Note from Raksanna – this article was originally written in July 2007 and the thoughts still ring true. If you’re looking for a competition, another fantastic event that I *highly* recommend is Ahlan Cairo Nights: Queen of Raks Sharqi sponsored by Dee Dee Asad of Little Egypt. This event features Egyptian judges, fantastic workshops and gala shows that are as close to Cairo as you can get in North America.
As our beautiful art form continues to grow in popularity, dancers are faced with many opportunities to take workshops, attend haflas and perform in multiple venues. Among the performance opportunities are a plethora of competitions, as well.
Raksanna competes in Queen of Raks Sharki
Although I have been performing and teaching for more than a decade, I entered the competition scene in early 2006. Before I made the decision to compete, I had to make sure I truly understood my motivation for competing. After sincere introspection, I realized these were my top three reasons for competing:
Setting and Achieving a Goal
As a “type A” personality that is driven to do more than humanly possible – and to do everything to the absolute best of my ability, I’ve found that goals enable me to reach greater heights.
During a “normal” schedule, I teach classes and workshops and continue my own personal dance training on a weekly basis.
Deciding to compete gives me a target and helps me go to the next level of professional dance.
Competitions also enable me to concentrate my time and efforts on specific results. By identifying an event, there is a hard and fast deadline. This means that I have to
focus my energy and resources in a very specific way and manage my time effectively. It certainly would not do to be unprepared when on stage in a competition!
While it’s great to win – and to set your sights on winning – it’s important to understand and keep in mind that anyone who participates in a competition is a winner. The hard work, commitment and courage it takes to get up on stage and ask someone (usually, three or more people!) to judge you is in and of itself a feat to be recognized and celebrated.
Kindred Spirits: A Network of Beautiful Artists
One of the largest benefits I’ve found to competing is the wonderful network of like minded spirits. When I first started the competition route, I had many stereotypes of what kind of culture would be present at the events. To be candid, my preconceived notions were that the line up would be filled with cutthroat and vindictive diva’s.
The great news is that the stereotypes could not be further from the truth! My personal experience is that 98% of dancers involved in competitions are wonderful, warm women who love the dance. Backstage, dancers help each other to make sure that all of us do the best we can when we’re performing.
One example I can share is about Susan, a delightfully fun dancer from Oregon. I met her at the recent Belly Dancer USA competition sponsored by Mezdulene.
We were backstage, preparing for our event and she helped hook my costume together. As she was pinning my bra, she realized that the hook had come off. Susan gave me a quick lesson in emergency costume repairs (did you know that a safety pin can act as a solid pin to hook your bra eyelet and guarantees the bra will remain fastened for you?) and had my costume fixed in two minutes and ready for competition.
Susan also made sure that she was in the audience when I danced and she shouted her support for me. As I had traveled alone from Chicago to Canyonville, Oregon, Susan’s acts of kindness and support meant so much to me. It is this kind of bonding and camaraderie that I’ve enjoyed immensely throughout the competitions.
Keeping It In Perspective: Feedback is a Gift
Sometimes, when you’re a teacher, you don’t get a lot of feedback on how you can improve. After all, students look to the teacher as the expert and the source of knowledge. I’ve enjoyed getting feedback from the judges so that I can see myself from the outside in. Feedback truly is a gift – it provides you with insight that you may not have had before and, when taken in a spirit of reception and thankfulness, I’ve found that constructive criticism has really given me the tools to progress as a dancer and performer.
To illustrate, I am a curvy, voluptuous dancer with a full-figured body. Recently, I received a suggestion from two judges to try a different style of costume that would be more appealing to my figure. Rather than take the feedback offensively, I researched a variety of vendors and found a costume in the style suggested. I tried it on and – guess what? The judges were right!
The difference between the previous costume style and the new style was simply amazing!
Belly Dancer USA – A Must Do Experience!
Throughout the year, I participate in four to five competitions across the country. Most recently, I had the pleasure to enjoy Mezdulene’s annual Belly Dancer USA competition held at the Seven Feathers Resort and Casino in Canyonville, Oregon. (If you’ve never been to Oregon, it’s a state that you simply must visit. Complete with an ocean coastline, high mountains and lakes, there’s something for everyone!) Mezdulene and her husband, Don, are gracious hosts and sponsors and make every attendee feel welcome.
The event was well organized. When I checked in, the schedule was readily available and I had all the information I needed to make sure I knew where to go and when. The line up and competition was professionally run. When there was an occasional skip of a CD, the technical team took care of the issue promptly and with a friendly personality. The gala show was so much fun to watch! I had the chance to see dancers from across the country and experience their interpretation of the music we all love. The vendors had beautiful goods to sell and were easy to work with. I thoroughly enjoyed myself at the event and plan on participating again next year – hopefully, bringing a few of my troupe members from Raksanna’s Desert Flames to compete in the troupe category.
Competing is an experience that will help you grow, both as a dancer and as a person. By setting a goal and achieving it, receiving feedback that can enhance your dance and meeting wonderful women who will become lifetime friends, the competition circuit can bring you many great experiences to be treasured and cherished.
The beatiful Fahtiem
A tiny dancer with a huge, lovable personality, Fahtiem is well-known and loved across the world. This dynamic blond bombshell is an inspiration to me, both as a dancer and as a person, and I recently had the blessed opportunity to watch her performance in the one … the only … Carnegie Hall.
One of World’s Most Prestigious Venues
Located on Seventh Avenue, between West 56th Street and West 57th Street in Midtown Manhattan, Carnegie Hall stands with its majestic architecture and rich legacy. 881 Seventh Ave is home to performances from the world’s top talent for musicians, artists, dancers and other performing artists.
The Hall is named after Andrew Carnegie, a philanthropist who paid for the construction of the building. Carnegie is considered to be the second-richest man in history after John D. Rockefeller; he founded the Carnegie Steel Company in the 1870’s and made the majority of his fortune in the steel
Street View of Carnegie Hall
industry. By the time of his death, Carnegie had given away most of his riches and when he died, the remaining funds were given away to charities and foundations.
Carnegie Hall The architecture was designed by William Burnet Tuthill. Built in 1891, it is one of the last standing large buildings in New York without a steel frame; it was built entirely of masonry. Although the exterior has been renovated several times throughout the past 120 years, the institution underwent a $60 million restoration and renovation effort that began in 1985. The job was tremendous and included fresh paint, new seats, carpeting and a new stage floor.
There are three auditoriums within Carnegie Hall. Stern Auditorium/Perelman Stage (also known as the Main Hall) seats 2,804 people, Weill Recital Hall is an elegant, intimate space that seats 268 people and Zankel Hall, Carnegies’ newest space, seats 599 patrons.
Belly Dance (Middle Eastern, aka Oriental Dance) at Carnegie
In addition to musical concerts, Carnegie Hall hosts a myriad of performing arts presentations including dance, even belly dance.
Of note, Ibrahim “Bobby” Farrah both taught Oriental dance at the International School of Dance, Carnegie Hall and presented his legendary dance company, Ibrahim Farrah Near East Dance Company, on the Perelman Stage.
Speaking of Bobby, Fahtiem trained and mentored under him. She grew and developed her own depth and understanding of Oriental Dance to our art form. On her website is a quote from her inspiration: “Fahtiem brings a touch of class to Oriental Dance, as well as a delightful sauciness, making her not only a grand entertainer, but an artist as well. It’s no wonder that as a performer, teacher, and choreographer, she is so in demand.” (Ibrahim Farrah).
It is no wonder, then, that she followed his guidance and graced the stage of this celebrated Hall.
A Benefit Concert to Turn Up the Peace
Inside the "Great Hall" of Carnegie Hall
Normally, when we think about peace, thoughts of world peace come to mind. However, that’s looking at the big picture … and sometimes, that view can be a little overwhelming.
Two pioneering spirits decided to take a different approach.
Phillip Kanakis and Nandapriya Sattva joined forces to create a not-for-profit organization called Turn Up the Peace. Their overriding philosophy is that peace is not merely the absence of war, but rather the compassion and good will that we, as fellow human beings, show ourselves, the planet around us all and all surrounding forms of life.
To achieve peace, according to Turn Up the Peace, it is essential to create permanent uplifting solutions to people in at-risk situations. For example, one current project is to provide food for communities in Sri Lanka by planting Jackfruit trees to grow fruit that can feed families for 100-200 years.
As you can imagine … achieving this vision takes money.
In order to kick start their efforts, Kanakis and Sattva created a Benefit Concert to raise funds for the initiative. This Benefit Concert premiered on one of the world’s greatest stages – the Isaac Stern Auditorium at Carnegie Hall.
Top World Talent – from Marla Maples to Chamber of Orchestra of New York to Dan Reed to Fahtiem
The evening began with world famous Marla Maples as the Master of Ceremonies. Her sunny personality known around the world for her co-hosting of Miss Universe Pageant, Miss USA Pageant and Fox after Breakfast, to name a few, set the tone for an enjoyable experience.
Acts included beautiful music from the Chamber Orchestra of New York, whose violinist, French Hornists, cellos and other members of the orchestra filled the Hall with rich notes filled with passion and joy and at times, stirred the audience to tears.
Dan Reed, known for his work as an opening act for RUN DMC, UB40, David Bowie, Bon Jovi and more, graced the stage with songs from his newest album Coming Up for Air. He played acoustic guitar and was accompanied by a fantastic drummer (whose drum was a wooden box that he used as a chair AND a drum). One song depicted the Wall in Jerusalem. His gritty voice sang out of Jews who prayed at the wall at sunset on the Sabbath and the Muslims who prayed at dawn on the other side. The audience could feel the pain and tension and the longing for a peaceful co-existence; Dan literally transported us to the Holy Land.
Backstage at Carnegie Hall, Fahtiem with her dancers
Our lovely Fahtiem presented a gorgeous choreography featuring male modern dancers, ballerinas, jazz dancers and her own Oriental dance. The piece showcased veil work, Isis wings and dancers without any accessories. The music was light, uplifting and beautiful. Fahtiem’s work highlighted her talent for beauty, grace and elegance by skillfully incorporating the different dance genres that honestly “put the magic into every step” in a magnificent, spellbinding performance.
From My Perspective
Fahtiem is one of my personal inspirations. Her dance is beautiful, she is a professional role model for dancers like me who seek to dance and teach for an entire lifetime and her personal life philosophies of creating the reality we want have resonant at a deep level for me.
As a friend and a colleague in Oriental Dance, it was such an honor to share this special, magical moment with Fahtiem. To share what is arguably the pinnacle of her career – to dance our art form on the Stern Auditorium of Carnegie Hall – was deeply meaningful and I thank her for the invitation to be a part of the experience with her. I am so proud of her and happy for her!!!!
Gilae, Fahtiem and Raksanna celebrate at Planet Hollywood, NYC
And in my personal opinion, it is not a stretch to say that the same spirit felt on the May 5 1891 … the official opening night at 881 Seventh Ave in Midtown Manhattan when Tchaikovsky set the stage for musical excellence … Fahtiem has once again set the standard for excellence in Oriental dance.
International icon and master of Middle Eastern dance, Momo Kadous returns to ChicagoRaks™ as the featured guest artist! This year, ChicagoRaks ™ is a two day intensive with Momo.
ONLY 30 SPOTS!!!! This exclusive event ALWAYS sells out.
Download Registration Form: 2011ChicagoRaksRegistration
Agenda, Saturday, Oct 8 – Order and topic subject to change
- 9:30-10:00 am – Registration
- 10:00-12:00 noon – Oriental Choreography, Part I
- 12:00-12:30 pm – Break
- 12:30-2:30 pm – Oriental Choreography, Part II
Agenda, Sunday, Oct 9 - Order and topic subject to change
- 9:30-10:00 am – Registration
- 10:00-12:00 noon – Baladi, Part I
- 12:00-12:30 pm – Break
- 12:30-2:30 pm – Baladi, Part II
- 7:00 pm – informal potluck dinner at Raksanna’s home (bring a dish to share)
Workshop Location
Fry Family YMCA
2120 W 95th Street (corner of Book & 95th)
Naperville IL 60564
630.904.9595
** for driving directions, please visit http://www.randmcnally.com
Tuition
- One day – $150
- Both days – $250 (save $50!!!!)
- Payment plans available!
Coming from Chicago and taking the train?
Transportation to and from Rt 59 (Burlington Northern line of the Metro) can be arranged. Pitch in $10 to cover the price of gas and time for the driver (much cheaper than a taxi!) Email raksanna@raksanna.com for info.
Need Lodging?
Recommended hotel (5 minutes from workshop location, free breakfast, free Wi Fi, reasonably priced) – Super 8, 4228 Longmeadow Drive, Aurora IL 60504, 630.898.5419
On a budget? Limited number of rooms available at fellow dancers homes. Email for details.
(originally published in the international periodical Zaghareet)
Faten Salama. Her name rolls off the tongue with excitement and respect. Quintessentially feminine, supremely sassy and very lovable, she is known and revered across the world. Her performance vitae boasts of being a principal dancer for Egypt’s National Troupe, performing as both a troupe member and a soloist for royalty, dignitaries and audiences with several thousand attendees. As a teacher, she has taught beginners through professionals in six of the seven world continents, known for her fun-loving and nurturing style that blends just the right mixture of firmness to let you know she expects nothing but the best from you.
And … the belly dance scene is totally in luck.
This year, Faten Salama debuted her most recent masterpiece Al Massraweay: The Real Egyptian Certification. This 18-hour certification program combines history, firsthand experience, secondary research, culture frameworks, geography, dance theory and practical application into an intensive immersion that leaves participants with a solid education, a strong foundation of excellence in Egyptian style dance and the knowledge of how to apply folklore to Oriental dance.
Recently, I had the distinct honor to present Faten Salama and the Al Massraweay certification in Chicago. Nearly thirty (30) dancers from four states gathered to study with this dance master to become more educated and skilled in Egyptian style dance.
Debbie traveled from North Carolina for the workshop. “Before Faten’s certification, I had been studying belly dance for a number of years,” she remarked. “I was going with Raksanna to Egypt to tour and participate in the June 2010 Ahlan Wa Salan festival in Cairo. I felt Faten’s certification would help me prepare for the upcoming trip both as a person and as a dancer, especially because she offered so much in terms of historical and cultural information. I am happy to say that this program achieved this goal!”
A Labor of Love: More than One Year of Research, Writing and Compilation
It took Faten a little over a year to develop the curriculum. One of today’s foremost authorities on folkloric dance, Faten wanted to make sure to provide a strong foundation for dancers interested in Oriental dance. “In order to be a good Oriental dancer, it is critically important to know the folkloric movements, rhythms and cultural context,” she said. “Without this knowledge, a dancer can only go so far. Oriental dancers with the depth of folkloric knowledge stand head and shoulders above the rest because their vocabulary of movements and musical interpretation is rich, textured and educated.”
“Being Egyptian and having the experience of the National Troupe gave me many years of first-hand experience from which to draw,” reflected Faten, “but I still spent many hours of research, asking myself ‘why are things this way,’ ‘how does this fit into the big picture,’ ‘what is the meaning of this.’ When I did not have the answers from my own experience, I researched history books, academic journals, credible on-line sources and discussed ideas and topics with my colleagues to find the answers. Then, I incorporated the information into the program.”
Setting the Foundation: Culture, History and Education
As the name Al Massraweay indicates, this program is a deep dive into Egyptian dance. In order to give dancers the education needed to understand the dance, Faten presented a brief lecture of Egyptian history. She discussed the four great Egyptian civilizations and the manner in which each of the eras impacted our art form.
Then, her discussion moved to how the inner relationship of movements, costumes, tools, geographic environment, necessity of life, regional beliefs, environment, society and the inner aspects of a dancer, such as emotions, impact the dance. For example, she presented Sinai and Nubian dance, explaining how and where the people lived, the differences and similarities of daily life and then tied it in with dance by contrasting different movements, costumes and music, highlighting various elements and how they created a specific uniqueness to the dance.
Dance Theory: Starting with the Basics
If you grew up in dance lessons, such as ballet, chances are that your training includes Labonation, preserving dance steps and choreographies through writing. With more than four decades of teaching and performance experience, Faten knew the majority of belly dancers do not have the benefit of this type of formal dance training. She also knew how important this aspect of dance theory is to preserving Egyptian dance. So, Faten began her certification program with the basics.
“As I created the program,” said Faten, “I decided that it was important to build the theoretical foundation with dance essentials. That way, people can leave the weekend with the skills of how to write down each step, down to the smallest of details, in the way the choreographer intended. ” She lectured from the podium on how to write down directions, arm placements, movements, patterns and so much more.
Zerlina, a dancer who came to Oriental dance with a dance background, remarked that “Faten’s presentation of Labonation is an absolute necessity for any dancer. Oftentimes in the West (America), belly dance is not seen by other forms of traditional Western dance, such as ballet and jazz, as being on the same level or having the same credentials. Faten’s incorporation of Labonation and dance theory raises our art form exponentially because it raises the level of professionalism of any belly dancer who takes the course, understands the theory and applies it. We can talk the same language as ballet and be taken more seriously. ”
Exploring Egypt through Dance
Once Faten set the educational foundation for dancers, she moved into the different folkloric dance styles. In total, she presented more than eight different genres: Zar, Saidi, Shamedan, Nubian, Philahe, Eskandari (Melaya Leff), Bedouin and Simsameya (Suez Canal). She also touched on Kahleegy and dances from both the North and South Sinai region of Egypt. In addition to the styles, Faten discussed costuming and cultural aspects to each genre.
The dance portion of the certification included a regional overview, a demonstration of the movements, and a presentation of the specific music, followed by folkloric dance patterns and technique. Once dancers had a good grasp on the technique and movements, Faten then explained how to apply the folklore movements to the Oriental dance – and taught dancers how to do so.
Erika Ochoa, a prominent dancer based out of Chicago, was attracted to the certification not only because Faten is someone she greatly admires, but also because of this aspect of the certification program.
“I have trained in both folkloric and Oriental style for many years,” Erika said, “and firmly believe that for any dancer to be a great Oriental dancer, he or she must know their folklore roots. It is where Oriental dance originates – the movements, context, culture. Faten did a fantastic job of presenting so many different folklore styles and then applying the technique to Oriental dance. I feel I am a much stronger dancer – both in folklore and Oriental – because of this program.”
Monet Parker is a dancer from central Illinois. She just started belly dance and decided to take the certification program so that she could start off in belly dance with a solid education. “I am so happy that I committed the money and time to this workshop,” said Monet. “While I have danced professionally in other dance genres for many years, I am a baby belly dancer. This program gave me the knowledge in my body and the education for my mind that is a solid, authentic foundation to build upon. Faten is a delightful teacher and I recommend this program to anyone who is interested in taking their experience to the next level.”
Creating Her Legacy
When I asked Faten her inspiration for creating the program, she paused for a moment and then quietly said: “There comes a point in each artist’s life where you ask yourself what you can give back to the art, what you want your legacy to be and what you want to be remembered for. As I searched my soul for the answer to these questions, I realized that to me, the most beautiful dancers are the ones with the ones who have the education and knowledge as well as the movement in their bodies.
“Artistically and personally, I became aware that I wanted my contribution to our art to be a comprehensive program that is both broad and in-depth, providing the background, history, cultural meaning and context of Egyptian dance to preserve the art form of Egyptian dance – so that dancers who invest the time and money in the certification walk away with both the physical movements in the body and the education in their minds. By doing so, the art form is elevated by the creation of educated, well-informed dancers who understand and embrace the true spirit of Egyptian dance.
“Al Massraweay became a labor of love, the result of a lifetime of experience, research and cultivation that I drew upon. It took over a year to consolidate, create and develop … and as I roll the program out, I am overcome with joy and am humbled by the great extent to which dancers from across America have embraced this program, absorbed the knowledge and allowed this knowledge to live on through their dance.”
What Makes Faten Salama’s Al Massraweay Certification a MUST for Any Dancer?
As a professional Middle Eastern dance artist and educator, my continued education and training has taken me across the oceans to different continents and throughout our beautiful nation to workshops and certifications too numerous to count. Each of these programs has its own specialty and uniqueness, providing value and benefit to any dancer who completes these courses.
What makes Faten’s certification different from the rest and simply a MUST DO?
- Faten is a native Egyptian. This fact gives her program an authenticity that other Egyptian style certifications taught by non-Egyptians can never have. To make an analogy, if someone who was born and raised in Chicago moved to Egypt and lived there, at the core, this person would still be an American with an American perception and filter. It does not mean that the American does not have a great wealth of information and expertise to offer; what it means is that Faten can teach the nuances and cultural context as only a native can. For dancers seeking to fine-tune and enhance their Egyptian dance, this native authenticity is an essential ingredient for a strong foundation.
- Faten’s dance credentials. There are only a handful of artists in the world whose resume can compare or even come close to Faten Salama’s. With more than forty years as a professional dancer that includes being a principal dancer for Egypt’s National Troupe, Faten’s life has been dedicated to the dance. She has lived and breathed it every day of her life and this perspective is an invaluable resource for any dancer.
- Historical and cultural accuracy. With the goal of preserving Egyptian dance, Faten not only drew upon her personal experience as a native Egyptian, she also spent countless hours researching numerous sources to ensure that the information she presents was well grounded in history facts and culturally context. This scholarship gives even more credibility to her program because the content is supported by academic research, intellectual publications and expert authorities that are outside of the dance world.
- Depth and breadth of information. Faten provides a global view of Egypt by presenting the big picture – a map of the country, the different regions of Egypt and the associated culture and customs of each region – and then dives into the details of each section of the country. By presenting the entire picture and then providing the details behind each area, participants leave with a holistic understanding of Egypt and her dance.
- Translation from Folkloric to Oriental dance. Arguably, the majority of belly dancers are focused on Oriental dance as their primary style. One of the many beauties of this program is that Faten teaches the folkloric dance – an absolute essential part of any educated dancers portfolio – and then applies it to Oriental so that dancers can expand and intensify their own portfolio and dance movement vocabulary.
I, for one, am extremely grateful to Faten for taking the time to develop such a course that gives so much to dancers.
Thank you, Faten Salama, for preserving the beautiful art form of Egyptian dance and enabling it to live on throughout time … like the Pyramids themselves.
So much has happened in the past several weeks that it has been a whirl wind of events! In mid-September, Momo Kadous returned to the Windy City for my annual workshop and gala show weekend, ChicagoRaks ™ 2010, my parents celebrated their 50th wedding anniversary and I was featured at a workshop and show in my home town of Las Cruces, I was hired by LifeTime Fitness (a prestigious health club I’ve had my eye on for 10 years), my job at the doctors office is really ramping up, I turned 40 years old, my son turned 21 years old and in October, I headed to NYC to audition for the Belly Dance Superstars! Things are amazingly wonderful!
Rather than write about all of these fantastic experiences in one blog – and then not blog again for several weeks (life is busy!), I decided to write a blog on each one and I’ll post each week. That way, you can spend some free moments with me, if you’d like!
ChicagoRaks ™ 2010 – Featuring Momo Kadous
Gilae at the ChicagoRaks (TM) 2010 show
This year marks the fourth annual year for ChicagoRaks ™. My vision for this event is to bring Egypt to Chicago in an intimate setting where dancers from across the globe can study with a world-renowned Egyptian dance artists and showcase their talents for the artist in a fun setting. In addition to limiting the number of dancers to only thirty (30), I host dinners in my home or cocktail receptions to create a highly personalized experience where dancers can get to know the artist on the individual level, a rare opportunity in today’s world of mega conferences and festivals.
I first met Momo in Cairo about seven years ago. I had returned to the Land of the Pharaohs for Raqia Hassan’s Intensive Teachers Course, an amazing intensive where you immerse yourself in all aspects of the dance for ten days straight, dance eight hours a day and enjoy lectures in the evening in Cairo, Egypt. Momo, of course, is a featured instructor for this course.
During his workshop, Momo taught a mouthwatering Oriental choreography that was quintessentially his style – deep layering, interpretation of the grandest and the tiniest of details and utterly magnificent. I was completely inspired. Both his teaching style (demanding of our best, accepting no excuses and expecting the discipline typically found in a traditional ballet class) and his artistry touched me deeply on the soul level.
At the end of the Teacher’s Course, there is an opportunity to dance for our teachers. I decided to perform my award-winning choreography, Alfrec: An RE
Momo Kadous and Raksanna enjoying a relaxing moment
G Medley, that evening. With modern music that fused the many different folkloric styles to techno instrumentation, a brief taxim and a playful drum solo, I thought it was a perfect fit that showcased my personal style.
Momo, of course, was in the audience. He watched with thoughtful eyes and at times, I caught him nodding his head in approval and smiling. I was excited! That night, as I made my way back to my room, I passed Momo in the hallway of the hotel. He caught my eye and said quietly to me, “Raksanna, you have something very special. Please continue to train and develop. I look forward to seeing more from you in the future.” He nodded and quietly walked away.
I will never forget that moment – it was touching, humbling and oh, so exciting!
Fast forward and I found myself producing ChicagoRaks ™. My first year, I sponsored the delightful Faten Salama and she was such a win! For the second year, I decided to bring Momo – and it was fabulous! The girls LOVED him. Year three showcased the lovely Fahtiem from Los Angeles.
When I saw Momo in Cairo last December, we talked about what a great experience everyone had had when he had visited us. We both decided that it was time for him to return to Chicago and quickly made the appropriate arrangements. He agreed to teach his beautiful Oriental choreography and then have some fun with a drum solo and a modern pop song.
Dress rehearsal - the Shamaden dancers opened the 15-minute production number, an original Raksanna choreography that honors the beautiful genres of Egyptian dance
As registrations started coming in, I was so excited to see that we had dancers representing five States (Indiana, Illinois, Georgia, Wisconsin and California) and seven countries (Canada, Ireland, Japan, Poland, Thailand, Mexico and the United States) participating in the weekend festivities!
There was a special dinner for Momo at my house on Friday evening and then a cocktail reception with him on Saturday, prior to the show. Guests had the chance to meet Momo one-on-one and get to know this extraordinary legend and dance master on the personal level. In class, Momo kept dancers challenged and on their toes (literally) with amazing choreography, tantalizing technique and musicality that is top notch.
Ariel of Chicago performs a beautiful fan veil dance at ChicagoRaks (TM) 2010
Saturday’s gala show was held in an eclectic theater near downtown Chicago called The Viaduct. The lineup was a wonderful mixture of solos, duets and group numbers. Erika of Chicago kicked off the evening with an energetic Sha’abi dance; Diana the Dancer from Wisconsin performed a beautiful dance to “She,” Tammimi of Japan danced to a gorgeous Oriental number and Amani Jabril delighted the audience with a lovely wing piece. My professional competition troupe, Raksanna and the Desert Flames, performed our award-winning number featuring swords, veils and wings to Dr. Samy Farag’s Habipti.
My production company had been hard at work over the spring and summer perfecting one of my original choreographies that was a tribute to Egypt. The sixteen minute number started off with Shamaden as a nod to the Pharonic times then moved to Alexandria for a Melaya Leff number. A soft, spiritual number came next to feature the Zar, followed by the joy of Nubia. A traditional Saidi stick dance came next and the piece culminated in a rousing drum solo. I dedicated the number to both Momo Kadous and Faten Salama for their deep inspiration to me.
The girls rocked it! My heart swelled with pride as Momo’s eyes lit up throughout the show – and in the end, when we presented him with a Chicago cap and a photo of us all, his remarks brought tears to my eyes. “Tonight, I have seen my country, Egypt, on the stage. The passion and the spirit of these dancers show this art is not just about the body … but this art is about the soul, about touching the audience with your spirit and bringing us each closer to our humanity.”
Momo Kadous and Raksanna, Sept 2010
Momo, thank you. Thank you for your inspiration, for those words of belief so many years ago and for your own spirit that brings me closer to my own humanity, allowing me to dig deeper into my own artistry. I will see you in a few weeks, back in the shadows of the Pyramids, as I study with you again.
Hugs and shimmies to you all,
Raksanna
