Kultura plesa u Osmanskom Carstvu

 

ATS® (American Tribal Style®) nastao je u Americi 80-ih godina prošlog stoljeća. Njegova kreatorica, Carolena Nericcio Bohlman i danas je aktivna na plesnoj sceni i u plesnoj zajednici koja broji preko tisuću plesačica i plesača te preko 140 sestrinskih studija diljem svijeta.

ATS® je je moderan stil trbušnog plesa jasno definiran  s primarnim obilježjem  grupne improvizacije, specifičnog plesnog vokabulara i kostima te određenim smjernicama za vođenje i praćenje. Nastao je iz plemesnkih plesova sjeverne Afrike, indijskih folklornih plesova te španjolskog Flamenca.  Upravo zbog naglaska na imporvizaciji u ovom plesnom stilu, potrebna je velika doza povjerenja među plesačicama koje se stvara kroz samokontrolu i preciznost u izvedbi znakova i pokreta.  American tribal style®je plesni jezik koji omogućava da u bilo kojem trenutku možemo kroz ples komunicirati s plesačicom ili više njih koje možda susrećemo po prvi put.

Upravo navedena plesna kohezija povezala je članice plesne skupine Sarasvati Tribe i učinila da njihovo malo pleme postane obitelj glazbe i plesa.

Sarasvati tribe čine Ana Barać, Maja Grdić Jarak, Silvija Martić i Petra Volarević.

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ATS® (American Tribal Style®) was created in America during the ’80s of the last century. Its creator, Carol Nericcio Bohlman today is still active on American dance scene and in the dance community with over a thousand dancers and over 140 sister studios around the world.
ATS® is the modern style of belly dance that is clearly defined by the primary element of group improvisation, specific dance vocabulary, ethnic looking costumes and certain guidelines for leading and following. It originated from tribal dances of North Africa, Indian folk dances and Spanish Flamenco. American Tribal style® is a dance language that allows us at any time to communicate with a dancers that we may meet for the first time.

Mentioned dance cohesion connected members of a dance group Sarasvati Tribe and made their little tribe a family of music, dance and art.

Sarasvati tribe are Ana Barać, Maja Grdić Jarak, Silvija Martić and Petra Volarević.

POVIJEST KOSTIMOGRAFIJE SREDNJOISTOČNOG ORIJENTALNOG PLESA – U NOVO VRIJEME POZNATIJEG POD IMENOM – ORIJENTALNI TRBUŠNI PLES

By Tanja Krnjaić / Avyakta Couture

 

Za početak ovog bloga o povijesti kostimografije želim  s vama proći kroz nekoliko etapa samih početaka ove vrste plesnog izričaja, njegovim vanjskim utjecajima (doslovno vanjskim – izvan četiri zida tadašnje nečije kuće  i utjecaju drugih kultura)  te o samom nazivu kojeg sam namjerno s doslovnim značenjem prevela s engleskog – Middle Eastern dance.

Postoji puno raznih spekulacija i priča o tome kako je nastala ova poprilično stara vrsta plesa, no na žalost nitko sa sigurnošću ne može utvrditi vremensku točnost kako i kada je počela biti plesna forma mimo slobodnog kretanja tijela uz ritam.

Neću tvrditi da je to najstariji plesni oblik jer znam da postoje još stariji plesovi o kojima se malo toga zna (u smislu ritma i koraka i možemo samo nagađati jer u to doba nije bilo nikakvih glazbenih zapisa osim kasnije hijeroglifa i rimskog pisma). Navešću samo par vrsta plesova koji se spominju u tim najstarijim zapisima; plesovi  staroegipatskih robinja i svećenica – takozvani „faraonski ples“ posvećen bogu sunca Ra i njegovu sinu Amun-Ra, plesovi rimskih djevica –  svećenica starorimske božice srca „Vesti“ tzv. Vestalke imale su svoje hramske plesove i robovske plesove na otvaranju gladijatorskih igara, potom plesovi  antičke grčke  i grčke tragedije kao prvi poznati pisani uspjeh spajanja poezije, glazbe i plesa u 1.stoljeću nove ere.. itd.

Obzirom na vlastitu povezanost sa ovom vrstom umjetnosti  više sam naklonjena vjerovati u priču da je ovaj ples nastao na ženskim okupljanjima i čajankama unutar kuće. Što i ima smisla s obzirom kada pogledate i današnji život i funkcioniranje obitelji u tim područjima.

Prakticirao se i na slavljima poput vjenčanja i slavljenja plodnosti, no opet u unutarnjim prostorijama među „odabranim“  društvom.

Trebam napomenuti naravno da ovo nije jedna vrsta plesa već cijelo jedno enciklopedijsko bogatstvo većih i manjih zajednica naroda, kao i kod nas. U svim državama bivše SFRJ kada se zbroje pojedinosti različitih sitnica, detalja, ukrasa, boja i izričaja u vrlo sličnim folklornim plesovima različitih regija otprilike možemo zamisliti njihovo bogatstvo, tako različiti, a opet vrlo slični plesovi sličnog ritma.

Sami naziv Middle eastern dance osobno je najtočniji (iako je to zapravo zapadnjački  geopolitički skupni naziv) naziv za ovu plesnu subkulturu, prvenstveno zbog obuhvaćanja regija u kojima je dobivao svoje forme. “Proche-Orient” je naziv koji je izvorno francuski pa potom preveden I prilagođen, a kojim su se početkom 19. stoljeća označavala područja pod osmanlijskom vlašću u kojeg je uključen i Balkan. Koristio se kao antonim “Daleki istok”, dok naziv „Srednji istok” potječe iz engleskog oblika Middle East kojim se na prijelazu u 20. stoljeće smatralo područje između Osmanskog Carstva i Britanske Indije. Nakon raspada kolonijalnih carstava u 20. stoljeću, dva su pojma redefinirana stapanjem u jedno zemljopisno područje iz kojeg je naravno isključen Balkan.   „Bliski” i „Srednji istok” kasnije se počinju  koristiti  u svim jezicima, pa tako i u hrvatskom, dok je engleski specifičan po tome da je naziv „srednji” zadržao primarno značenje.
Ono što američke plesačice zovu Middle-Eastern dance, u stvari je “bliskoistočni” ples ili, kako ga mi zovemo, orijentalni no opet američki naziv je točniji jer “Orijent” u nazivu zapravo obuhvaća I azijske zemlje kojima nije specifičnost ovog plesa ukomponirana u povijesnu kulturu.

Naziv “Bliski istok” počeo se upotrebljavati  nakon Drugog svjetskog rata.

To su grubo gledano područja Maroka, Alžira, Tunisa, Libije, Sudana, zemlje Levanta i naravno Egipat, zemlje Arapskog poluotoka i Turske , Iraka, Irana, Afganistana , Pakistana I Grčke.
Većini je ovih zemalja zajednički islam i arapsko društvo, no tu su i nearapske države poput Grčke, Turske i Irana.

Najveće i najopsežnije diskusije u tzv. „plesnom svijetu“ se odvijaju upravo zbog naziva istih, što zbog premalo osobne informiranosti, a što zbog nemogućnosti prihvaćanja osobnih pogrešaka, zbog čega sam odlučila početi nešto opsežnije istraživanje. Zato krenimo od samih početaka pisanih tragova, onoliko koliko je to uopće moguće.

Zahvaljujući  engleskim kolonijalistima, zbog kojih je Egipat postao turističko mjesto, turisti i imućniji posjetitelji očekuju i zabavu za potpunu ugodu pa je tako klasična forma ovog plesa (što znači i prestajanje korištenja kombinacija svakodnevne odjeće tog područja za ples i početak stiliziranja/ izmišljanja kostima / ukrašavanja određenih djelova tijela za veći efekt te raspodjele po vizualnom identitetu) počela biti sve više popularizirana na što je naravno utjecao i prvobitni razvoj egipatske filmske industrije i američkog Hollywooda. Europski putnici zemalja srednjeg istoka ( većinom trgovci tekstila, začina, izumitelji i povjesničari ) u 18. i 19. stoljeću,  vrlo često su podrobno pisali o plesačima koje su vidjeli na svojim putovanjima, uključujući „Awalim“ i „Ghawazee“.

 

(HISTORY OF COSTIMOGRAPHY OF MIDDLE EAST ORIENTAL DANCE – IN THE NEW TIME, Known as the ORIENTAL TUMBLE DANCE

By Tanja Krnjaic / Avyakta Couture

To start this blog about the history of costume design, I want to go through several stages of the very beginnings of this type of dance expression, its external influences (literally external – outside the four walls of one’s home and other cultures), and the name itself, which I deliberately translated literally from English – Middle Eastern dance.

There is a lot of speculation and talk about how this rather old kind of dance came about, but unfortunately no one can ascertain the timing of exactly how and when the dance form began to move past the free movement of the body with rhythm.

I will not claim that it is the oldest dance form since I know that there are still older dances that little is known about (in terms of rhythm and steps and we can only speculate as there were no music records at that time except for later hieroglyphs and Roman script). I will only list a few types of dances that are mentioned in these oldest records; dances of ancient Egyptian slaves and priestesses – the so-called “Pharaoh’s dance” dedicated to the sun-god Ra and his son Amun-Ra; dances of the Roman virgins – the priestess of the ancient Roman goddess “Vesti” Vestalki had their temple dances and slave dances at the opening of gladiator games, followed by dances of ancient Greek and Greek tragedy as the first known written success of the fusion of poetry, music and dance in the 1st century AD .. etc.

Given my own connection to this type of art, I am more inclined to believe in the story that this dance originated at women’s gatherings and tea parties inside the house. Which makes sense considering how you look at today’s life and the functioning of families in these areas.

He also practiced at celebrations such as weddings and fertility celebrations, but again indoors among the “chosen” society.

I should mention, of course, that this is not one kind of dance, but an entire encyclopedic wealth of larger and smaller communities of nations, as it is with us. In all the countries of the former SFRY, when we sum up the details of different little things, details, decorations, colors and expressions in very similar folk dances of different regions, we can roughly imagine their richness, so different, and yet very similar dances of similar rhythm.

The Middle Eastern dance name itself is the most accurate (although it is actually a Western geopolitical group name) name for this dance subculture, primarily because it encompasses the regions in which it took its forms. “Proche-Orient” is a name originally French and then translated and adapted, which used to designate areas under Ottoman rule that included the Balkans in the early 19th century. It was used as the antonym “Far East”, while the name “Middle East” originates from the English form Middle East, which at the turn of the 20th century was considered an area between the Ottoman Empire and British India. After the collapse of the colonial empires in the 20th century, the two terms were redefined by merging into one geographical area from which the Balkans were naturally excluded. The “Middle” and “Middle East” were later used in all languages, including in Croatian, while English was specific in that the term “Middle” retained its primary meaning.
What American dancers call Middle-Eastern dance is, in fact, “Middle Eastern” dance or, as we call it, Oriental, but again the American name is more accurate because the “Orient” actually includes Asian countries that are not specific to this dance. culture.

The name “Middle East” was used after the Second World War.

These are roughly the areas of Morocco, Algeria, Tunisia, Libya, Sudan, the country of the Levant and of course Egypt, the countries of the Arabian Peninsula and Turkey, Iraq, Iran, Afghanistan, Pakistan and Greece.
Most of these countries have Islam and Arab society in common, but there are also non-Arab countries such as Greece, Turkey and Iran.

The largest and most extensive discussions in the so-called The “dance world” takes place precisely because of the name of the same, which is due to a lack of personal information and because of the inability to accept personal mistakes, which is why I decided to start a more extensive research. So let’s start from the very beginning of the written leads, as much as possible.

Thanks to the English colonialists who have made Egypt a tourist destination, tourists and wealthy visitors alike expect fun for complete enjoyment, making it a classic form of dance (which means stopping using combinations of the area’s everyday clothing to dance and starting styling / inventing costumes / decorating) certain parts of the body for greater effect and distribution by visual identity) began to become increasingly popular, which was of course influenced by the original development of the Egyptian film industry and American Hollywood. In the 18th and 19th centuries, European travelers of the Middle East countries (mostly textile, spice, inventors and historians) wrote very often about dancers they saw on their travels, including “Awalim” and “Ghawazee”)

 

AWALIM / GHAWAZEE  –  današnji RAQS SHARQI u Egiptu, MIDDLE EASTEARN/ ORIENTAL DANCE u Americi, BELLY DANCE u ostatku svijeta i TRBUŠNI PLES u Hrvatskoj

„Awalim“ je izmišljeni naziv, odnosno inačica od „Almeh“  što znači kurtizana na arapskom, a po arapskoj tradiciji kurtizane su bile visoko educirane za razgovor / rasprave, pjevanje i recitiranje. Almeh u doslovnom prijevodu znači „educirana žena“.  Naziv „Awalim“ je zapravo nastao 1834.godine nakon zabrane izvođenja/ naziva „Ghaziya“, kasnije promjenjeno u  „Ghawazee“ – što u prijevodu znači „osvojiti srca publike“

Iako su Ghawazee zapravo u početku bili plesači Nawar naroda, zahvaljujući njima danas imamo egipatski naziv „Raqs Sharqi“ ( Ples Istoka ) koji je nastao početkom 20.stoljeća u urbaniziranom Egiptu i prakticira se dan danas samo za to područje (zbog zapadnjačkog utjecaja sa baletnim i latino pokretima ). „Belly dance“ je u principu pogrdan naziv za ovu plesnu formu  i o tome se vode (naravno kao i za mnogo toga) rasprave je li uistinu pogrdan ili pohvalan te kako i kada je nastao. Najčešće ćete čuti priču o Englezima kolonijalistima koji su ostali začuđeni  načinom kako plesačica radi s trbuhom te navodnom debljinom plesačica. Spomenimo ipoznati svjetski sajam u Chicagu 1893.godine na kojem je promoter Sol Bloom koristio naziv „Belly Dance“ da privuče pozornost posjetitelja na plesačice koje su imale performans. Ghawazi plesačima i dan danas smatraju plesače ruralnog dijela Egipta koji su zadržali oblik i formu plesa 18. i 19. stoljeća te nemaju nikakvu poveznicu sa današnjim izgledom i načinom izvođenja Raqs Sharqi plesa.

No ne zaboravimo da su oba termina : Awalim i Ghawazi zapravo eufemizmi  orijentalizma 19.stoljeća i označavaju „erotične plesače“ tog razdoblja.

1.Slika je Ghawazi plesna skupna iz 1880. godine na kojoj se vidi i svakodnevna odjeća sa puno nakita i remenja po čemu su se razlikovale od običnih žena na ulici. Nije postojala tradicija uniformiranja u to vrijeme no blago su se počele nazirati. Plesačice su bile potpuno odjevene unatoč raznim spekulacijama. Način ukrašavanja i korištenja raznih težih i teških materijala postavljenih zajedno sa nakitom na područja tijela kojima su isticale pokrete, uvelike je utjecao na sve buduće inačice kostimiranja Raqs Sharqi plesačica kao i današnjih Gawazi plesnih skupina. Kosa je skupljena u pundže i ukrašena raznim ogrlicama, dukatima, velovima  koje su se upetljavale u nju. Obzirom da je Zapad u to vrijeme poprilično romantizirao sve povezano sa Srednjim Istokom tako su i nastajale razne slike, razglednice, ulja na platnu, drvorezi sa romantiziranim plesnim prikazima stvarne forme plesa, ali sa dozom imaginacije prikazanim na slikama 3. i 4.

 

(AWALIM / GHAWAZEE – Today’s RAQS SHARQI in Egypt, MIDDLE EASTEARN / ORIENTAL DANCE in America, BELLY DANCE in the Rest of the World and Belly Dance in Croatia

“Awalim” is a fictitious name, that is, a version of “Almeh” meaning courtesans in Arabic, and according to Arab tradition, courtesans were highly educated for conversation / discussion, singing and recitation. Almeh literally means “educated woman”. The name “Awalim” actually originated in 1834 after the ban on performing / name “Ghaziya”, later changed to “Ghawazee” – which in translation means “win the hearts of the audience”

Although the Ghawazee were originally dancers of the Nawar people, thanks to them today we have the Egyptian name “Raqs Sharqi” (Dance of the East), which originated in the early 20th century in urbanized Egypt and is practiced today only in the area (due to Western influence with ballet and Latin movements). Belly dance is, in principle, a derogatory name for this dance form, and it is discussed (as well as many things) about whether it is truly derogatory or praiseworthy and how and when it was created. Most often you will hear the story of colonialist Englishmen who were amazed at the way the dancer works with her belly and the alleged thickness of the dancers. Let’s mention the famous Chicago World’s Fair in 1893, at which the promoter Sol Bloom used the name “Belly Dance” to draw visitors’ attention to dancers who had a performance. Even today, Ghawazi are considered dancers of the rural part of Egypt, who retained the form and form of 18th and 19th century dance and have no connection with the present appearance and manner of performing Raqs Sharqi dance.

But let’s not forget that both terms: Awalim and Ghawazi are actually euphemisms of 19th-century Orientalism and designate “erotic dancers” of the period.

1.The picture is a Ghawazi dance troupe from 1880 which also shows everyday clothes with lots of jewelry and straps that made them different from ordinary women on the street. There was no tradition of uniforming at the time, but the treasures began to be seen. The dancers were fully clothed despite various speculations. The way of decorating and using various heavy and heavy materials placed together with jewelry in the areas of the body that highlighted the movements, has greatly influenced all future costumes of Raqs Sharqi dancers as well as today’s Gawazi dance groups. The hair was tufted into bunches and decorated with various necklaces, ducats, veils that weaved into it. Since the West at that time pretty much romanticized everything related to the Middle East, so did various paintings, postcards, oil paintings, wood carvings with romanticized dance depictions of the actual dance form, but with a dose of imagination shown in figures 3 and 4.)

Slika 3. I slika 4. Romantizirani prikazi „Ghawazi“ / „Awalim“ plesačica , ulje na platnu autora Jean- Leon Gerome

Figure 3. And Figure 4. Romantic depictions of “Ghawazi” / “Awalim” dancer, oil on canvas by Jean-Leon Gerome

Obzirom da su se Awalim / Ghawazi smatrale samo žene, nije bio čest slučaj viđati muškarce no to ne znači da ih nije bilo.  Zvali su ih „Khawal“ ili „Haywal“ što u doslovnom prijevodu znači Rob. Bili su najčešće odjeveni u ženske svakodnevne haljine i poput svojih kolegica stavljali puno bisera, nakita i dukata i težim materijalima naglašavali kukove, no specifičnost im je bila vrhunska fleksibilnost, akrobatski pokreti i nastupi sa kastanjetama. Glave su ukrašavali gotovo identično kao i žene jer su imali dugu kosu. Popularnost im je počela jenjavati krajem 19. i početkom 20. stoljeća.  Više o tome možete pročitati u knjizi  Edwarda Williama Lanea iz 1836.god : “An Account of the Manners and Customs of the Modern Egyptians”

Slike 5., 6.  I 7. Razglednice sa Kawal/ Haywal  plesačima iz 1900. – 1907.god

 

(Since Awalim / Ghawazi were considered only women, it was not a frequent occurrence to see men, but this does not mean that they were not. They were called “Khawal” or “Haywal” which literally means Rob. They were usually dressed in women’s everyday dresses and, like their counterparts, put on a lot of pearls, jewelry and ducats and emphasized their hips with heavier materials, but their specificity was their superior flexibility, acrobatic movements and performances with castanets. They decorated their heads almost identically to women because they had long hair. They began to gain popularity in the late 19th and early 20th centuries. You can read more about it in Edward William Lane’s 1836 book: “An Account of the Manners and Customs of the Modern Egyptians”)

Figures 5, 6 and 7 Postcards with Kawal / Haywal Dancers from 1900 – 1907

AMERIČKI I FRANCUSKI UTJECAJ NA RAZVOJ PLESNOG IZRIČAJA,  A S NJIM I POTPUNO NOVI I „UNIFORMIRANI“ OBLIK KOSTIMIRANJA

Kao što sam već napomenula u prijašnjem tekstu, zahvaljujući  tadašnjem zapadnjačkom romantiziranju  orijenta i staro egipatske povijesti  te prekretnici u umjetnosti i umjetničkom izražavanju u vrtlogu kasnog 19. stoljeća te cijelog 20. stoljeća, ulazimo u epohu munjevitih promjena u vizualnom identitetu, otkrivanju / pokazivanju više nagih djelova tijela te nastanku prvih filmskih, kazališnih i klubskih diva te sve većem odvajanju od istinske „primarne“ forme.

Za primjer velike promjene koja je poput svih ostalih promjena nailazila na poteškoće, pogledajte slike 8.9 i 10. Američki i francuski dizajneri kostima su uzeli stvaralačku slobodu  te rane 1900-te počeli stvarati prve dvodjelne i trodjelne kostime po uzoru na zamišljene kostime starog Egipta pa čak i Grčke. Koristili su tada inovativne lagane i prozirne materijale koji su simbolizirali nježnost, mistiku i ženstvenost, dok su teži metalni djelovi, perlitani sa puno sjajnih perlica, resa i ukrasa naglašavali obline, pokrete i bogatstvo. Tada su se po prvi put počeli koristiti različiti termini „Raqs Sharqi“ – Istočni ples i „Raqs Beledy“ – Ples Zemlje / Naroda / Folklora.

Kostimi poput ovih bili su kao prazan papir za umjetnika; inspirirali su mnoge i od tada su se ustanovile osnove kostimiranja koje u današnje vrijeme, na žalost, rijetko plesači i plesačice ovog plesa poštuju.

Slike 8., 9.i 10. Novi izgled tadašnjih Awalima, mnogo manja pokrivenost tijela, glavne karakteristike izvučene iz starog egipta i antičke grčke. Slike su iz rane 1900.te do 1915.god.

 

(AMERICAN AND FRENCH IMPACT ON THE DEVELOPMENT OF DANCE EXPRESSION, AND WITH THIS A COMPLETELY NEW AND “UNIFORMED” COSTIMATION FORM

As I noted in the previous text, thanks to Western romanticization of landmarks and ancient Egyptian history at that time, and milestones in the art and artistic expression of the late 19th century and the entire 20th century, we are entering an era of lightning-fast changes in visual identity, revealing / showing more the naked parts of the body and the emergence of the first film, theater and club divas, and the growing separation from the true “primary” form.

For an example of a major change that, like all other changes, encountered difficulties, see Figures 8.9 and 10. American and French costume designers took creative freedom and, in the early 1900s, began creating the first two- and three-piece costumes modeled on imaginary costumes of ancient Egypt and even and Greece. They then used innovative lightweight and translucent materials that symbolized tenderness, mysticism and femininity, while heavier metal parts, perlite with lots of glittering beads, fringes and embellishments, emphasized curves, movements and richness. Then the different terms “Raqs Sharqi” – Eastern Dance and “Raqs Beledy” – Dance of Earth / People / Folklore began to be used for the first time.

Costumes like these were like blank paper for an artist; they have inspired many and since then, the basics of costuming have been established which, unfortunately, are rarely respected by dancers today.)

Figures 8, 9 and 10. A new look of the Awalis of that time, much less body coverage, main features drawn from ancient Egypt and ancient Greek. The paintings are from the early 1900s to 1915.

Pojam „Bedlah“ kao naziv za klasičan trodjelni kostim orijentalnog plesa u doslovnom prijevodu sa arapskog znači „odijelo“ a zapravo predstavlja američku inačicu jako isperlitanog grudnjaka i remena sa puno novčića, resica, dijamantića, perlica, bisera i ostalih svjetlucavih elemenata čiju funkciju sam prethodno objasnila. Iako naziv „Bedlah“ potiče iz Amerike, točnije njihovom izvedenicom istočnog plesa ukomponiranom u cabaret koji je bio izuzetno popularan prvom polovicom 20.stoljeća, vremenom i razvojem ubrzo postao „uniforma“ ovog plesa. Ne samo zbog svog „oku privlačnog“ izgleda, već  i zbog svoje višenamjenske funkcionalnosti: u cabaretu nije bila potrebna suknja već sam remen sa dugim i bogatim resicama te grudnjak koji su pokrivali „nužne“ djelove tijela, dok su u filmskoj, kazališnoj i klubskoj produkciji mogle imati suknju ili dimije, pa čak i haljine ispod. Takva vrsta kostima je i danas, kao što sam već napomenula ranije, profesionalan kostim.

Slike 11., 12.i 13. Prva lijevo : Samia Gamal – 1945.g, u sredini Nagua Fouad – 1960.g, desno: Jamal blizanke: 1959.god

 

(The term “Bedlah” as the name for the classic three-piece Oriental dance costume literally means “suit” in Arabic, and in fact represents the American version of a heavily braided bra and belt with lots of coins, tassels, diamonds, beads, pearls and other glittery elements whose function I have previously explained. Although the name “Bedlah” originates from America, more specifically their derivative of the eastern cabaret dance, which was extremely popular in the first half of the 20th century, in time and development soon became the “uniform” of this dance. Not only for its “eye-catching” look, but also for its versatile functionality: the cabaret did not require a skirt, but a strap with long and rich fringes and a bra that covered “essential” body parts while in film, theater and club production could have skirts or dimples and even dresses below. This type of costume is still, as I mentioned earlier, a professional costume.)

Figures 11, 12 and 13. First left: Samia Gamal – 1945, middle Nagua Fouad – 1960, right: Jamal twins: 1959.

Bedlah je bio opće popularna i rasprostranjena vrsta kostima, jednako kao i ovaj ples koji je s razlogom imao svoje zlatno razdoblje instant uspjeha u razdoblju od ranih 1920.-ih pa sve do 1980.-ih kada se posljednji put aktivno pojavljuju u raznim mjuziklima, predstavama i filmovima.

Nije zapravo niti čudno što je bio toliko popularan kada je odavao kontraste u svom izgledu:  misticizam i otvorenost, ženstvenost i snagu te jednu posebnu vrstu glamura. Umjetnička sloboda u dizajnu i proizvodnji istih također svoj najveći, po mom osobnom mišljenju, polet je imao od ranih 1900-tih pa do 1960-tih. To su bile zlatne godine dizajnerske slobode ali i vrlo kvalitetne izrade, no nakon 1960-ih počinje po meni „srebrno i brončano doba“ kada se zbog poveće potražnje i popularizma ovih plesova pomalo smanjuje kvaliteta izrade.

Bedlah ukrasi za glavu, ruke i zglobove također imaju svoj „uspon i pad“. Kao u ostatku svijeta, tijekom 1960-ih godina vlada tzv. „oslobođenje žene“ . Tada se prvi put na velikim platnima i u cabaret predstavama može vidjeti plesačica, divlja i slobodna, raspuštene kose i slobodnih pokreta uz ritam: kao da se vratio vremeplov u 18. stoljeće. Novitet u kostimima je prozirni triko i/ili ženske kratke hlačice koje su još više naglašavale ljepotu ženskog struka i pokreta trbuha svojim sjajem ili presavijanjem materijala. Također, razvijanjem i tekstilne industrije te otkrivanjem raznih načina prouivodnje novih materijala, oslikavanja na platnu, novih vrsta šljokica i sitnih perlica : bedlah kostimi dobili su novi sjaj i takoreći obnovu, a sve zahvaljujući ponovo: potrebama filmske industrije zapada. Remenje se napokon spustilo na kukove; što je rezultiralo ljepšim i vidljivijim pokretima. Grudnjaci su dobili nove ovalne oblike te se više ističu pokreti prsnog koša, a i sve češća je uporaba plesnih rekvizita poput vela, lepeze, shamadana (svijećnjaka za glavu) i sablje.

 

Slike 14., 15.i 16. Prva lijevo : Dahlena – 1960.g, u sredini Cabaret  – 1962.g, desno: Aziza: 1962.god

(Bedlah was a widespread and widespread type of costume, as was this dance, which for a reason had its golden moment of instant success from the early 1920s until the 1980s when they last appeared in various musicals. performances and films.

No wonder he was so popular when he contrasted his looks: mysticism and openness, femininity and strength, and one particular kind of glamor. The artistic freedom in the design and production of these also had its greatest, in my personal opinion, take off from the early 1900s to the 1960s. These were the golden years of design freedom but also of high quality workmanship, but after the 1960s, the “silver and bronze ages” began to me, when the quality of workmanship was somewhat diminished due to the increased demand and popularity of these dances.

Bedlah decorations for the head, hands and wrists also have their “rise and fall”. As in the rest of the world, during the 1960s the so-called “Woman’s liberation.” Then for the first time on the big canvases and in cabaret performances one can see a dancer, wild and free, loose hair and free movements with a rhythm: as if a time machine had returned to the 18th century. The novelty of the costumes is a transparent leotard and / or women’s shorts that further emphasize the beauty of the woman’s waist and belly movements with her gloss or folding material. Also, by developing the textile industry and discovering different ways of producing new materials, painting on canvas, new types of sequins and tiny beads: bedlah costumes have taken on a new shine and so have been renewed, all thanks again to the needs of the film industry in the west. The straps finally came down to the hips; resulting in more beautiful and visible movements. The bras have received new oval shapes and are more prominent in the movements of the chest, and the use of dance props such as veils, buns, shamadan (candle holder) and saber is becoming more common.)

Figures 14, 15 and 16. First left: Dahlena – 1960, in the middle Cabaret – 1962, right: Aziza: 1962

Nažalost kao i u svim drugim segmentima ljudskog života i obrascima ponašanja; s vremenom zapad i zapadnjačka kultura si je potpuno prisvojila rast i razvoj ove umjetnosti vizualnog i izvođačkog karaktera. Što u principu u današnje vrijeme također rade i Ruskinje, Ukrajinke, Španjolke. Njih sam istaknula namjerno jer su pod izlikom stare slave velikih pokreta transformacija sa prijelaza 18.na 19.stoljeće te i utjecaja zapadnjačkog cabareta  na „stražnja vrata“ potiho ugurale natrag isticanje što više nagog tijela, pojednostavljanje kostima, izbacivanje Bedlaha i mistike te extremitete u  sexualnosti koja je sada otkrivena, nema više čari u „skriveno-otkrivenom“.

Vratimo se još malo natrag u 1949.godinu kada je uz rast i razvoj zlatnog doba ovog plesa i kostimografije bila u vrlo lijepim postotcima; na jednu vrlo važnu ženu čije naslijeđe i danas živi u njenoj kćerki, a to su Jamila i Suhaila Salimpour. Ove dvije dame moram istaknuti, prvenstveno poštovanu Jamilu jer zahvaljujući njoj , osim što je utemeljila i zapisala/imenovala neke od osnovnih pokreta ovog plesa koji se i danas smatraju osnovnim; turski drop, maya, egipatski hod itd., utemeljila je i osnove potpuno druge grane ovog plesa; Tribal. Osim sličnosti u različitosti od orijentalnog i drugačijeg načina izražavanja, utemeljila je vrstu uniformiranosti za ATS – American Tribal Fusion; što čini duga višeslojna gypsy flamenco suknja, više slojeva marama/ rubaca oko bokova, grudnjak obučen preko majice koja je pak odrezana ispod grudi, puno detalja i ukrasa pa i flamenco prilagođeni cvjetovi na kosi. Također i „tamniju“ stranu tribal fusion plesa: ocrtavanje lica plemenskim uzorkom, korištenje raznih ornamenata i oznaka plemena.

Slike 17., 18.i 19. Prva lijevo : Jamila Salimpour, u sredini Suhaila Salimpour , desno: Jamila Salimpour

 

(Unfortunately, as in all other segments of human life and patterns of behavior; over time, the West and the Western culture have fully appropriated the growth and development of this visual and performing art. In principle, Russian women, Ukrainians and Spaniards are also doing these days. I emphasized them intentionally because under the pretext of the old glory of the great movements, the transformations from the turn of the 18th to the 19th century and the influence of the Western cabaret on the “back door” were quietly pushed back by emphasizing as much as possible a naked body, simplifying costumes, expelling Bedlah and mysticism and extremities in the sexuality that has now been discovered has no more charms in the “hidden-revealed”.

Let’s go back a little bit back to 1949 when, with the growth and development of the golden age of this dance and costume design, it was in very nice percentages; to one very important woman whose legacy still lives on in her daughter, Jamila and Suhaila Salimpour. I have to point out to these two ladies, the primarily revered Jamila, because thanks to her, besides establishing and writing down / naming some of the basic movements of this dance, which are still considered basic today; Turkish drop, maya, Egyptian gait, etc., established the foundations of a completely different branch of this dance; Tribal. In addition to the similarities in the difference from the Oriental and different ways of expression, she founded the kind of uniformity for ATS – American Tribal Fusion; which makes for a long multi-layer gypsy flamenco skirt, multiple layers of headscarves / hem around the hips, a bra worn over a T-shirt that is cut below the breasts, lots of details and embellishments and even flamenco tailored flowers on the hair. Also the “darker” side of tribal fusion dance: outline the face with a tribal pattern, use of various ornaments and tribal designations.)

Figures 17, 18 and 19. First left: Jamila Salimpour, center Suhaila Salimpour, right: Jamila Salimpour

U današnje vrijeme vrlo rijetko će te naći Bedlah kostim a da je u potpunosti šivan bez pištolja na vruće ljepilo. Prvenstveno jer plesači i plesačice smatraju da  ti kostimi  „nisu moderni“  ili ih čak smatraju „početničkim“ kostimima, što naravno apsolutno nije istina.  Ne Postoje „početnički“ i „profesionalni“ kostimi; to su izmišljotine marketinga za bolju prodaju i kao opravdanje za cjenovne ekstremitete. Bedlah kostimi su još, kao što sam već navela, 1900-ih i 1920-ih godina usvojeni kao profesionalni kostimi „klasičnih“ istočnih plesova. Zamislite da odete  u zajednicu standardnih plesova i počnete im prodavati priču kako dugačke propisane haljine nisu „moderne“ za valcer te da su to početničke haljine i ponudite im minjak i topić kao „profi“ kostim. Potpuno besmisleno i svatko tko zaista voli i poznaje ovu umjetnost poštuje njene „ostavštine“.

Teško je reći u kojem razdoblju je točno nastao nesrazmjer i nerazumjevanje konteksta, ali možemo otprilike reći da je to početkom 21. stoljeća, kada je Raqs sharqi usvojen diljem starog kontinenta te prilagođavan raznim regijama.

 

(Nowadays, you will rarely find Bedlah’s costume completely sewn without a hot glue gun. Primarily because dancers find these costumes “not modern” or even consider them “beginner” costumes, which of course is absolutely not true.  No There are “beginner” and “professional” costumes; these are fabrications of marketing for better sales and as justification for price extremities. Bedlah costumes were, as I have already stated, adopted in the 1900s and 1920s as professional “classic” Eastern dance costumes. Imagine going to a community of standard dances and starting to sell them a story that long prescribed dresses are not “fashionable” for waltzes and that they are beginner dresses and offer them a miniskirt and topi as a “profi” costume. Totally pointless and anyone who really loves and knows this art respects its “legacies.”

It is difficult to say in what period exactly the disparity and misunderstanding of the context arose, but we can roughly say that it was at the beginning of the 21st century, when Raqs sharqi was adopted throughout the old continent and adapted to various regions.)

 

Ples je moj život. Jedino što zaista poznajem je osjećaj uzvišenog zadovoljstva koji me ispunjava dok plešem ili grlim svoju djecu. U mojem svijetu umjetnost pokreta i umjetnost majčinstva dosta su bliske, ako ne i istovjetne. Radi se o trenutku stvaranja, u oba slučaja. Jer dužnost nas, koji smo odgovorni za prenošenje određene plesne priče ili gena, velika je i rijetka čast. Majke, umjetnice, mogu se smatrati svojevrsnim svećenicama, pjesnikinjama, pripovjedačima koje u procesu stvaranja ili održavanja ljubavi same posežu u stanja oduševljenja. Također vjerujem da je svaki put traženja ili izražavanja duše prihvačajuć, i ako nismo umjetnici ili roditelji, budući da nam je svima ultimativni cilj samo biti sretan, donekle. Od davnina se praksa plesa, pogotovo u bogatim kulturama Indije i Orijenta, smatrala jednom od najviših formi vježbanja joge tj. povezanosti s duhovnim blaženstvom. Ples prije i poslije trudnoće Uloga majke, koja je trenutno okupirala sve moje slobodno vrijeme, ranije uloženo u vježbu ili kontemplaciju, sada me stavlja pred nove izazove kako biti dobar roditelj. Kako biti dobar plesač već otprilike znam, suze, krv i znoj te upornost viđena kod ugroženih vrsta te tu i tamo kapljice nektara blaženstva… U ulozi majke, taj me nektar stalno oblijeva, ali isto tako i izazovi koji me dočekaju svaki dan s mojim vragolanima. Ples prije trudnoće bio je prizivanje partnerske ljubavi, ples u trudnoći bio je prizivanje božanske sile za pomoć oko poroda, a ples poslije trudnoće sada me konačno vraća mome istinskom ja, meni kao realiziranoj majci, ženi i umjetnici. Mislim da više ne trebam tražiti, dobila sam najveće darove, i hvala Plesu koji mi se smilovao na tome. U skladu s prirodom ženskog tijela i duha Trbušni ples jedan je od najdrevnijih oblika zapisane plesne umjetnosti ikad. Nalazimo ga još u vrijeme stare kulture Mezopotamije, gdje su ga izvodile izabrane posvećenice u slavu Majke Zemlje, Kozmičke Žene-Majke; ženske strane Apsoluta, nježnije strane Krajnjeg ili Čistog Čina.

Namjena je više nego očita: glorifikacija ženstvenosti, zaljubljenosti i ljubavi, trudnoće, poroda, majčinstva, radosti i tuge, skrušenosti i ponosa, osamljenosti i zajedništva… Trbušni ples je sasvim u skladu s prirodom ženskog tijela i duha. Povoljan je za mišićnu strukturu i za ženske kosti i zglobove te za unutarnje organe, što je u potpunosti u funkciji kontroliranih pokreta cijelog tijela. Trbušni ples oslobađa od stresa, utječe na pozitivno razmišljanje i otvara u nama svjetove neotkrivene, a intencionalno stalno prisutne. Svjetove u kojima žena vrijedi upravo iz razloga što je aktualna i istinska u svojoj ženstvenosti, i to je taj izvor njezine istinske snage.

Pročitajte više na: https://klokanica.24sata.hr/roditelji/kolumne-roditelja/trbusni-ples-slavi-trudnocu-porod-i-majcinstvo-3472 – klokanica.24sata.hr

 

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Dance is my life. The only thing I really know is the feeling of sublime pleasure that fills me as I dance or hug my children. In my world, the art of movement and the art of motherhood are quite close, if not identical. It is about the moment of creation, in both cases. Because the duty of us, who are responsible for transmitting a particular dance story or gene, is a great and rare honor. Mothers, artists, can be regarded as a kind of priestesses, poets, storytellers who, in the process of making or maintaining love, themselves enter into states of delight. I also believe that every time we seek or express our soul is acceptable, and if we are not artists or parents, since our ultimate goal is just to be happy, to some extent. Since ancient times, the practice of dance, especially in the rich cultures of India and the Orient, has been considered one of the highest forms of yoga practice, that is, a connection to spiritual bliss. Dancing Before and After Pregnancy The role of mother, who has currently occupied all of my free time, previously invested in exercise or contemplation, now presents me with the new challenges of being a good parent. How to be a good dancer I already know, tears, blood and sweat and persistence seen in endangered species and here and there drops of nectar of bliss … In the role of mother, that nectar constantly pours over me, but also the challenges that I face every day with my devils . Dance before pregnancy was the invocation of partner love, dance in pregnancy was the invocation of the divine power to help with childbirth, and dance after pregnancy now finally brings me back to my true self, to me as a realized mother, wife and artist. I don’t think I need to ask anymore, I have received the greatest gifts, and thank you to Dance who made me feel sorry for that. In keeping with the nature of the female body and spirit, Belly Dance is one of the most ancient forms of recorded dance art ever. We find it back in the time of the ancient culture of Mesopotamia, where it was performed by chosen devotees in the glory of Mother Earth, the Cosmic Woman-Mother; the feminine sides of the Absolute, the gentler side of the Ultimate or Pure Act.

The purpose is more than obvious: the glorification of femininity, infatuation and love, pregnancy, childbirth, motherhood, joy and sorrow, cruelty and pride, loneliness and togetherness … Belly dancing is in harmony with the nature of the female body and spirit. It is favorable for muscular structure and for female bones and joints and internal organs, which is fully in function of controlled movements of the whole body. Belly dance relieves stress, influences positive thinking and opens up worlds in us undetected but intentionally constantly present. Worlds in which a woman values ​​herself precisely because she is current and true to her femininity, and that is the source of her true strength.

Read more at: https://klokanica.24sata.hr/roditelj/kolumne-roditelja/trbusni-ples-slavi-trudnocu-porod-i-majcinstvo-3472 – klokanica.24sata.hr

 

Bijaše to jednom davno, na prvom satu tečaja orijentalnog plesa… Djevojke su tek zakoračile u taj magični svijet, i zatražile odgovor na pitanje – Što mi ovaj ples može donijeti u život?

Svaka je izvukla po jednu kartu, i dobila odgovor kroz glas Boginje. Poruke koje su dobile sada izvlačimo sa prašnjavog tavana, i dijelimo sa svima vama, da dobijete mali okus toga što se događa kada zaplešete.

Cornwoman pleše…

U orijentalnom plesu puštamo da nas tijelo vodi, izgled pokreta nije strogo definiran. Svaka žena ima drugačiju građu, pa će se i pokret razlikovati od žene do žene. Tako da nas kroz učenje orijentalnog plesa ne vode oči, već osjećaj u tijelu. Tijelo postaje šef. Tijelo zahtjeva. Naš je zadatak osluhnuti njegove potrebe. I zbog fizičkog napora koji dolazi nakon naporne vježbe, tijelo prvo zahtjeva – hranu! Cornwoman podsjeća na tu osnovnu potrebu, da se našem dragom tijelu daju sve nužne hranjive tvari. Tijelom stvaramo nešto lijepo, plesni pokret. Ples donosi zadovoljstvo, veselje, ushićenost. Cornwoman vidi sve dobrobiti plesa, i želi se pobrinuti i njegovati tijelo koje je sve to omogućilo. Ona mu daje hranu i sluša njegove potrebe. Kroz orijentalni ples ona uči ne nametati svoju volju tijelu, ne požurivati ga, ne forsirati ga. Uči odustati nakratko od svojih ambicija i osjetiti koji je pokret tijelo spremno i voljno izvesti. I prikladno ga nahraniti.

Maeve pleše…

Orijentalni ples je ples ženske snage, pete snažno utiskujemo u pod, «objema nogama čvrsto stojimo na zemlji». Dobro držanje i osjećaj ravnoteže su okvir na koji slažemo plesne ukrase, osmice, shimmije, akcente bokovima. Da tijelo podnese taj iskričavi vatromet pokreta, koji se kaotično izmjenjuje, mora imati stabilnost i veliku snagu. Maeve je ta koja preuzima odgovornost, postavlja kostur plesačici da može iskazati svoju kreativnost. Podsjeća nas na važnost uzemljenosti i stava. Tek kada dobro postavimo tijelo, elementi orijentalnog plesa dolaze do svog punog izražaja. Tijelo se puni stabilnom i jakom energijom zemlje, i Maeve, osjećajući to, može realnije i zrelije sagledati svijet oko sebe. Tako osnažena, lakše se suočava sa posljedicama svojih djela.

Minerva pleše…

Suhair Zaki, jedna od najpoznatiji egipatskih plesačica je navela dvije stvari kao neophodne za orijentalni ples – živahan duh i smisao za humor. Na zapadu se veća važnost daje tehničkoj izvedbi – preciznom, kontroliranom pokretu koji je vježbom doveden do savršenstva. Orijentalni ples opušta Minervu, daje joj priliku da se nasmije, našali, zadirkuje, i sve to na ženstven i zavodljiv način. Minervin svijet čvrstih uvjerenja i krutih pravila na trenutak nestaje, i kroz nepredvidljivu orijentalnu muziku, punu različitih ritmova, može otkriti onaj luckasti i bezbrižan dio sebe. Učenje bilo kakve vještine zahtjeva disciplinu, rad i trud, što je Minervi jako blisko. Ali urođena nestašnost i duhovitost orijentalnog plesa može joj pomoći da svijet počne doživljavati malo manje ozbiljno, s većom dozom humora. A kada se Minerva uspije nasmijati sama sebi, kada uspije biti malo blaža prema sebi, može se riješiti nekih uvjerenja koja su ju do tad kočila da opuštenije ide kroz život. Orijentalna plesačica Minerva je odgovorna, pouzdana i pravedna, ali zna kada je vrijeme da se opusti, našali – sama sa sobom ili s drugima, i da ne bude toliko stroga prema sebi. Minerva kroz orijentalni ples uči smijati se svojim pogreškama.

Morgan Le Faye pleše…

Orijentalna muzika je slojevita. U jednoj pjesmi sudjeluje mnoštvo različitih instrumenata od kojih svaki priča svoju priču. Svi se oni međusobno nadopunjuju, i skladno surađuju. To bogatstvo ritma i melodije plesačici daje i slobodu. Muzika nam diktira pokret, ali orijentalna plesačica može odabrati koji će instrument pratiti, da li će pratiti melodiju ili ritam. Od onoga što joj je nametnuto glazbom, naći će svoj izražaj, što joj godi, što joj odgovara ili joj je potrebno da izrazi u tom trenutku. Plešući na istu pjesmu više puta, Morgan Le Faye može vidjeti i da u istim zadanim okolnostima, u istom ritmu života, ona može pratiti i svoj ritam, uklopiti ga u strujanje muzike koje je ipak izvan njene kontrole. Orijentalnoj muzici ne možemo nametnuti svoj ritam, ali ga zbog njene slojevitosti možemo lako uklopiti. Morgan Le Faye pleše orijentalni ples u svojoj izvornoj formi, kao improvizaciju, i shvaća da je način života koji njena duša traži, koliko god se činio neobičan i neusklađen, moguće ostvariti u ovom svijetu. Shvaća da njen jedinstven izražaj obogaćuje svijet, nadopunjuje ga, i bez nje i njenih osobitosti, svijet ne bi bio isti.

S druge strane, suradnja plesačice i bubnjara može Morgan donijeti baš to iskustvo, nametanja svog ritma. U takvoj improvizaciji, i suradnji, plesačica bubnjaru može svojim pokretima sugerirati što želi plesati, i pustiti njega da prati njene želje i potrebe.

 

Koristile smo The Goddess Oracle, Amy Sophia Marashinsky & Hrana Janto

www.spirit-of-tara.com

 

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It was a long time ago, in the first hour of oriental dance … Girls just stepped into this magical world, and asked the answer to the question – What can this dance bring to my life?

Each drew one card, and received a response through the voice of the Goddess. Now, we get the messages we get out of the dusty attic, and share with all of you, to get a little taste of what happens when you dance …

Cornwoman dancing…
In Oriental dance, we let the body guide us, the appearance of the movement is not strictly defined. Each woman has a different structure, so the movement will vary from woman to woman. So through the learning of Oriental dance, we are guided not by the eyes, but by the feeling in the body. The body becomes the boss. The body of the request. It is our job to address his needs. And because of the physical exertion that comes after strenuous exercise, the body first demands – food! Cornwoman recalls that basic need, that all the necessary nutrients are given to our precious body. We create something beautiful in the body, a dance movement. Dance brings pleasure, joy, exhilaration. Cornwoman sees all the benefits of dance, and wants to take care and nourish the body that made it all possible. She gives him food and listens to his needs. Through oriental dance she learns not to impose her will on the body, to hurry it, not to force it. He learns to give up his ambitions briefly and to feel what movement the body is ready and willing to perform. And conveniently feed it.

Maeve’s dancing …
Oriental dance is a dance of feminine strength, heels pressed firmly into the floor, “with both feet firmly on the ground.” Good posture and a sense of balance are the framework on which we harmonize dance decorations, eights, shimmies, hips. For the body to endure this sparkling firework of movement, which changes chaotically, it must have stability and great strength. Maeve is the one who takes responsibility, puts the skeleton on the dancer so she can express her creativity. It reminds us of the importance of grounding and attitude. It is only when we position the body well that the elements of oriental dance come to their fullest. The body is filled with stable and strong energy of the earth, and Maeve, feeling it, can more realistically and maturely see the world around her. So empowered, it is easier to deal with the consequences of one’s actions.

Minerva is dancing…
Suhair Zaki, one of Egypt’s most famous dancers, listed two things as essential to oriental dance – a lively spirit and a sense of humor. In the west, greater importance is given to technical performance – a precise, controlled movement that is perfected by exercise. Oriental dance relaxes Minerva, gives her the opportunity to laugh, joke, tease, all in a feminine and seductive way. Minerva’s world of firm beliefs and rigid rules disappears for a moment, and through unpredictable Oriental music, full of different rhythms, she can discover that silly and carefree part of herself. Learning any skill requires discipline, work and effort, which is very close to Minerva. But the innate naughtiness and wit of Oriental dance can help it begin to take the world a little less seriously, with a greater dose of humor. And when Minerva manages to laugh at herself, when she manages to be a little more lenient towards herself, she can get rid of some of the beliefs that have hitherto stopped her from going through life more relaxed. The oriental dancer Minerva is responsible, trustworthy and just, but knows when it’s time to relax, find her – with herself or with others, and not be so strict with herself. Through oriental dance, Minerva learns to laugh at her mistakes.

Morgan Le Faye Dancing…
Oriental music is layered. There are many different instruments involved in one song, each telling its own story. All of them complement each other and work together in harmony. This richness of rhythm and melody gives the dancer freedom. Music dictates movement, but the Oriental dancer can choose which instrument to follow, whether to follow the melody or the rhythm. From what is imposed on her by music, she will find her expression, whatever pleases her, what suits her or needs her to express at that moment. By dancing to the same song more than once, Morgan Le Faye can also see that in the same given circumstances, in the same rhythm of life, she can follow her own rhythm, incorporating it into a stream of music that is still beyond her control. We cannot impose oriental music on our rhythm, but because of its complexity, we can easily incorporate it. Morgan Le Faye dances oriental dance in its original form, as improvisation, and realizes that the lifestyle her soul seeks, however strange and incongruous it may seem, can be realized in this world. She realizes that her unique expression enriches the world, complements it, and without her and her peculiarities, the world would not be the same.

On the other hand, the collaboration of a dancer and a drummer can bring Morgan that experience, imposing her own rhythm. In such improvisation and collaboration, the dancer can suggest to the drummer what she wants to dance and let him follow her wishes and needs.

We used The Goddess Oracle, Amy Sophia Marashinsky & Food Janto

www.spirit-of-tara.com