Friday, June 24, 2011

CAIRO CALLING


Things have been a little nutty in my life lately… but then, what else is new? So many projects, gigs, classes and flights to catch…so little time!

I stare in abject guilt at my computer’s desktop, knowing I need to finish the series of articles on identifying different styles of dance. After five installments I kind of let that fall by the wayside due to my travel schedule and “Bombshell” DVD shoot.

I had planned for Part Six to be about Egyptian Shaabi and Beledy styles, and for Part Seven to be about trance dances (like the Moroccan Guedra and Egyptian Zar) and devotional dances, especially Sufi whirling dervishes and Egyptian Tannoura dancers.

Sadly, those chapters are just going to have to wait until I complete my latest trip…but happily, my next trip is to Egypt! I leave in a day.

For the past few years I have been completely fascinated by Tannoura, it’s history and practice. Every time I see Tannoura dancers I am so moved- even if it’s just at a night club show. I am hoping to get some great pictures of the whirling dervishes to include with the new articles- last year on the Nile Maxim, I saw an incredible young Tannoura dancer who had a costume that lit up with LED lights, and when the lights in the club went off as he whirled and ignited his costume, he looked just like a carnival ride! The year before I saw a group of little boys dancing Tannoura, they were apprentices learning the art. The youngest was about six and the oldest maybe ten or eleven. They were incredible, and had the entire place screaming wildly. It was kind of like seeing a whirling dervish version of The Jackson Five!

I am so very excited to be going to Egypt, and not just because I will be teaching-and learning from the master instructors-at the Ahlan Wa Sahlan Festival, but because of the recent turmoil in Egypt surrounding the revolution and all the social unrest earlier this year.

Like people the world over, I watched the events in Egypt unfolding with dire concern, desperately hoping things would end well. My many friends in Cairo, both Egyptians and ex-pats, were constantly on my mind, and with the internet and phone service down, there was no way to reach them. I feared for their safety, and prayed for the people of Egypt who were fighting for their rights, as well as for the future of the country.

With resignation, my partner Zahra Zuhair and I cancelled our summer Eternal Egypt Tour earlier this year due to the unsettled situation; we didn’t want to bring a group of people who had never been to Egypt into a country that seemed ready to explode at any moment.

After the reality of our cancellation set in, my own somewhat selfish feelings took over.

“ This can’t be happening to MY Egypt,” I thought, panic sweeping through me in nauseating waves.

Suddenly, aside from what I’d been seeing on the news, the reality hit me in a personal way and I was afraid I might never again be able to visit this beautiful country that I loved so much, this place that, for the last two decades, I have almost taken for granted, thinking carelessly that Egypt would always be “available” to me.

Egypt is a land full of contradictions, a place with many problems and extreme poverty, but undeniably it's one of the world’s richest places in terms of culture. From ancient to modern times, Egypt has always been alive with art. It is a place bursting with incredible music and dance, gorgeous antiquities and people so friendly and welcoming that even a complete stranger would go out of his or her way to help you if you needed anything.

I have had many adventures and certainly many misadventures there, but I have always felt safe there.

When i think of Egypt, I think of laughter: I have probably laughed harder and longer than anywhere else I’ve been, because most of the population-or at least those i have been fortunate enough to meet- seem to have a deliciously crazy sense of humor. Fun is free, and the seemingly universal Egyptian love of fun is one of my favorite things about the country.

I love Cairo with it’s sensory overload of sights, sounds and smells; it’s sizzling nightlife that ends the next day well after the sun has come up; the Nile bridges full of families hanging out at 3:00am and the insane, relentless Kamikaze traffic. Luxor with it’s jingling hantour carriages and the gigantic grand temples of Karnak And Luxor. Cosmopolitan Alexandria with its sea breezes, the green of the Fayoum Oasis in the expanse of the Sahara.

Everywhere in Egypt, the haunting muezzins calls broadcast loudly while any animal within earshot of the mosque- dogs, donkies, camels, goats- begins howling and braying along with the prayer, and cabbies stop dead in the middle of the street, laying down cardboard or rugs to pray on the pavement. Cairo after sunset, where the motor boats decked out in blinking disco lights careen down the Nile blasting Shaabi through distorted speakers while fifty people onboard dance wildly, and the river police try to pull them over. And um, oh yeah… the epitome of Egypt, Giza’s Pyramids and Sphinx, which everyone in Cairo refers to as “ The Svin-kuss”.

While the revolution was taking place, when I was faced with the fear and the reality that maybe things would be changing in an unfavorable way, I was scared I might not be able to go back to Egypt, I started to reflect about the time I’d spent there. Though I never lived there, I'd always felt like Egypt was a huge part of my life.

My first trip to Egypt was twenty years ago. Back then, there were no cell phones or Internet, and it took waiting for at least four hours just to get an overseas line, even at the five star hotels. There were no signs in English- anywhere! I arrived in Cairo with the $200.00 I had somehow managed to save and the scribbled address of a decaying hotel off Tahrir Square in my pocket. I didn’t know a soul in the entire country. I had quit my job in Los Angeles, and felt like a new chapter was beginning in my life.

I knew that I needed to make this pilgrimage, because I was absolutely obsessed with belly dancing. I wasn’t entirely sure what I was going to do once I got there, or how I would find what I was looking for, but that didn’t matter, I knew in my heart that things would somehow come together… and the moment I stepped off that plane, I wept. During that trip, crazy as it may sound, I seriously started to wonder about past lives and psychic connections. No matter where I’d been in the world… and I’ve traveled extensively, I’d never had the reaction I did when stepping onto Egyptian soil for the first time. I was crying with joy and overwhelmed with a feeling of coming home. I still feel those emotions every time I go there.

Yes, I am every bit as excited (as I always am ) to go back to this incredible country, but even more so this year! I can’t wait to experience the “new” Egypt.

And now I need to get back to my packing, but rest assured… there will be many, many stories to tell.

Wednesday, June 15, 2011

PRETTY, PRETTY!!





Hello!

The post from June 13 featured behind-the-scenes photos from the "Bombshell" stage make-up DVD shoot that were taken by me. As in, taken slap-dash on my phone, between takes!

But the pictures in this post, taken by our on-set photographer Dusti Cunningham, are more representative of what the DVD will actually look like...just sayin'. These are the AFTER shots, taken after the make-up tutorial segment was completed. All the models appear on camera with bare faces to begin with.

From top to bottom:

Belly dancer & yoga instructor Jennelah modeling her AFTER "Swingin' Sixties" look, designed by Princess Farhana

Belly dancer and Burlesque performer Jewel modeling her AFTER "Retro Pin Up" look, designed by DeVilla

Belly dancer Lapis modeling her AFTER "Fantasy" look designed by Princess Farhana

All photos by Dusti Cunningham, www.dusticunningham.com

Monday, June 13, 2011

"BOMBSHELL" DVD HIGHLIGHTS







The "Bombshell: Dramatic Make-Up For The Stage, Photos And Glamorous Occasions" instructional stage make-up DVD is a wrap!

Our two-day shoot was quick-paced and crazy fun. There were so many pretty girls ( and lots of cosmetics) all over the place. The clean-up process was just insane. Lipstick-stained tissues, stubby eyebrow pencils, used cosmetic sponges and false eyelashes littered the floor. Our crew- cameramen Anthony Pedon and Anthony Ferrari, still photographer Dusti Cunningham were the only men around. Our make-up assistant Silvina Knight and our production assistants IrinaXara and Liz Heard were kept busy the entire time cleaning up after Devilla and me, as we did the faces of our lovely models: Jennelah, Deborah, Shauntel, Lori, Jewel, Lapis, and Lisa Marie.

Devilla and I gave instruction for eight looks total including period make-up ( 1920's, 1960's, 1950's) a section on "Glamour For The Mature Woman", two colorful fantasy looks, Arabic Eyes, Smokey Eyes and tutorials on contouring, applying false eyelashes, pretty lips, and going glitter-crazy.

The DVD will now go into post-production, and should be available by early fall 2011. It may even be available earlier. Of course, as soon as it is, i will let you know! You will be able to purchase it at www.princessfarhana.com , among other places.

The pictures are a a few of the highlights from the shoot:

#1: Devilla, model Shauntel, Princess Farhana on set

#2 Model Shauntel rocking the 1920's look, created by Princess Farhana

#3DeVilla and her model, Diamond Debbie in the "Golden Goddess" look, designed by DeVilla

#4 Princess and Model Lapis in the fantasy look created by Princess Farhana

#5 Model Jewel in the Pin Up look created by DeVilla

Wednesday, June 8, 2011

THOSE EYES....THOSE LIPS!


Hello Dear Readers,

It's been a while!

Since my last post I have been all over North America: to Tribal Fest in Northern California, to Fes-Tribal in Quebec City, and to Asheville North Carolina for ABS-Fest. I've popped a rib out-and had it put back in place- at Tribal Fest, been sawed in half AGAIN at ABS-Fest, taught a lot of workshops and generally danced up a storm. I was also CAUGHT in a storm...a big cloudburst over the walled city of Old Quebec... I got stuck with Atemis Mourat and Belladonna while sightseeing- but even though we got soaked to the skin, it was fun! And now I'm plunging headlong into a new project. This weekend, I am shooting an instructional stage-make-up DVD!

The DVD is called "Bombshell: Dramatic Make-up For The Stage, Photos And Glamorous Occasions", and is set for release in early fall 2011. I am collaborating on this with my long-time friend, dancer and professional Hollywood make-up artist Devilla. The DVD will be shot by Anthony Pedone and Dusti Cunningham, the man behind the very lovely photo of me at the top of this page. Believe me, these guys know what they are doing.

We featuring step-by-step instruction for everything from applying a flawless base to user-friendly false eyelash application. There will be entire sections on contouring, lips, beauty tools, and "the icing on the cake"- which includes different fantasy techniques for glitter, bindi's, and going wild with color. We are also featuring EIGHT different looks ( each of us is overseeing four looks) including Classic Smokey Eyes, a Retro Pin-Up look, Arabic Eyes, 1920's/Silent Star and MUCH more.

Devilla and I have been conceptualizing and brainstorming this project for well over a year. The models we are using are real women-and all dancers. The models also have wildly varying face shapes, eye-shapes, and very different features, and are of all ethnicities and all ages...so there will really will be something for everyone on this DVD.

We start shooting in two days, and I am so excited! Many of you have written to me and commented on my written make-up instructions, but i gotta tell you that this DVD will really take things to a new level.

Wish us luck with the shoot, and believe me... you will be the first to know when we are ready to take pre-orders for the DVD!

xxx Princess


Photo: Dusti Cunningham

Friday, May 13, 2011

EDWARDIAN? NO, "ED-NOIRE-DIAN"!



My articles on identifying the many styles of belly dance got stopped short , because I am in a frenzy of preparing for my May And June gigs at Tribal Fest 11, Fes-Tribale in Quebec, and ABS-Fest in North Carolina. The articles will return soon, I promise!

Meanwhile, I am furiously working on finishing my costume for a fantasy number based upon Art Nouveau images, done a little Noire and with a hint of the dangerous. I have always been attracted to the work of artists from this time period, even as a child. I have based many of my costumes upon this aesthetic, and love the work of Leon Bakst, who was the costume and set designer for The Ballet Russes De Monte Carlo, and the better-known artists Erte, and Alphonse Mucha. As I was working on this costume, my mind wandered to the work of these three incredible talents, for their un-ending inspiration.

This costume is all black covered in gold lace, with rhinestone and turquoise accents. Some of the turquoise stones are actually milky blue antique Peking Glass. The beads are long, tear-drop shaped, and have ornate brass bead-caps, which originally were covered with REAL turquoise peacock feathers! Most of the peacock feathers have worn off, but the beads are still amazing. i could totally see them sewn onto a costume for Nijinsky or Tamara Karsavina of The Ballets Russes.

I have hoarded them for over 25 years... just waiting to use them. In the 1980's, I was exploring what was left of Howard Hughes' movie studio, after the demolition ball had done it's job. In the wreckage, there was a chest of drawers. When I opened a drawer, I found lots of these beads, in various colors- the milky blue, a mauve pink, cobalt blue, and a clear, see-through olive green. They were sewn in rows onto yellowed, decomposing paper. I think they may have been beads for lamp-fringe, I'm not sure if they were used in costuming but they are stunning. Of course, I stuffed my purse full of them, and high-tailed it out of there before I got popped for trespassing!

I am glad they have found a home on my costume, which pays tribute to the time period- The Edwardian Age- when these beads were made. This costume has taken countless hours of work, but it's been so worth it. I hope the spirits of Bakst, Erte and Mucha will smile when they see it.

And now if you will excuse me, I need to get back to sewing and affixing rhinestones!



Photos:
The bra, belt & Edwardian-style tiara of my costume
A costume sketch by Leon Bakst

EDWARDIAN? NO, ED-NOIRE-DIAN!


The articles on identifying the different styles of belly dance have been postponed temporarily, but they will return!

Currently, I am in the midst of a conceptualizing, choreographing and costuming frenzy, preparing for my May and June 2011 shows at Tribal Fest in Northern California, Fes-Tribale in Quebec, Canada, and ABS-Fest in North Carolina. I have been working on a fantasy piece, with a sort of Art Nouveau, slightly Noire feel.

The music and dancing are set, but costume I'm making for these performances is taking a lot of time...with all the detail and time going into this, I'm beginning to realize that I am certifiably insane! The inspiration for this costume comes from some of my favorite influential sources, artists whose work I have always admired, as far back as I can remember. They are Leon Bakst, the celebrated costume and set designer for The Ballets Russes De Monte Carlo, famous artist and fashion designer Erte, and incredible artist Alphonse Mucha. All of them were famous during the Edwardian period, at the turn of the 20th Century.

Though the costume isn't based directly on the work of any of these artists, I have always been drawn to their aesthetic, even as a child, and sometimes get up from my constant sewing and rhinestone affixing to look at their paintings and sketches.

My costume is all black overlaid with gold lace, decorated with rhinestones and turquoise. Some of the long, teardrop-shaped beads used on the belt and armlets are actually antiques from the Edwardian period. They are milky turquoise Peking Glass, set in ornate brass caps, which originally had real peacock feathers glued onto the bead-caps. Some of the beads still have the remnants of the peacock feathers on the bead-caps, but most have worn off due to age.

I have hoarded these beads for over twenty-five years. In the 1980's, I snuck into what was left of Howard Hughes' movie studio
after the demolition ball had done it's duty. Walking among the wreckage, I found many of these beads ( in various colors- like pink, cobalt blue and clear olive green) among the rubble. I am not sure if they were used for costuming or jewelry- I think they may have been beads made for lamp fringe. When I found them, they were still sewn in rows onto crumpling, yellowed paper. Of course, I needed to rescue them!

This costume has taken who-know-how-many-hours of sewing, but it's almost finished...actually, i need to get back to it right now!

Monday, May 2, 2011

THE THINKING GAL'S GUIDE TO BELLY DANCE STYLES PART FIVE: ROM, ROMA OR ROMANY DANCE



This is Part Five in my series of identifying the various styles of oriental dance. As with my previous articles, I will again state that in no way do I consider the following to be a “definitive view” of belly dance in it’s myriad forms…but I do hope this series of articles can provide a thumbnail-sketch frame of reference for belly dance fans, students, and also function as a jumping off point for dance fans and curious dancers of all styles. As with past pieces I have written, please note that many of the names mentioned may be spelled in various ways to phonetic pronunciation and translations. This article is about the influence of the Roma on oriental dance.


Though it is considered politically incorrect and degrading to refer to the Rom or Roman people as gypsies, that is how most people refer to them. Many scholars and historians believe that the Romany people had a profound influence on belly dance as we know it, but because of the lack of written history on these talented nomads, it’s unclear as to what degree.

The Roma are believed to have origins in Northern India, due to linguistics and physical characteristics, and there are still several distinct tribes of Roma in the Rajasthan region. Though it is uncertain why many of them left India, it is believed that they have been nomads for over a thousand years, and entered Eastern Europe in the 1300’s. Because they came from the east, they were thought to have been from Turkey or Egypt, and were apparently often called Egyptians, or “ ‘Gyptians”, which is where the word “gypsy” originated. The Roma people migrated across the globe for centuries, and were often forced to, due to prejudice and persecution. Unfortunately, there is still much discrimination being shown towards these people today. The Kanjar tribe of musicians, acrobatic entertainers and dancers are the branch credited with leaving a legacy of incredible music and dancing that has influenced every country they wandered through, especially in the Middle Eastern, Eastern European, Mediterranean and North African regions.

In Rajasthan, there are many tribes who are considered “lower caste” but eke out a living as their forebears did by performing dance. Some of these tribes are the Banjara, the Domba, the Khalbelliya (famous as snake charmers) the Kuna and The Bopa. The award-winning film about Roma migration, music and dance, “Latcho Drom”, opens with an incredible segment of a Rajasthani Roma woman dancing, doing non-stop barrel turns in an incredible traditional Rajasthani full-skirted dress.

Per se, Roma or Roman dancing is not what the lay person would think of as belly dancing, but it’s easy to see where their influence came in: signature movements connecting Roma dance and belly dance are obvious, in the patterns of the footwork, certain hip articulations, torso undulations wrist circles, and the gestures of the arms.

Even today, there are many Roma among the professional musicians and dancers working as entertainers in Turkey. Though Turkish “Oryantal” (cabaret) dance, with its Arabic influence is much different than it's far more earthy cousin,Turkish Roman dance, there is still an undeniable connection.


In Spain, for centuries as well as up to the present, many of the most celebrated Flamenco artist’s were-and are- of Rom or gypsy descent. It’s plain to see that the technique of Flamenco and belly dance share many similarities, and it is believed that this type of dancing originated during the middle Ages, when the Moors invaded Spain. In southern Spain, a Flamenco variation called the Zambra Mora is performed barefoot, and is sometimes considered to be the “missing link” between Flamenco and belly dance.

In Luxor, Egypt, live sisters that are the last members of the Mazin, family of legendary professional dancers and musicians known as The Banat Mazin. Known internationally as The Ghawazi, the word loosely translates to “invader” or “foreigner” in Arabic, with the plural form being Ghawazi, and the singular being Ghaziya. The Mazin family is thought to originally be of the Nawar (sometimes referred to as Nawari) tribe, and to have perhaps migrated from Persia centuries ago to settle in Egypt. The Mazin family gained much renown for their distinctive dance skills, and speak a dialect much more similar to Rom than it is to Arabic. The signature style of the dance includes extensive work with finger cymbals, and arm positions that are relaxed, and bent at the elbows, very unlike Raks Sharqi. The Ghawazi costuming is also very different- they wear shorter dirndl style skirts covered in rayon fringe and paillettes, with the skirt being worn at the waist as opposed to the hips, with matching tops; sometimes they can be seen in long, gallibiya-style balady dresses. There is also the ever-present taj or crown, unique to the Ghawazi.

The work of the sisters and their unique, deceptively simple genre of dance has been documented and recorded by many oriental dance researchers, including Edwina Nearing and Aisha Ali. Khairiyya Yusef Mazin still lives in Luxor, and is the last remaining original proponent of this lovely style, earthy style.

The link below will take you to a clip from the Golden Age Egyptian film “ Ana Al Dacteur” (“I’m A Doctor”) released in 1953, which features Balady style dancer Nawal El Saghera, as well as the four t Mazin sisters, as well as some male dancers performing tahtib (stick) dances. As a side note, the extremely young and beautiful singer performing is Fatma Serhan. Known as “The Queen Of Balady”, listen to her distinctive voice and you will recognize her work of almost a half a century later, from her performances as Dina’s singer, and their work together on Dina’s signature song, “Tahtil Shebak”!
http://www.youtube.com/watch?v=a-t2098G1Ko

Some extremely well known dancers who specialize in Roma dances are Eva Cernik,(Turkish Rom), Artemis Mourat, Hadia, Laurel Victoria Gray (Russian Rom or Tsingani dance); Dahlia Carella; and Aisha Ali and Edwina Nearing for their extensive study of the Ghawazi.
Morocco is not only a splendid dancer and an authority on oriental dance ethnology but is actually Rom herself- her given name is Carolina Varga Dinicu.

Also check out the gorgeously shot 1993 film “Latcho Drom”, a French documentary on the Romany journey, written and directed by Tony Gatliff. Following various groups of Rom from India, Eastern Europe, Spain and into North Africa, and mostly music and dancing, t he title means “Safe Journey” in the Romany language.

And if you get as carried away by all of this as I do, you absolutely must check out Isabella Fonseca’s excellent book on the Romany people, “Bury Me Standing: The Gypsies And Their Journey”, which has had many editions in hardcover and paperback, and is now available for Kindle.

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Photos:
Color photo: Banjara women from Rajasthan
B&W photo: The Banat Mazin