Middle Eastern Dance issn 14418282
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Issue 46 2013
Vintage Bellydance
Photograph of Na’ilah by Dick Stein. Photoshop grading and background by Alma Sarhan
by Nanda and Na’ilah
At the 2010 WAMED Festival Gala Concert, “Reflections”, dancers from the Mystique Dance Academy stunned the audience with a performance described simply as ‘Vintage bellydance inspired by the 1940s and 1950s’. The choreography was the result of a collaboration between Nanda and Na’ilah and became the first of a series of Vintage bellydance performances by the Mystique Dance Academy. Nanda and Na’ilah explain their vision and how the project unfolded. The pieces of what was to become our Vintage Bellydance Series fell together in a fortuitous and fairly speedy manner. The Mystique Dance Academy, under the watchful eye of Angie Irwin (Shaheena), has been a staple in the WAMED Festival Gala Show for many years. Once Shaheena began working with Renate and Jilyan in the organization of the WAMED Festival, it became increasingly difficult for her to run the bazaar and the Gala Show as well as co-ordinate all of the Mystique Academy performances. That’s where we (her daughters) came in. After the 2009 WAMED Festival, the reins for the Gala performance were handed over to us. This was perfect timing, because we were looking for a project to collaborate on; we have danced together since childhood and our styles, while different,
Samia Gamal and Tahia Carioca
are complementary. We love sharing our creative energies and we had big ideas. The inspiration In any area of the arts, there is always an emphasis on the history and an appreciation of the past that informs future development, whether through inspiration, recreation or interpretation. Our area of the arts is no different. As a community, we have embraced a wide array of styles within the genre of Oriental Dance, although sometimes there seems to be a disconnection between the dance of the past and what we are doing today. That continuity and connection was important to both of us and became the central premise we explored through our project. While brainstorming, we focused
on the fact that Na’ilah had a long-time interest in vintage styling in general. She was expanding her dance repertoire into Egyptian style and had recently discovered a love of orchestral music, whereas Nanda was strongly modernEgyptian-trained and wanted to move back to classical Egyptian music and dance roots. The vintage era of 20th century bellydance and all that it entailed was the missing piece and we were, like many dancers, enticed by the allure of the beautiful dancers in those black and white films. Music to the ears The decision was ultimately made by the music. Being a form of cultural expression, Oriental Dance and the context within which it is performed is defined by the music. We both wanted something rich, textured and diverse, and the music of the early 20th century had an appeal which spanned generations and transcended eras. It was a time of new cultural influences, new instruments, exploration and experimentation, which fitted perfectly with our vision. Finding exactly the right music for our first piece was difficult. Should we go with the soulful and original (but poorer quality) versions or sacrifice that vintage texture for a modern production quality suitable for large venues and Bellydance Oasis Issue 46 25
Mystique Troupe at WAMED 2012. Photography by Wayne Eddy
sound systems? We eventually found the perfect piece; Hobak Ala Feyn (Where has your Love Gone) was originally composed for a film starring Naima Akef and recreated beautifully by Hossam Shaker as part of the excellent Jalilah Raks Sharki series. Nanda broke down the sections and phrasing and by the end of 2009 we started the choreography. The creative process As childhood performers who ‘grew up’ on stage, the art of performance and stagecraft was an important part of our dance styles and strengths. We wanted to create specifically for the stage; we wanted theatre, drama and storytelling, which was another reason why our chosen era was such an inspiration. The presentation of the dance through those 1940s and 1950s films was a construct, a cultural expression that was recreated, not necessarily authentically, for a consumer audience. This could have been live on a stage at such places as Badia Masabni’s Casino Opera or translated for film and shipped worldwide. We choreographed using what we called the ‘director’s view’, looking at how a director used the set and the characters within it and at how it was enhanced as well as limited by the camera. We emphasized upstage to downstage movement and we travelled the floor. We didn’t simply use the 26
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space, we owned it and filled the frame. Combinations were created which kept each the dancer facing the audience bar fleeting or purposeful moments and enabled each dancer to play the star in her own right. The stylistic choices we made for our technique had to fit within this framework. Movements were to be savoured, done fully and with intent. We revisited old film clips and compilation videos to explore the elements that defined the era, if it could indeed be defined. We looked at the movement and style repertoire of each dancer to see how they were expressed within that space. We looked at the poses, the framing and the lines. Rather than “she took two steps forward there and then moved backwards” we asked “why did she move”? How was she working within that scene? Was there a stage edge? What was regulating her performance? We didn’t want to be limited by presenting an idealized version of what 1950s bellydance was supposed to be like. Paradoxically, exploring the constraints of the dancers gave us more freedom to push the boundaries of our developing project. It was certainly never our intention to present ourselves as experts of the dance in this era, it is simply too vast.
The choreographic process was quite organic and was definitely a ‘bare your soul’ give and take. Working with the right person is a meeting of minds, not always smooth but accepting; it was a partnership of integrity. We both understood that creating choreography is not simply making up a dance and we wanted to indulge our students and ourselves in the entirety of a dance performance, from inception to completion. The classes We wanted to give as many Mystique students as possible the opportunity to partake in this new and exciting journey with us, so the class was opened to anyone with an intermediate and above skill level. Even though any performing Mystique dancer would have had experience with Shaheena’s rigorous rehearsal and performance requirements, the class structure, the audition process, the strict costuming requirements and commitment to the project were all different to what the students were used to. From the very start we tried to set the bar high and get across that this was not just any ordinary class. We wanted to prepare the dancers for the hard work ahead, the possibility of disappointment, and the equal possibility that if they worked hard enough, they would be representing Mystique on stage with
Mystique Troupe - Frankie, Stephanie (rear), Na’ilah, Adrienne (rear), and Jacintha. Photography by Nanda
national and international stars. One of the benefits of having two teachers was that we were able to offer tuition in not only the usual ten week, slower paced term course, taught by Na’ilah, but also an intensive three lesson workshop at Summerfest, taught by Nanda. That sounds simple enough, but, as with all things new, there were some unexpected difficulties. Despite having danced together so often (and for many, many years), we still ended up teaching slightly different versions of the original choreography. This was compounded by the fact that Na’ilah was suffering from Dengue Fever during most of the choreography phase. We ended up offering a consolidation period for all students during the later stages of the ten week class which enabled everyone to get to a point where they were ready to audition. The audition We had a separate time set apart to audition. We put the dancers into different groups, each getting the opportunity to audition twice with a different combination of dancers, in order to better display individual strengths. They were told who the people were in their group and given a few minutes to organize positions and blocking before performing for us. This audition was filmed so we could
review it later for a final decision. We were looking for dancers who knew the choreography first and foremost. We didn’t want to be re-teaching parts of the choreography during the rehearsal stage. We also needed a group confident enough that if we needed to tweak or change anything, we weren’t going to have any major dramas. In addition, the dancers performed the piece at a Mystique Academy hafla so we could see how well they worked together in a live performance scenario. We needed dancers who worked well in the team and we wanted a unified look, without the dancers sacrificing their individual styles. Perfect technique was not essential but cohesiveness was. Lastly, we considered the dancer’s commitment to the project. All dancers selected were formally invited to join us on this journey and the commitment requirements were made clear at that time. After the initial audition there would be another six weeks of rehearsals, costume making, hair and makeup tutorials. Every dancer had to commit herself, knowing that if she was not in 100% she would be letting down the team. From eighteen potential performers, we now had our final ten, including Liz Grzyb, Ruza Foster, Andrea Orlowsky, Giulietta Valuri, Kim Astle, Dixee
Poh, Anna Klyne, Elisabeth Purser and ourselves. Mystique Dance Company already had a reputation for being well rehearsed and tight, but people weren’t seeing all we were capable of. To perform on the same stage as master teachers from around the world as well as local and interstate stars, we had to respect that space by being as professional as we could. The dancers we selected understood and enjoyed having that responsibility. Couture When considering our costuming options, we wanted to capture something that was undeniably “Golden Era” in essence. Wading through clip after clip, searching for suitable attire, was almost as time-consuming as searching for our movement repertoire. We predominantly looked at the three big stars of that era, Taheya Karioka, Naema Akef, and Samia Gamal. Ultimately, it was the costuming of Samia Gamal which gave the troupe its signature classic vintage look. The belt was the defining feature of the costume in that era. The belts were substantially wider then and beautifully cupped the derriere of the dancer, which in turn emphasized the fullness of her skirt and her womanly form. They neatly curved up into a rather wide front panel with closures either dead centre Bellydance Oasis Issue 46 27
Top: Liz Gryb Bottom: Adrienne Byrd Photography by Nanda
To finish the look, we added details such as pin-tuck curls for our hair, with headpieces (an added theatrical component of our own), 1950s style ‘screen siren’ make-up
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or off-centre (never at the side), so the silhouette remained unaffected. Some of our dancers used a tube of stretchy material to effectively obtain the same look. Searching for the correct bra base was crucial. The bras were more bandeau in style, not at all plunging, and curved under the sternum, giving greater emphasis to the beaded looped fringing center-front of the bra. The wide choice of strapping options meant that each dancer could obtain a very individualized look. There were so many options! Another wonderful feature of the costuming was the skirts. They were floaty and full, and fishing-line hems instantly added a romantic feel to the costume. In the old films, splits commonly went up as high as the belt on both legs, and we were able to get a similar, more comfortable look by adding underskirts or a splash of contrasting colour by way of a sash that ran from belt to floor. To finish the look, we added details such as pin-tuck curls for our hair, with headpieces (an added theatrical component of our own), 1950s style ‘screen siren’ make-up on matte porcelain skin, red polish on finger and toe nails, elegant heels, and vintage style crystal jewelry, which (other than the earrings), was also an added theatrical element. As we and the dancers continued to research and bring in material swatches, colour samples and ideas, the costuming concept evolved into its final state. Our monotone palate was set very early on in the project to be suggestive of the black and white films.(1) Rehearse, rehearse, rehearse Everything was coming together. The process had already taken about eight months from inception to audition and we finally had a group of wonderful dancers we could take to the next level. With approximately two more months until the WAMED Festival, the hard work really began. In all, we had six two-hour sessions to be stage-ready and it was to be a much greater investment of time and
effort than any of us had anticipated. Our job was made easier by having dancers who really knew the choreography. We now needed to work on blocking, tweaking, polishing, (sweating) and getting our costumes and ‘vintage look’ perfect. Every session became a show and tell for costumes and the dancers brought their works in progress to each rehearsal. It was fabulous; not only could we see that the dancers were honouring their commitment to the project, but it inspired anyone who had a case of costuming block. We shared ideas and thoughts for the benefit of everyone. It was an incredible bonding experience. As choreographers, we felt very blessed to be in the company of such wonderful women. We honestly could not have chosen a better group of dancers to work with. Most of the dancers had never attempted any type of vintage styling. Nanda put together a collection of youtube tutorials on everything we needed to look the part, from setting pin tuck curls, to brushing them out, from styling the hair to 1950s style make-up. We spent weeks sleeping with pin tuck curls and wearing head scarves around setting hair and long periods in front of the studio mirrors making ourselves up, gas-bagging about our fabulous red lipsticks and nail polishes. We became experts on false eyelashes and the best glues and techniques for applying and keeping them in place. We were doing a complete overhaul of our look, and we loved it so much, it continued to be our performance look long after the show. The final stages of our preparation were our two rehearsals at the King Street Arts Centre. The performance venue, St Mary’s Theatre, was a much larger space than we had been practicing in. Having already invested so much in the project, it seemed fitting that we took it just that little bit further and practiced in a space with the same dimensions as the theatre and it was well worth it. By the time we finished those two rehearsals, we were all feeling very confident with our positioning and how we used the
space. After concluding with a full dress rehearsal at King Street Arts Centre, we were, at long last, ready to perform! Showtime! Hair curled and makeup immaculate, everyone arrived at the venue ready apart from costumes. The feeling of anticipation was awesome; we were ready for those few minutes under lights to show off all our hard work. Backstage is always fun, whether rubbing shoulders or sharing a mirror with an international star or catching up with dancers you haven’t seen since the last big event and with everyone buzzing on their own performance high. It was one of those nights when everything came together perfectly. We had a great audience, a lovely venue and the most amazing lighting technician! After only a short tech run in the days prior to the show, he was confident he could work us some magic and he sure did. The lighting and sound completed our performance that night and delivered the whole package just as we had envisioned. The afterglow We can’t quite explain the feeling having finished our performance; it was unlike any performance we had ever done, and we’ve done a few! We felt we had achieved something monumental. We were elated and so proud of our dancers. Morocco, the guest workshop instructor that year, went sidestage to watch the performance and complimented us on being ‘period perfect’. She understood that we were exploring the construct of dancing in those black and white films. Coming from someone who personally knew the dancers we were drawing inspiration from, that meant a great deal. There were audience members in tears. It brought tears to our eyes knowing we had created something that people connected with so emotionally and knowing that the creative energy which went into the piece was worth it. When we started this journey, neither of us knew we would still be so inspired and motivated to be choreographing
within the same creative space three years and six choreographies later. However, we are still going strong with many more plans in place, and we agree our debut success of Vintage Bellydance inspired us to see just how far this project can take us. Nanda Nanda is a teacher and choreographer based out of Bellydance Central studio in Perth WA. She performs as part of the Mystique Dance Company. Bellydancing for over twenty years, Nanda has been fortunate enough to have studied with many of the greats of Oriental dance during that time. Some of her most significant dance influences are Aida Nour, Farida Fahmy, Dr Mo Gedawi and Shareen al Safy. Her main inspiration though, has been her mother, Shaheena, who has mentored her as a dancer, as a teacher and in the business of bellydance for her entire dance life. Nanda has been teaching for over thirteen years, specializing in all things Egyptian, from rural and urban expressions to raqs sharqi and theatrical styles. She is the co-creator and co-choreographer of the popular Vintage Bellydance Series with her sister Na’ilah. To contact Nanda enquire through www.bellydancecentral.com.au or email shimmy@iinet.net.au Na’ilah After dancing from the age of three in many of the more conventional
disciplines of dance including ballet, modern, jazz, tap and acrobatics, Na’ilah was introduced to the world of contemporary dance in her teens. She performed with STEPS Youth Dance Company and worked with dancers and choreographers from the West Australian Ballet Company, 2 Dance Plus, Chrissie Parrot’s Dance Collective and Ruth Osborne. Being the daughter of Shaheena, Na’ilah was bellydancing from a young age. After an extended period working overseas, she returned to teach at Bellydance Central and to perform with the Mystique Dance Company. Drawing from a diverse background, Na’ilah is known for her original, intricate choreographies and challenging technique, as well as her passion for teaching. Since 2009, Na’ilah has been collaborating with Nanda on their ‘Vintage Bellydance’ series. Based on their unique combination of skills and experience, Nanda and Na’ilah find inspiration from the dancers of the Egyptian Golden Era of film, creating timeless, theatrical choreographies for stage. Na’ilah can be contacted through www.bellydancecentral.com or nicol_ irwin@yahoo.com (1)For additional information on costuming, check out Liz Grzyb’s blog “The Costume Rack” at http:/ costumerack.wordpress.com
Na’ilah and Nanda. Photography by Ruza Foster
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