WELL BALANCED: CRIB NOTES ON THE USE OF BALANCED PROPS IN ORIENTAL DANCE

The history and use of balanced props in Oriental Dance is as subject to speculation as the dance form itself, but it seems that for decades- if not centuries- belly dance performers have often used balanced props to display their grace and skill. Though this is by no means at all a complete history on the use of balanced props, perhaps it will help you, dear reader, to understand why we-belly dancers-use some of these gorgeous "dance partners" on stage.

The origins of sword dancing are unclear; and many people believe it came from American Cabaret belly dance, and was never traditional in Middle Eastern folkloric dances performed by females, let alone as a part of raqs sharqi. Used as a display of weaponry or prowess, swords, scimitars and daggers have been used often in dances or displays ( by men) in the Gulf regions, as well as in The Levant.

However, the roots of sword or scimitar dancing as performed by women do seem to come from North Africa or Turkey. There are many 19th century Orientalist paintings and lithographs depicting scenes with musicians playing as jewel-bedecked women dance with curved scimitars atop their heads, and there are also numerous written references to dancers performing with sabres stemming from the same time period. It is difficult to tell if this was merely an Orientalist fantasy, or a recording of actual events as seen by Western travellers.

Exotic and glamorously dangerous, sword dancing is extremely popular today in cabaret and fusion style performances. The curved scimitars are balanced on the head, chest, shoulders, wrists- as well as many other locations-on the body of the dancer, and many dancers use more than one sword.

The contemporary version of sword dancing ( dating from the late 1960's into the '70's) has been attributed both to noted dancers Leona Wood (who used a custom made carved wooden sword) as her prop, and to Jamila Salimpour, whose troupe Bal Anat was a precursor to the American Tribal style of belly dance.

Raks shamadan, performed by a dancer crowned with large, flaming candelabra, is an Egyptian wedding tradition, dating from the turn of the last century, in the time before electricity. Shamadan-bearing dancers lead the zeffah al-arousa or bridal procession through the darkened streets, illuminating the newly married couple, a tradition that is still continued today. Because of its spectacular effect, the dance was also performed theatrically, as part of both cabaret and folkloric Oriental performances.

Some believe that in the 1920’s, Badia Masabni brought the dance to the stage of her Cairo nightclub, The Casino Opera, where legendary Golden Age dancers like Tahia Carioca and Samia Gamal began their careers. But a more likely version of the origin is credited to a pair of Egyptian dancers from the Mohammad Ali Street district of Cairo, at the turn of the last century. It is believed that Egyptian dancer Zouba El Klobatiyya was the first performer to dance with a lantern-or klob- balanced on her head- hence, her name. If she wasn’t actually the first dancer to perform with a lantern balanced atop her head, she did at least become the first to gain recognition for it. She was followed in quick succession by a Coptic Christian dancer, Shafiya El Koptyyia (Shafiya The Copt) who also performed this skill.

Much more recently, Egyptian dancer Nadia Hamdi, who is known the world over for her shamadan skills and floor work including splits, is noted for her skills with shamadan, having been trained by the original dancers, and is still in action today, preserving the tradition.

Other folkloric dances from Egypt that sometimes incorporate balancing skills include balass (water jug) dance, where the vessel is held on the shoulder and sometimes balanced on the head of the dancer, and raks assaya, where the performer manipulates a cane, twirls it, and if skilled, balances the cane on various parts of the body. Tunisian and Moroccan folkloric dancers balance clay pots (or stacks of them!) on the head, as well as doing head balances with large brass trays, sometimes laden teapots, glasses. Both male and female performers perform tray dancing, and the illustrious John Compton is one of the masters of this dance.

Please be aware that working with any type of balanced prop can take years to perfect. It requires absolute stability of the head and neck, and increased flexibility and power (especially in the upper thighs, abdomen and arms) for floor work. The heightened isolation skills, mental concentration and slower movements necessary for balance will have a very positive affect on your overall dancing. You will need to practice- a lot. You also must be sure that in addition to your regular warm-up, to really thoroughly warm up your neck, shoulders, upper arms and thighs before attempting to balance anything…even if you are already comfortable with performing floor work, and the extra weight on your head.

Above all, please remember when balancing any sort of props, whether used with or without fire: SAFETY FIRST!

RAKS SHAMADAN: HISTORY, TIPS, CARE AND REPAIR

I became interested in Egyptian Raks Al Shamadan at the very beginning of my belly dance career, and began performing it early on. Not only was I attracted to the fiery beauty of balancing a large candelabra on my head while I danced, the tradition surrounding raks al shamadan is fascinating. In my dance career, I have performed raks al shamadan at hundreds of Egyptian and Arabic weddings, and the traditional Egyptian wedding music, "Zeffah Al Arousa" gives me goosebumps and makes me cry every time, even if I have never met the bride and groom before bringing them in!

I've also performed this gorgeous dance at the weddings of many belly dancers... one my favorite belly dance wedding performances was for Jillina's nuptials, where a huge line of belly dancers including myself, Neena and Veena Bidasha, Louchia, Laura Crawford,Kamala, and many members of Flowers Of The Desert Dance Company all made the zeffah processionin ruby red and gold costumes, playing our cymbals for all we were worth, and zaghareeting like a bunch of banshees! The other was for Arkansas-based dancer Lena Regina, who was hosting me as a workshop instructor for the annual event Shimmy Fest. The night before I left for Arkansas, she called me at midnight to tell me that her and her boyfriend has decided to have a surpise wedding...at the event, directly after the show! She wanted me to lead the zeffah, so of course I did! Lena was a beautiful bride in bright orange, and the whole crowd and all the performers joined in the surprise wedding, it was pretty spectacular!

The Shamadan ( spelled phonetically in various ways) is a large candelabrum balanced on top of a dancer’s head, in a tradition unique to Egyptian dance. This beautiful dance prop is historically used in the Egyptian wedding procession, or zeffah. The Arabic word zeffah literally means “procession with noise”. Now as in years past, a zeffah is a joyous wedding parade, usually taking place at night, consisting of hired dancers (with or without candelabras atop their heads) musicians, singers and family members, winding through an entire neighborhood, taking the bride to her groom’s house. In the years before electricity was used, dancers would balance large, lit-up lanterns- and later specially made candelabrum- on top of their heads, to illuminate the bride and groom’s faces during their first appearance as man and wife. These dancers were hired, and depending upon the wealth or status of the wedding party, there could be a large range of shamadan dancers, from just one or two to many performers. Today, though outdoor zeffahs still occur in Egypt, many are performed in hotels or rented banquet halls, making the wedding procession much shorter in duration.

Raks Al Shamadan as part of the zeffah procession began in the early 20th century. Prior to that time, the lighting for the zeffah was provided only by long, over-sized, decorated wedding candles as well as by illuminated lanterns ( klob in Arabic) which were carried by members of the wedding procession. It is believed that the dancer Zouba El Klobatiyya ( also spelled in various ways) was the first performer to dance with a lantern-or klob balanced on her head- hence, her name. If she wasn’t actually the first dancer to perform with a lantern balanced atop her head, she did at least become the first to gain recognition for it. She was followed in quick succession by a Coptic Christian dancer, Shafiya El Koptyyia ( Shafiya The Copt) who also performed this skill. Legendary Egyptian dancer Nadia Hamdi, who is known the world over for her shamadan skills and floor work including splits, is noted for her skills with shamadan, having been trained by the original dancers, and is still in action today, preserving the tradition. As a young girl, Nadia Hamdi learned the practice from observing Zouba El Klobatiyya first hand, and then was formally trained in the tradition by her grandmother, a contemporary of Zouba El Klobatiyya and Shafiya El Koptiyya.

Older versions of Egyptian-made shamadans (even as late as the early 1990's) were fitted on the bottom with a slightly inverted cup, which balanced by sitting on the on the crown of the dancer’s head, a skill which took precision, grace and ( usually) years of practice. Today, most modern shamadans are constructed with an attached head band which fits around the dancer’s temples. This beautiful dance prop is still used today in the Egyptian wedding procession, or zeffah as well as in folkloric and theatrical shows, and sometimes even incorporated into a night club belly dance routine.

For a brand new imported or Egyptian-made shamadan, expect to pay anywhere between USD$100.00-$300.00 (as of this writing) outside of Egypt. This is because they are all hand-constructed, and heavy to ship. There are many different styles, some are extremely intricate, and others are more utilitarian. Shamadans from Egypt are large and sometimes not altogether stable the arms may move around, but this can be fixed with pliers or by soldering or gluing them. The crown of the shamadan should have a snug, almost tight fit around your head, resting just above the temples. If your shamadan is too loose, it will wobble on your head. It is easy to glue sponge rubber or some other type of padding to the inside of the crown to prevent it from slipping around, and this will provide you with a more comfortable fit, as well.

Larger shamadans look very impressive, but slightly smaller ones are more portable, and much easier to work with. There are now even “collapsable” (portable) shamadans, though I have never used one myself. Never leave a shamadan in your car or trunk for even a short length of time- even the slightest heat in a short amount of time will melt the candles! When traveling with a shamadan by car, lay it on it's side wrapped in a towel, or strap it in with a seat belt. The crystals or beads and coins decorating some shamadans can be repaired if the chains break with a jewelry pliers or even, in a pinch, a regular set of tweezers. These crystals can also be replaced by purchasing new strands at stores that sell lamps and lighting fixtures. If the crystals get covered with wax drippings, remove them from the shamadan , put them in a baggie and put them into the feezer for a few hours, the cold wax will pop right off the glass, and they will be good as new.After every shamadan use, clean out the candle's drip-cups, or the wax will build up and be more prone to spill onto your hair. You can either use a butter knife and pry the dried wax out, or you can train a blow-dryer set to high heat on the wax drippings which will soften them up enough for the wax to be wiped away with a cloth. Since shamadans are still constructed by hand, and candle sizes vary, some of the candle holders may be loose- wrap your candles with tinfoil for a snug fit. Remember that longer candles or long dinner tapers are also heavier, short emergency candles look good and are lighter on your head, they're also cheaper than dinner candles-remember, you're going to have to use at least nine, maybe twelve candles. Even if a candle is "drip less", there's no such thing when it's on your head! Make sure that you always keep a book of matches or a lighter and extra candles with your shamadan, as well as a small craft pliers for any chain or crystal repair or re-fastening.

When dancing at a wedding or on a stage, avoid ceiling air-conditioning vents, as it will blow the hot wax onto you, all over your hair and costume. Be careful of ceiling and doorway clearance, and of course, be very wary of draperies. Also- makes sure to thoroughly check with your venue and the local Fire Marshall concerning fire/open flame/insurance laws. Many places do not allow open flames, or require performers working with open flames to carry fire insurance. In this case, if you are un-insured, you can purchase LED or battery-operated candles (from a craft shop or florist supply store) but note that these candles will be much heavier and therefore more difficult to balance.

As far as costuming goes, especially if you aren't used to wearing a shamadan, don't select a costume to wear which will allow the inevitable wax drips will show up ( because, believe me, wax will be dripping!) and potentially ruin it.

Many balady or hagallah dresses made in Egypt are made of netting, which is easy to pick the dried melted wax from. Of course, these are best if you don’t want to stain your costume. When using real wax candles, don't light up until just before you're about to dance because of the wax-drip factor. If you're not doing a zeffah (Egyptian bridal procession), pick a slower song or a taxim, because dancing quickly with a shamadan negates its stately beauty.

Some shamadan resources:

My instuctional DVD, "Belly Dance & Balance: The Art Of Sword And Shamadan" can be purchased here:
http://www.princessfarhana.com/video_balance.htm

Shamadans to purchase here:
http://www.dahlal.com/default.aspx?n=1&hs=shamadan

Links to various shamadan performances on Youtube.com

Princess Farhana
http://www.youtube.com/watch?v=DItyalhUMY4

Amira Dance Productions from Kansas ( staged- non traditional)
http://www.youtube.com/watch?v=vLafRvD6R-8&feature=related

http://www.youtube.com/watch?v=QWKqwak9AXY&feature=related

Cairo Zeffah celebrations
http://www.youtube.com/watch?v=JeCHbfpqVg0


Photo: Princess Farhana dancing raks al shamadan at an Egyptian wedding

I'LL (BELLY) DANCE AT YOUR WEDDING

At some point in your career as a belly dancer, you will probably be asked to dance at a wedding. Though you obviously would treat your performance the way you would any other gig, by showing up on time, using music that is well-recorded, acting friendly and professional, and dancing up a storm, there are certain things you should know in order to make the event go smoothly.

The first thing you should be aware of is that though weddings are joyous occasions, there is a certain amount of stress involved….uh, make that a MAJOR AMOUNT of stress involved! A wedding is a huge stepping stone in life, and may result in a display of nerves from not only the bride and groom, but also family members, and, depending on the scale of the event, the wedding planner, caterer or deejay that hired you.

Weddings are absolutely notorious for running late, and this can be compounded by bridal party photo-ops, traffic on the way to the reception; a hired band playing longer-or shorter- than they were supposed to, or even slow food service. The fact that it’s a private family celebration, and not a regular club or restaurant gig, will also add elements of chaos which may affect your performance in the form of kids running around, people drinking too much, lengthy toasts, amorous ushers, elderly or disabled people seated in wheelchairs, maybe even a fight! You have to prepare yourself for any possible snafu, and be a trouble-shooter- ready with your own Plan B (or even C or D) just in case!

When performing at a wedding, you never know what can happen. I was once hired by a friend of the groom’s father to perform at Armenian nuptials in Hollywood. When the bride found out there was going to be a belly dancer (oh, the horror!) she locked herself in the bathroom crying hysterically. Sheepishly, the groom’s father’s apologetic friend paid me… TO LEAVE!

I once did a fabulously huge, traditional Jewish wedding at the posh Bel Air Hotel, with flowing champagne, mountains of caviar, tuxedoed waiters and gorgeous decorations that were probably worth as much as the engagement ring. The bride and groom were being paraded around held aloft in chairs, towering dangerously above the crowd, who were all wildly dancing the Hora to a live Klezmer band. Everything was going off magically, without a single glitch… until a helicopter got tangled in some power lines about five miles away and wiped out electrical service in the entire area!

There were a few moments of pandemonium before hotel’s staff brought out candles and battery operated lanterns. The food had to be served immediately or it would have spoiled; the ice cream was melting before dinner was over, the deejay was sent home with half his pay. Thinking quickly, I asked the Klezmer band if they could play acoustically, and together we worked up an impromptu set of music I could perform to, by candle light....it was truly an unforgettable event!

When booking a wedding, try to find out as much about the event as possible, and try to discern your area’s the “going rate” for this type of performance- it varies widely, depending on who, what, where, when. Most importantly, if the bride or groom is hiring you, designate with them a contact person (a family member, close friend, caterer, deejay, etc.) who will meet you, as well show you where to perform and pay you. The bride or groom may think they will be able to handle these duties at the event, but trust me, they won’t! Whether it’s a casual wedding for a close friend of yours or a big gala you’ve been hired for, here are some things you should determine immediately:

LOCATION: Is it indoors or outdoors? Is it a club, hotel, recreation or reception hall or private home? Get the address, cross-streets, specific directions, on-site contact number (either the number of the place and/or a cell-phone number for someone in charge) and re-check them to be sure. Bring shoes you can dance in, since you will have no idea if the floor is clean, or if you will be dancing on grass, cement, tiles by a pool, or on a carpet. Determine if there is a place for you to change, or if they want you to show up in costume. Is there somewhere safe you can leave your belongings while onstage? Bring a cover-up in case you get cold. Find out where you can park, and if you will be able to get a validation or if you have to pay.

PERFORMANCE TIME AND PAYMENT: Make sure you set your performance time- exactly. You don’t want to think you’re going on at 9:00PM and then wait around until midnight. Get a specific time, confirm it- and your fee- a week or two before the event, then re-confirm a day or two before, and if you have any doubts, try to confirm the day of the show. It helps to be flexible, because these events don’t usually run on time- but we’re talking ten or fifteen minutes, not three hours!

If it’s getting late, pleasantly but firmly say you have another show, and be adamant about implying “ It’s now or never”! Make sure you and the client mutually agree to the length of the performance. You should negotiate payment BEFORE you accept the show, and it never hurts to have a contract! Get a deposit- trust me, the florist does…the band does… the caterer does! If the gig is coming from a trusted source, say a deejay or restaurateur you work with regularly; a contract probably is not necessary. But weddings are hectic, and somebody from the family or the event planner may not remember to confirm your appearance, so it’s up to you.

COSTUMING/MUSIC/ SHOW: Go over this in detail. Are you dancing to iPod, CD, or a live band? What sort of music do they play? What songs are in their repertoire that you know and can dance well to? What is the sound system like? There is nothing worse than music that is too low, especially if you’re in a big hall. Some wedding parties may not want you to wear a revealing cabaret costume, they may prefer something more covered up. Of course you must respect these wishes. There may be a specific color- theme they want you to match, they may want you to dance to a pre-arranged piece of music, which of course, you should be familiar with, whether it’s the couple’s “our song” or, say, traditional Persian wedding music. Do they want a full show, or just a few pop songs? Don’t say you’re familiar with a Moroccan folk dance or some other traditional thing if you are not, you will only disappoint your clients. Will there be audience participation? If so, it’s always best to start with pulling kids up to dance, as this is a crowd-pleaser and makes you seem more like a family-oriented performer, not some ‘sleazy seductress’. Though it might not be acceptable to dance around tables in a club, at weddings, it’s usually fine, it ups the energy. Don’t actively solicit tips. They will either tip you, or not. Some people feel this is tacky, and will discreetly inform you of this and possibly tip you later. It’s perfectly acceptable to ask (during negotiations) if this is a tipping situation, then you can adjust your price if it’s not. Are there other performers, such as musicians, other hired dancers, magicians, singers? Look over your performance space, you may be dodging floral arrangements, balloons, waiters, electrical cables and large video cameras mounted on tripods. Will you be doing a zeffah?

THE ZEFFAH: At many Arabic weddings, you might be asked to do a zeffah, instead of-or in addition to your regular show. This is a traditional Egyptian wedding processional. The zeffah dancer’s duty is to lead the bride and groom out for their first appearance as man and wife. Zeffah means, “procession with noise” and is usually done in a line, with multiple dancer zagareeting, playing cymbals and tambourines, leading in the bride and groom for their first appearance as man and wife. You can dance accompanied by music (there are many CD’s available with traditional zeffah songs on them) or just make a lot of noise with your cymbals.

When the couple’s names are announced and the music starts, simply make your entrance, with the bride and groom following, lead them around the dance floor a few times, plant the couple in the center, and dance around them, encourage them to kiss, hold hands, or dance together. Then lead them to their seats (sometimes up on a dais), seat them and have the dancers pose flanking them on each side, for a photo-op. People will probably be screaming and cheering. Raks shamadan (a dance involving a lit candelabras balanced on the heads) is a wedding tradition, dating back to Egypt in pre-electricity days, and part of the zeffah , but not absolutely necessary.

If you’ve never done shamadan before, a wedding is NOT the place to try it out! If you’ve performed it onstage, but not at a wedding - make sure you get permission from the venue where you’re performing to use open flames. If you can’t, use battery operated candles ( usually available at florists or party supply stores) but bear in mind that they are much heavier than real ones. Check doorways for clearance, have matches or a lighter on hand, steer clear of draperies, and don’t light up until you’re just about to perform. Avoid ceiling air-conditioning ducts. You can use “ dripless” candles, but once they’re on your head, and you’re moving, there is no such thing. Not only will ceiling vents blow your candles out, they will spray the melted wax all over your head!

Also, know that the bride and groom have probably never actually been part of a zeffah before, so you will very likely be directing them on what exactly they should be doing…and remember, they will undoubtedly be nervous, so spell it out!
It’s fine to talk to them and direct them, but remember it’s THEIR day- try not to steal their thunder, and make them feel comfortable, encourage them to have a blast!

These tips will help you in booking a wedding performance-so, have a great show, dodge those randy groomsmen, make lots of money, and don’t forget to say “ marhaba !” to the happy couple!