1. I hear you're an excellent percussionist; how did you get started?
Thank you for the kind words.
Soon after I became familiar and more comfortable and confident with the physical technique of belly dance, decades ago, I started paying more attention to the Egyptian and Arabic music and the different exotic rhythms I was hearing. I guess I was just playing the rhythms in my head all along, until I discovered a doumbek (Arabic drum) that I purchased second hand. I was immediately addicted.
Wow, I was off and running. I started learning the basic rhythms we used, Maqsoum, Balady, Tchiftitelli, Ayub, etc.
In addition to dance classes, I signed up for every music, drum or rhythm class I could find. They were mostly at dance workshops and seminars.
I was thrilled and honored to have had the opportunity over the years to study with some amazing percussionists along the way like Hossam Ramzy, Karim Nagi, Raquy Danziger, Carmine Guido, just to name a few, and there are many more talented percussionists not listed here, to whom I owe homage.
So now I have a new challenge. When my troupe performs, I am always torn between dancing with or, and drumming for them.
I try to balance things out and include a little of both.
2. What do you recommend most for dancers looking to improve their musicality?
OMG....number 1 recommendation would be to listen, listen, listen and learn the rhythms; listen, listen, listen and learn the music you intend to use. It would also be helpful to understand a bit about the culture from which it came. Each culture has its own ambiance and style and should be respected and reflected in our dance to the best of our abilities.
LOL.....I am perpetually on my soap box about this one with my students and I know they are tired of hearing me nit pick, but here goes:
"Just listen to the music, let it in, let it tell you what to do rather than allowing the left brain to impose intellectual thinking about what your next step or combination will be. Of course, if you are doing choreography with or without others that is a different story, yes you do need to keep thinking then. Listen with more than your ears. Listen with your heart and your feelings and your mood and your gut.
Allow the music to enter the solar plexus and touch your chakras instead of just your ears. Trust that once you are comfortable with physical technique and muscle memory, the music will speak to you in total harmony with your own energy and vibration if you allow it. Let it guide you into your own technique and combinations generated by your own life experiences, and emotion and passion. Feel more, think less. Trust what your body and spirit are telling YOU and express that in your dance. Feel free to express YOU, and not just be a clone of your favorite dancers or instructors or imitating the latest, greatest tricks you have seen. Understanding musicality and rhythms and expressing it through your own interpretation is where the magic happens. Know that is what your audience is feeling and experiencing."
There is a reason why many Egyptian people prefer watching older, more mature dancers. I have been told that they express more passion and depth and soul of life experience in their dance. Cutesy tricks, superficial antics and a plethora of props are not their forte, they want to see and feel soul and heat and energy and passion with which they can vicariously identify. One can only give them that if they are truly in sync with the music and rhythms and oneself. Your audience WANTS to come along with you on your dance journey. Give them something to cherish and enjoy. Let them connect to your energy and enjoy what YOU are expressing from YOUR heart and soul and not from Youtube.
There is a different mood and energy expressed with each rhythm. For instance, I would not attempt to do drum solo technique to a Çiftetelli or a sensuous veil number or taxim to a drum solo or Saiidi rhythm. Each rhythm speaks a different language and begs synchronized expression of same. The musicality or lyrical perspective of a piece of music requires an expression of a vast ocean of different emotions and energy from the dancer.
Something Hossam Ramzy (RIP) mentioned in his classes was that the purpose of dance was to "make the music visible".
One cannot "make the music visible" if one does not hear and understand and channel and reflect what the music is saying.
In my opinion that is the only way a dancer can fully and authentically express from the heart and soul regardless of the quality of their execution of technique. I remember hearing someone's critique of a lovely, popular dancer as: "All flame and no heat." I see that way too often these days. Dancers are beautiful, picture perfect, wearing breathtaking costumes ready for their Kodak moment but totally missing the heart and soul of the music they selected. Or worse yet, style and costuming don't reflect the culture of the music or rhythms. Rhythms such as 9/8 Karsilama, or Romani, 10/8 Lamma Bada, Andalusian, 7/8 or 5/8 Turkish are all very specific to that culture and should be expressed accurately in dance style and possibly costuming. Ok, time to get off my soap box....lol
Our beautiful dance art is so much more than just the glamor and glitz and Kodak moments. Yes, there are many lovely dancers out there, however, it is clear to me the ones who understand the rhythms and melodies and how to express them and the ones who do not.
3. What resources do you recommend?
Hummmm.....that is a good question. I would start by searching Arabic rhythms or drum, tabla, or doumbek lessons online or in person. Search online for Arabic rhythms, Maqams, Melodies, etc. Even if you don't own a drum and have no intention of ever drumming.... just listen to the rhythms and styles the drummer is using and how the drummer is expressing them. Learn to recognize them. Notice if and when you dance specifically to a rhythm the drummer us using....watch his/her expression. They (we) love to experience the dancer who is performing in sync with what we are playing.
4. How has your music influenced your dance and vice versa?
Well, for decades now music, percussion and dance have been my passion, my joy, my therapy, my escape, my comforter, my spiritual salve, and kind of my connection to the world, to my body and my life. It has comforted and carried me through some difficult and troubled times, disappointments, losses, divorce, recoveries, depression, grief and just life challenges in general.
My dance started to evolve and become an authentic expression of my own once I realized and embraced the notion that my own dance voice was just as important as any other. I spent many years trying to emulate some of the teachers whom I admired.
Ya know....like "what would so-and-so do here, or I would watch their videos and compare them to me. I always felt I came up short.
It was not until I realized that my dance voice was mine alone to celebrate or reject....no better, no worse than any other. I started dancing to what I felt, what moved me, what the music inspired in me and how it made me feel in the moment.
I came to realize that my style and execution of dance was not exactly everyone's cup of tea. I leaned heavily into the percussion element of the music. Most seem to lean into the lyrics or melody. I can do that....especially in Taxim but it was "all about that base" and those exotic rhythms that really spoke to and inspired me.
5. Do you have any projects coming up or anything to promote?
Thank you but nothing spectacular comes to mind.
My troupe, SAHARA SILK, performs once a month at Riverside Arts Market (RAM) and a number of local fundraisers and art festivals.
I teach classes: basic, intermediate, and advanced from my home studio. I am proud and honored and grateful to have such delightful dance students and troupe members. I am grateful and blessed.
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