|
Andaluz Nuz II
2000 Merry Christmas, Feliz Navidad, Ae'id
Sa'id Issue
Wishing you Peace and Joy for this Holiday Season and May all
your Dreams come True in 2001
From Hadia, Joselina, Jocelyn, Cindy and Zoey
a.. 2000 In Review
b.. Upcoming Events for 2001 and 2002
c.. "Gateway to the East" Turkey Tour
d.. Rocky Mountain Retreat
e.. Rave Review/Articles
a) Review of 2000 Turkey Tour
b) Review of 2nd Annual Rocky Mountain Retreat
c) Your Body, Your Temple
d) The Spanish Gypsy
1. 2000 In Review
What a year this has been!
Since the last Anduluz Nuz, I have been busy with many projects
on the go in good ol' CowTown and throughout North America. I
would like to thank all sponsors for the workshops that I taught
at, as well as all the students and fans who supported our local
events. This has been a wonderful year and we look forward to
more fun, adventure and serious learning in the New Year.
a.. June 16/17 - Joselina in Nelson. Caracoles workshops
b.. July 15/16 - Hadia in Huntsville, Alabama
c.. July 22/23 - Hadia in New Orleans
d.. July 28- August 5 - Calgary's 1st Annual Western Canada Flamenco
Festival features Joselina as Instructor and performer, including
a very dynamic duo with Sabas of Mexico
e.. August 19/20 - Hadia takes Los Angeles by surprise as featured
performer and instructor for The IAMED Awards. She was awarded
Best Choreographer 2000..
f.. August 25-31 - Annual Rocky Mountain Retreat and Weekend
Dance Workshop with Turkey's Tayyar Akdeniz. This year's event
was a smash hit with record breaking attendance and enthusiasm
for the workshops and "From Turkey to Tunisia" Middle
Eastern Gala
g.. September 9/10- Calgary - Joselina sponsored a Siguriyas
workshop with Francina Alcala of New Zealand. Francina received
rave reviews and we are sure that her spring intensive workshop
in Calgary will be sold out. Be sure to register well in advance
to ensure your spot.
h.. A great season of fall flamenco and belly dance classes
i.. Busy Fall for workshops in: Terrace, B.C.September 23-24;
London, Ontario October 15-16; Dallas, Texas November 4-5; Regina
November 10-12; and Invermere, B.C. November 25
2. Upcoming Events for 2001 & 2002
2001 promises to be just as busy as 2000. Full details on these
events are located in Hadia's website www.hadia.com
a.. February 3-4 - Workshop in L.A. Suzy Evans of IAMED brings
Hadia back by popular demand
b.. February 10-11 - Workshop and performance in Sao Paulo, Brazil
c.. February - Carnival Tour to Salvador, Brazil with Laura Monteiro
( Hadia will be dancing in Carnival this year -whoopee)
d.. February 27 - March 11 - Spain Tour, Flamenco Festival of
Jerez
e.. Spring - Hadia's Europe Workshop tour, Amsterdam, Bruxelles,
Antwerp, Paris, Athens
f.. April 20-27 Egypt Tour sponsored by Helene of Dubai with
Hadia as instructor
g.. April 23 - May 8th - Joselina presents Francina Alcala from
Spain in an intensive 6 week workshop. Beginner, intermediate
and advanced levels. Monday
h.. May 21 - June 3 - 2nd Annual Turkey- Gateway to the East
Tour with Hadia and Tayyar even better than last year with 3
days in Capadoccia included. For registration info email us at
hadia@pobox.com
i.. June 5-10 - "Unveiling the Mysteries of the Dancer's
Body", Intensive weeklong dance and body awareness workshop
in Brussels, Belgium
j.. June 16-17 - Workshop in Edmonton, Alberta
k.. June - Workshop in Boise, Idaho
l.. July 28-August 4 - 2nd Annual Western Canada Flamenco Festival
instructor and performer
m.. August 9-11 - Workshop, St. Louis Missouri
n.. August 17-24 - 3rd Annual Rocky Mountain Workshop and Retreat
in Banff with Guest instructor Devorah Kovek from Barcelona,
Spain
o.. September 24-27 - Gulf of Mexico Cruise from Houston to Cozumel,
Mexico
p.. October, Ottawa - dates to be announced
q.. Hadia sponsors a North African Workshop in Calgary with Helene
Erikson of Germany - Moroccan, Algerian and Tunisian (to be confirmed).
2002
a.. March 4-5 - Vancouver, B.C.
b.. August - The First Western Canada International Middle Eastern
Dance Festival "FESTIVAL OF THE NILE", Calgary and
Banff, AB. with Special Guest instructor JALILAH
3. Second Annual "Gateway to the Orient"
Turkey Tour
May 21 - June 3, 2001 - Don't forget February 1 Deadline for
Deposit
2001's Tour promises to be better than ever with two entire weeks
that includes three days in Cappadocia.
Picture this.
The Great Bazaar of Istanbul and the spires of the Blue Mosque;
Sunrise over Ephesus' white marble Roman ruins; The fantastic
moonscape and underground world of Cappadocia; Your own private
resort on the Turkish Mediterranean.
Why go with Us? More than just a tour, A perfect balance of dance,
music, culture, history, natural wonders, R &R, shopping
galore at Bella's and the Grand Bazaar and too much fun!
Plus in-depth oriental dance instruction with Hadia & folklore
fun with Tayyar Akdeniz.
4. Third Annual Rocky Mountain Retreat
Celebrate North Africa's Folkloric & Oriental Dance with
Hadia and Devorah in Calgary. Then, experience Supernatural Canada
in Banff National Park in an Intensive Weeklong Retreat "Unveiling
the Mysteries of the Dancer's Body", Focusing on Body Balance,
Injury Prevention/Management for the Oriental Dancer. Release
your body & soul with massage/manual therapy treatments and
spa experience.
5. Rave Reviews/Articles
a) Turkey 2000 In Review
POSTCARD FROM TURKEY
By Christina Bates
Merhaba-Hello!
I'm back from Turkey all too soon. The place is almost as beautiful
as the people. It's not a case of if I'll go back, but simply
a question of when. I did so much and saw so much and learned
so much, but I'll limit this article to the dance.
Bellydance is alive and well in Turkey. Many local watering holes
have a bellydancer to attract an audience. Private parties with
a bellydancer were easily arranged and expensive Turkish nights
including dinner, folk and bellydancing, a comedian and a singer
were also abundant. I was told to expect small costumes on the
bellydancers and I was not disappointed. The dancers are slim
and sexy with a capital S. What did surprise me were the shoes.
Shiny platform stilettoes, or in smaller towns, a more modest
4-inch heel.
In general the Turkish bellydance started with a dancer entering
to slow music with her head and upper torso concealed by a veil
or she entered with a feather boa. As this slow music progressed
she gradually revealed her face and torso. The faster Malfoof
rhythm would begin and the dancer greets the audience with about
sixteen counts and then jumps into a drum solo. After this the
dancer proceeds to gather people up to dance and she collects
tips. She continues to do this until the people and tips are
finished. At this point, whether the music is finished or not,
she quickly bows and exits .One dancer I saw, dancing to a band,
did several drum solos within the set.
Some dancers played zills and some did not. Some played on the
rhythm and many did not. Almost all danced to at least some of
the music of the Arabic pop of Mezdeke, excluding the few dancing
to live music.
As a contrast to viewing all this dance, our group received five
and a half days of dance instruction with Hadia and Tayyar Akdeniz,
sometimes on land, sometimes on a boat, but always fun and educational.
Hadia taught us form and structure of modern Egyptian dance,
focusing on posture and rhythm and taught us combinations to
Baladi and Saidi rhythms. Hadia's teaching is clear and concise
with a complete breakdown of all steps. I found her teaching
invaluable. After Hadia's morning class, we learned Turkish folk
dancing with Tayyar Akdeniz. Tayyar is from Turkey and currently
lives in New York City. He has worked with many folk troupes
of Turkey and is a featured instructor at the Mendocino Music
and Dance Camp. Tayyar was sweet and patient with us and eventually
taught us two folk dances. His good spirits and passion for his
dance carried us away, even when we thought we couldn't jump
one more time. In the afternoon Hadia led us through zill practice,
much to the agony of the others sharing our hotel, I'm sure.
After zill practice Tayyar was ready to teach us authentic Turkish
Gypsy, clearly explaining 9/8 rhythm and teaching us those great
Rom(Gypsy) gestures.
Turkey, Hadia, Tayyar and the people I met, were a wonderful
experience for me. I feel inspired about Middle Eastern dance
again, recognizing that, indeed, it is a joyful dance, meant
to be shared.
I hope that in the coming months I am able to pass on some of
the enthusiasm I feel.
b) Rocky Mountain Retreat In Review
I was fortunate enough to be able to attend Hadia's second annual
Rocky Mountain Retreat in Banff this summer and felt I should
share some of my experiences with you.
First of all let me tell you the facility in Banff (the "Y")
was wonderful, don't let the name fool you. Our rooms were as
nice as any Hotel or Motel I've been in. My room had two queen
sized beds. lovely decor and a private bath. I shared with one
other person. Most of our meals were provided and I found them
to be quite delicious. The muscle balancing aspect of the workshop
was very worthwhile and gave information that I feel is very
valuable if not a must for everyone participating in the art
of middle eastern dance, student and teacher alike. The "retreat"
aspect of the 4 days was a lot of fun also. We did a small hike
almost every afternoon at beautiful places like Lake Louise,
Morraine Lake, Emerald Lake etc. It was nice to go to these places
that for the most part I've never taken the time to go to even
though I've lived in B.C. or Alberta all of my life. The result
was definitely rejuvenating. We also had time to do the shopping
thing in Banff if we wished. On the last night we were there
we had a party at the local Greek Restaurant. Six of us performed,
unfortunately half way through the last dancer's (Hadia) performance
the amplifier blew!! Guess they will remember us. We were well
received and we had lots of fun. The personal treatments that
Hadia gave each of us were absolutely fantastic. People found
relief from physical ailments that had been plaguing them for
13 years or more. The knowledge Hadia has is well worth tapping
into and taking advantage of, she is so much more than a great
belly dance teacher and massage therapist. I highly recommend
going to her retreat next year if you can. I plan to return!!
Sincerely
Xanthoula (Marilyn Sadik)
First off, I would like to thank you for the wonderful, wonderful
workshop ............let me try to put it all in words.
First off, it was a full house and with that many people it can
be hard to ensure that everyone receives the time they feel they
deserve. For Hadia this was not a problem. She has the ability
to spot everything that is going on around her. She knows not
only where the difficulties are but where the individual dancer
is having difficulty. She knows when to push someone to do better
and when to allow them space to absorb it on their own time.
The explanation, time and effort in ensuring that everyone had
the opportunity to get the most that they could get for their
level was phenomenal. There were people who were just starting,
and people who have been dancing for years. The steps were broken
down to their basics and skillfully built up. Because of this,
each person was able to do the move at the level they were ready
for or even try to challenge themselves or expand and go a level
higher.
The choreography was on its own level as well with the transitions
always making a natural progression into the next move. These
beautiful transitions belied the complexity of the choreography.
And this was only a glimpse. It just kept getting better and
better. The weekend turned into the week and there was so much
to learn. Off to Banff we went. The facilities were more than
anyone could expect and the setting was pristine, allowing for
a very relaxed working environment. With the mornings filled
with learning different muscle groups and dancing followed by
outdoor excursions, it was again.............perfect.
I have never been in a room where there was so much energy.
I would definitely recommend it to everyone I know. Absolutely
loved it and would do it again.
Azharah
c) Your Body/Your Temple Written by Hadia for Aie-wa! Summer
2000 Issue
A pair of spinal nerves exit from the right and left side of
each vertebrae. Inappropriate pressure placed upon these nerves
can result in muscles spasm and/or weakness, as well as numbness,
tingling, burning, etc. in the areas corresponding to the compressed
nerve. These symptoms may occur near the spine (back, shoulder,
chest) or as far away as the legs, feet, arms or hands. This
pressure can also affect the sympathetic nerves, which are found
directly beside the vertebral column. This can result in digestive
problems and breathing difficulties, as well as heart and circulatory
irregularities.
As mentioned in the previous article, this inappropriate pressure
may be caused by a vertebrae which has managed to move slightly
out of place as a result of sudden, unusual movement or strain,
or direct trauma (such as an accident or fall). Such a situation
can be very successfully resolved by a precise, high velocity
adjustment of the vertebra, as practiced by most chiropractors.
If the pressure is the result of long standing postural imbalances,
repetitive stresses or pelvic/sacral misalignment, the vertebra
will usually be pulled back into the malposition by the surrounding
muscle spasm and tight connective tissue. These chronic problems
iwll not be resolved until:
a.. the spasmed muscles and tight connective tissues are treated
manually;
b.. the weaker muscles are strengthened;
c.. the spine's normal healthy curvatures have been restored;
d.. the pelvis and sacrum are rebalanced and stabilized; and
e.. the damaging daily positions and activities are identified,
altered or eliminated.
Understandably, this would be rather difficult to achieve in
a 10 minute visit to a chiropractor. Also, repeated high velocity
adjustments may create hypermobility of the involved joint, making
malposition progressively easier. Therefore, it symptoms do not
resolve themselves and improvements are not maintained, the patient
would be wise to seek alternative methods.
Also, the nerves may also be compressed at any point along their
pathways to the muscles and organs, not necessarily at their
exit from the vertebral column. It is therefore, very important
to determine the exact point where the problem occurs and treat
the surrounding soft tissues at that point.
There are a number of options available to individuals who find
themselves burdened by such problems. Well-trained massage therapists,
physiotherapists who treat manually rather than mechanically,
and osteopaths approach the body with amore holistic perspective.
Techniques such as myofascial release, active release, strain/counterstrain,
joint mobilization, muscle energy technique, neuromuscular therapy,
craniosacral therapy and visceral manipulation address the skeletal
framework as well as the functional soft tissues of the body
as an inseparable unit. Finally, a successful therapy program
must include a personalized home exercise designed and monitored
by the therapist.
In closing, I strongly recommend that patients discuss treatment
plans, techniques and long term goals with potential therapists.
d) The Spanish Gypsy Written for Zaghareet Dec/Jan 2000/1
issue
Due to the current Gypsy and Spanish/Arabic fusion craze, Hadia
has begun including "Spanish Gypsy" in her Oriental
workshops. This was introduced in London, Ontario and Regina,
Saskatchewan with great success and will be the focus of the
Gulf Cruise Tour to Conzumel.
As promised, here is my article on The Spanish Gypsy. Any discussion
of Spanish Gypsies would be remiss without a consideration of
Flamenco, which lies at the very soul of these often misunderstood
and misrepresented people. Although most readers will know me
as an Oriental dancer, I have been performing, teaching and continuing
to study flamenco for the past 20 years. In the past few years,
there has been an ever increasing interest is all things "gypsy"
and what is termed "Spanish-Arabic" in the Middle Eastern
Dance community. I am very happy to see this interest and believe
that creative fusion of art forms can lead the way to artistic
evolution. I am also sure that there is a sincere desire to acquire
legitimate information and to portray ethnic authenticity in
these endeavours, just as we strive for authenticity and legitimacy
in the Middle Eastern Dance Arts. Therefore, I highly recommend
that Middle Eastern dancers wishing to undertake such an exploration,
do not hesitate to seek out the wealth of knowledge and information
from legitimate and well-trained flamenco instructors in their
areas. I would be happy to refer my fellow dancers to such resources.
I am also happy to share with our community the following bit
of research concerning the origins and evolution of this dignified
and passionate art form.
FLAMENCO
Although there are many theories promising to explain the meaning
of the word flamenco, most lack enough evidence to substantiate
them. One commonly accepted version translates flamenco as Spanish
for the Flemish soldiers of the Spanish-Belgian Territories.
These soldiers were renowned for their self-confidence, style
and ostentatious pride, all qualities that reflect the gypsy
character. In fact, the term "flamenco" came to be
synonymous with " gitano" (gypsy) in Spanish Romany
Argot.
HISTORY
Between 800 and 900 A.D., a large exodus of people occurred from
the Punjabi region of India. These people are believed to be
members of the Untouchables, a group within the Indian caste
system comprised of animal traders and trainers, acrobats, dancers,
musicians, palmists and metalworkers. These nomadic groups, generally
referred to as Roman and/or gypsies, divided into two major migratory
routes, the most traceable moving west across Asia and the European
continent, including Spain. The first recorded account of Spanish
Gitanos "Beticos" dates from 1447 in Barcelona.
It is also believed that a second migratory route took them down
to and across North Africa (including Egypt) and up into Southern
Spain "Andalucia" via the Straights of Gibraltar. This
faction, known as Cale (black), has been far more difficult to
verify and trace due to the great similarity of appearance and
lifestyle to the indigenous peoples along the route. We should
not forget that Southern Spain was part of the Islamic Empire
for a period of 800 years.
Although, the Northern Beticos immigrated to the more tolerant
Islamic region of Andalucia, to this day, the gypsies themselves
maintain a great distinction between the Beticos and Cales, with
virtually no intermarriage between the groups.
During the Inquisition of the Reconquista, even this tolerance
ended while gypsies from all over Spain were herded into "gitanerias"
or ghettos. However unjust and cruel, this persecution and isolation
was the very influence that safeguarded the purity of their music
and dance within the family group. Finally, in 1782, the Leniency
Edict of Charles III restored some measure of freedom to the
Spanish gypsy and allowed this music and dance to be presented
to and adopted by the general population of Spain. This resulted
in a period of great exploration and evolution within the art
form, which continues to this day.
FLAMENCO MUSIC
The most important element of flamenco music is undeniably the
singing, "CANTE". In fact, originally flamenco was
comprised purely of Cante, with handclapping "PALMAS"
or knuckle rapping percussive accompaniment. The guitar, a variation
of the Arabic Oud, was gradually incorporated in the 19th century.
The strongest influences evident in the evolution of Flamenco
singing and music can be traced from:
1.. Punjabi singing of India
2.. Persian Zyriab song form
3.. Classical Andalucian Orchestras of the Islamic Empire
4.. Jewish Synagogue Chants
5.. Mozarabic forms such as Zarchyas and Zambra
6.. Arabic Zayal which themselves are the foundation for Fandangos
7.. Andalucian regional folk forms
8.. Western African influences via the slaves of the New World
Caribbean, Central and South American colonies. These include
Rumba, Garotin, Guajiras, Columbianas etc.
FLAMENCO DANCE
Although much less research has been undertaken in the field
of flamenco dance than music, it has been documented that during
the Phoenician empire, in the city of Cadiz, Hindu dancers were
hired as entertainers for the festivals, aspects of which were
incorporated into local processions and religious festivals.
This very strong resemblance to East Indian dance is seen in
the Katak, NianiPuri, Kathakal and Bharatanatyam forms. Elements
such as the deep-seated plie, outurned leg position, sharp angles
of the body and arms, splayed fingers, rapid barrel turns and,
most certainly, the percussive foot movements are all evident
in flamenco dance.
As previously mentioned, the Mozarabic "Zambra" was
occasionally performed for a very brief time during the late
19th to early 20th centuries, although its role in the development
of flamenco dance is minimal. This dance, in 2/4 time, combined
elements of Andalucian folk dance with Arabic elements, such
as finger cymbals, tambourines and atypical theatrical costuming.
However, this bears no resemblance to the performances of Sevillanas,
Tangos and Bulerias by the commercial, touristic band of gypsies
in the caves of Granada, which Amaya identifies as Zambra in
her video "Gypsy Fire". In fact, apart from some of
the percussive foot movements found in the Moroccan Shikhate,
there is almost no similarity between flamenco and Middle Eastern
dance. Even the open-knee hip movements of flamenco are attributed
to the African influence from the colonies and/or Indian dance.
Absent to flamenco dance are the torso undulations, pelvic oscillations,
hip shimmies and rotations, all of which are fundamental components
of Oriental. Finally, the soft, fluid, feminine, sweet and joyful
external nature of Middle Eastern dance is the complete antithesis
of the internal, spring-loaded, strong, defiant, explosive, masculine
character of Flamenco.
To be continued... "Spanish Flamenco versus Hispanic Latin
Dance - The Similarities and Differences" Hadia
|