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
