And Italian women all collected and coveted Assiut cloth for it’s supple drape and metallic gleam. 

6 - Vintage Assiut pieces come in three sizes.  Scarves, narrow enough to wrap around the neck, head or hat to keep flies, gnats and mosquitos off of the face.  Shawl sizes, which were designed to be worn as wraps about the shoulder, were wide enough to envelop the body, but short enough to be easily handled by the wearer.  Opera wrap or piano shawl size, which was the longest and widest, designed to fit over a grand piano, or to wrap around the body, and still have enough left to elegantly drag along the ground, a shimmering train of exotic abundance.

7 - Modern Assiut should be pounded or rolled to press down the individual stitches.   Machine wash on gentle and tumble dry low in a mesh lingerie bag to keep the stitches from catching, and pulling.  Vintage Assiut should always be hand washed and dried as flat as possible.

8 - Assiut is associated with weddings in Upper Egypt. Some of the most popular motifs are directly related to wedding symbology. Camel figures with plants, stars, or even stylized men, represent the groom.  The female figures, often holding hands, or with arms raised, represent the bride and her bridal party.  Other common images that appear in Assiut wedding shawls include combs, for preparing the brides hair, perfume bottles for anointing her body, and diamonds, protective shapes with talismanic properties to protect the bride on her special day.


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Purchase a copy of “The Cloth Of Egypt: All About Assiut” here:

 
The book's cover: I'm wearing an Assiut bra made by Davina & a pre-1919 white Assiut shawl
Photo by Alisha Westerfield



Wednesday, October 22, 2014

DANCERS BACKSTAGE RITUALS: KARIM NAGI


 
Karim Nagi in a recent performance
Karim Nagi is a multi-talented musician, composer, folkloric dancer and deejay.  His performances are so high-energy and in the moment, and his connection to the music is so great, that he could probably   re-animate a room full of corpses. Born and raised in Egypt, he’s spent most of his life in America, though his global  travel schedule for teaching and performing is so hectic, I once heard him answer the question "Where do you live?" by saying:

  “In an airport!”

Karim in  the midst of a Saidi performance
Just in case you’re not familiar with his work, he’s released numerous instructional DVDs and a variety music CDs, both under his own name and as DJ Turbo Tabla. Since 1999, Karim has headed up the traditionally oriented Sharq Music Ensemble, and his Arab Dance Seminars routinely sell out months in advance.  He’s having one in New Mexico this November, but unless you’ve already secured your spot,  or if by come miraculous twist of fate someone drops out, there’s no way you’ll get in.

 His program Arabiqa educates   elementary school kids at over three hundred schools around the USA, but his educational efforts don’t stop there by any means.  In fact, his knowledge of his native Egyptian music dance and culture is so great, that he’s presented and lectured at many Ivy League universities, including Harvard, Princeton, MIT, Yale and many others.

We’ve performed together- in many places- for quite a few years, and in 2013, we also recorded a song “Heart Full Of Cairo” together- if you're interested in hearing it, you can find it on iTunes or Amazon.  Karim is  always a pleasure to work with because he’s so knowledgeable, and  a total perfectionist whose open to obsessive compulsive rehearsing and preparation.  But  he’s  also as much fun off stage as he is onstage… I once had the (dubious!) pleasure of hearing him  do an impromptu after-hours rendition of Ted Nugent’s hit “Cat Scratch Fever”, sung in a tongue-in-cheek Upper Egyptian Fellahin accent while he accompanied himself on the tabla !  In spite of-or maybe  because of incidents like this, I think he’s an absolute genius…though he’ll probably roll his eyes when he reads this. 
Karim & me  by Maharet Hughes

 Recently, he’s started a new four-hour-long workshop,  “Music Raqs”, which is a kind of “literacy program” for dancers who want to be able to better understand- and teach- oriental dance in a comprehensive way. In addition to music theory and technical info, he also goes into cultural and linguistic details that will no doubt be illuminating to dancers of any level, from absolute beginner to seasoned pro.  He’s putting on this workshop in Los Angeles this coming Sunday, October 26, and I’m very excited about it.

  Since Karim’s shows are so entertaining and high-energy, I thought he’d be a terrific candidate for my “Dancers Backstage Rituals” series.  So here’s what he has to say about his show preparation, in his own words:

“ I shine my boots. I iron my galabaya. I tape my assaya. I test my drum microphone. I stretch my legs and arms. I wrap the kufiya. I close the phone two hours prior. I recite the Quran's Surat al-Falak. I chose which sagat goes on which finger. ‎I do one hundred jumping jacks. I eat nothing for four  hours before. I watch most of the acts before me, to get an impression of the evening's overall message.
I choose a belt buckle. “

  I think he left  out one teensy thing though… the fact that he loves what he does so much, it can’t help but shine through in his performances!


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   SUNDAY OCT. 26, 2014: LOS ANGELES
 KARIM TEACHES MUSIC RAQS:
 4 HOUR WORKSHOP ON ARABIC MUSICAL LITERACY FOR DANCERS
Third Street Studio: 8558 W. 3rd St. Los Angeles California
 $50 before October 24: or $60 cash at the door
 Info  & registration here:


VISIT KARIM’S WEBSITE HERE:



DOWNLOAD “HEART FULL OF CAIRO” HERE:
http://www.amazon.com/Heart-Cairo-feat-Pleasant-Gehman/dp/B00BN074PU


Thursday, July 17, 2014

HOW TO SELECT SWORDS FOR BELLY DANCE PERFORMANCES


 
Photo by Maharet Hughes/GraphicVibeLA
For years, dancers from all over the world have been  emailing me about  how to pick out a sword and where to find  the perfect sword for their style or experience level!   And in the past week alone, I've gotten  three emails  on this subject! 

 Here are some sword selection  points  to consider:

Finding the perfect sword for belly dancing can be a daunting task. This is especially true if you are about to purchase your first scimitar, or if you are shopping for a sword on the Internet, and don’t have the opportunity to try it out in person.

For someone who is just beginning to dance with scimitars , the best are those that are perfectly balanced, height-proportionate, and not really light but also not a big heavy weapon, because you may need to increase your strength and work up to that. Medium size well-balanced dance sabers are pretty inexpensive, so once you get used to working with them, if you want a flashy, heavier sword, it wouldn’t break your bank to buy one after a few months of getting used to your "starter" sword- and that way, you will always have a spare on hand.

You want a saber that'll stay on your head without rocking, and one that won't kill your neck and upper muscles until you build up the necessary stamina and strength. Also, durability figures in- you want it to stay balanced if- and when- it gets dropped, and believe me it will get dropped!

Your selection will depend on a few different factors: aesthetics and personal taste is important. One dancer might want a gleaming new-looking sword that shines under the stage lights, while another may desire a weapon that looks more rustic, like it’s an authentic antique. There are also many shapes and sizes of swords to choose from, ranging from those with relatively thin blades without much curve to blades that have a deadly, sharp curve and get thicker at the end, towards the tip. The way the hilt (handle) looks and feels is also a factor. Some swords have a very utilitarian, simple-looking hilt with a flat cross guard, others are highly decorated, and ranging from ornately carved rounded or pointed pommels to dragonhead motifs. I even have a sword whose handle features a cast-brass figure of a leaping jaguar chasing a rabbit. If your sword features a cupped cross guard and you are left-handed, make sure it fits your hand properly, or get an “ambidextrous” sword with a flat cross-guard.


Your  sword choice will also depend on your size. A larger sword might be too heavy or dwarf a smaller performer onstage, while a smaller, shorter sword might look comical on a taller, more statuesque dancer.

More importantly, your sword selection should be based on how experienced you are, as well as in the strength of the muscles in your neck, upper back, shoulders and arms. Remember, you are going to be balancing it on top of your head and will have to remain very stable while doing so, and that takes strength. You will also be arcing and swinging the sword while it’s held in your hand, and so it needs to be light enough for you to easily handle it.

Another factor is price: swords can range from about $25.00 to $500.00, depending on quality, size, whether the sabre is custom-made or antique...but don’t think you need to make a huge investment in order to get a decent sword.

There are many inexpensive options on the market today, so if you are a beginner and unsure of what to get, pick a slightly smaller, relatively affordable sword- you can always work your way up to a larger, heavier and more expensive one later.

All swords balance differently, depending on the weight of the blade, the heft and angle of the hilt-or in laymen’s terms, the handle area- which includes the cross-guard and pommel, which is the decorative bolt at the top of the handle. When buying a sword for dancing, pick one that stands up straight on it’s edge (the blade edge) and doesn’t flop over flat. There are many scimitar options on the market today which are made strictly for dancing and are balanced already, so you will not have a problem finding a sword that suits you and your unique needs.

When shopping for a sword in person, check it out and find the median balance point by testing the blade on the top of your wrist, then try it on your head. The balance point of the sword itself won’t be dead center; it will be more towards the sword’s handle. The optimum balance point on your head will be different depending on what type of sword you are using as well as what is easiest for you. For swords, my balance point is just in front of the center of my head- but everyone’s skull has a different shape. With some practice, you will find what is your most comfortable spot.
o it becomes gummy will add a little traction. Some dancers glue a very thin strip of sandpaper along the edge at the balance point. This will not be visible from the stage but it does help to “catch” on your hair. Some types of swords come with grooves already cut into them at the balancing point- but I myself don’t find this helpful- usually the grooves are too wide for them to be able to work properly. And there are also dancers who don’t use anything, just a bare blade. Again, this is your choice.

And one last word to the wise: even if a sword was made specifically for dancing, it still has the potential to injure you. Remember to warm up completely before you work with your scimitar. If you feel it sliding while you are dancing, take a moment, remove the sword and replace it back to your original, comfortable balance point, and then proceed with your act.

 The main thing to remember when rehearsing or performing with swords is: SAFETY FIRST!

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 The article you have just read is an excerpt  from 
 THE BELLY DANCE HANDBOOK: A COMPANION FOR THE SERIOUS DANCER
 ...  get an autographed copy here:

 I also have three  instructional sword dancing DVDs  featuring more hints, tips, sword tricks, choreographies, and costumed  sword performances on that page  : )

Here's a link which features many great dancing swords…tell them The Princess sent you!