Review of “You Asked Aunt Rocky”

 

You Asked Aunt Rocky

 

You Asked Aunt Rocky: Answers & Advice About Raqs Sharqi & Raqs Shaabiby Genevieve (Mary Beth Abel)

I have in my hand an autographed copy of this book. It’s inscribed with Morocco’s signature and her wish for “Happy Dancing!” In emailing her about making a purchase, she stated that she remembered me well (from only a few meetings and workshops). That Morocco is such a gracious and supportive “aunt” to our dance community is reflected in her personal interactions with me and countless other and in this wonderful book, which colorfully expresses over 50 years of experience in dance.

So, buy it now to have Aunt Rocky just a page turn away (www.casbahdance.org)!

You Asked’s beginnings

This book had its beginnings in the 1990s as lengthy, humorous, and info-packed responses on an Internet group called med-dance chatlist founded by Eileen Bauer. I first began subscribing in the early 2000s. I loved reading Aunt Rocky’s responses and printed out many of them (terribly worried that if I didn’t I might lose something important). And then I began hearing on the chatlist that a book was in the works.

Here we are in 2012, and we finally have it! It’s a dream come true.

There’s more than you imagine

Morocco’s book is an organized collection of these chatlist responses. Topics range from tales while abroad and history of the dance to teaching, techniques, and “cautionary tales.” The book includes images from Morocco’s travels, a glossary, bibliography, and index. In short, it’s a wonderful resource for getting steeped in a tradition of loving and practicing this dance form in a way that honors it and cultivates respect for it. My personal opinion is that Morocco is kicking off such a tradition with this book (or she might say it’s a kick in the pants—that phrase sounds like something she would say). I know many people are devoted to this cause already and that it isn’t new, but this book seem to provide a way to collect and unify if only because the “talking points” are all in place in one lively resource.

On this note, I think the most significant topic addressed in the book is how to refer to our dance form.  The correct way is to call it Raqs Sharqi , which in Arabic means “Oriental dance.” And Morocco devotes a whole chapter, titled What’s in a Name? More Than You Imagine . .  . , to this issue. The other term (“misnomer”) for the dance is usually referred to as the “b word.”

Burning questions answered here!

But, of course, there’s more. The book is arranged so that you can easily arrive at topics you are curious about. However, Morocco’s note that came with the book requested a front cover-to-back cover reading because the topics build. I’ve haven’t had the discipline to do that, but I would like to eventually do so.

I guess I’ve just had too many burning questions for too long like How do you spell gallabiya? and What exactly is shaabi? and other such questions.

A must read and a must buy

In summary, I believe this book is a must for any Raqs Sharqi dancer who is serious about this dance form and wishes to bring respect to it within the greater arts and dance communities. It’s a must for deepening your understanding of the dance, its music, and history. And it’s a must to have because it’s inspiring and that makes for—I must quote—“Happy Dancing!”

Yours in dance,

Genevieve (a.k.a. Mary Beth Abel)

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Zanzibar: Trance, Dance, & Devotion

     Tonight I received a text from Tamalyn Dallal, just arrived in Tangiers, about the review that recently came out about her film Zanzibar: Trance, Dance & Devotion. I hope you get a chance to see this latest film from one of the champion Dance Nomads on the planet!

This collection features 26 live performances shot in Zanzibar, a largely Muslim island state in Tanzania. As filmmaker, cinematographer, and dancer Tamalyn Dallal explains in the introduction, she worked with the folkloric troupe Kariako for two years to compile the material. Throughout, Dallal provides unobtrusive commentary regarding the steps, costumes, languages, instruments, and facial markings (such as paint and piercings). Subtitles translate the lyrics, which can be amusing, as in “You are skinny, but you are arrogant” and “If you have a funny head, the hairdresser has trouble.” For the people of this East African territory, each dance holds a distinct significance, although Dallal admits that even the participants in the Mwanandege ritual have no idea why umbrellas are involved; nonetheless, they feel strongly about preserving such traditions. Other dances recognize or celebrate sexuality, marriage, harvest, rites of passage, political ceremonies, and the treatment of diseases (fortunately for viewers who may be animal lovers, Dallal doesn’t film the killing of a chicken for the Kilua dance). For the most part, these aren’t particularly difficult or complex routines, but there’s plenty of joy throughout, with the possible exception of the trance sequences, which involve sheitans (spirits) who seem to possess some performers. Before her final edit, Dallal showed each tribe or village her footage to make sure she had represented each aspect correctly. DVD extras include a filmed segment of an acrobatic display that draws from Chinese traditions. A fine multidisciplinary title that incorporates history, religion, geography, and ethnomusicology, this is recommended. (K. Fennessy) From the Jan/Feb 2012 Video Librarian Journal

Zanzibar: Trance, Dance, & Devotion 
(2011) 80 min. DVD is available at www.danceonfilm.info, $39.95. Dance on Film. PPR. ISBN: 978-09795155- 9-0.&#8232

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African American Hula Teachers

FIRST TIME AFRICAN AMERICAN HULA TEACHERS WILL PERFORM AT THE ARIZONA ALOHA FESTIVAL
KalenaKalena
Peoria, AZ (BlackNews.com) — Tropical Polynesian Productions, led by Kumu Hula (Teacher of Hula) Kalena of Glendale, Arizona, will perform a Hula Kahiko (Ancient Hula) dance at the Arizona Aloha Festival in March 2012 at Tempe Town Lake with their sister Hula Halau (Hula School) Napua O’ Polynesia from Rhode Island, led by Kumu Hula Carolyn Castro of Providence. The two will be the first African American Kumu Hulas to perform at the festival. Their performance will be on Saturday, March 10th at 3:45 p.m. Carolyn and Kalena are honored to have been given this opportunity to perform. They are known for their energetic and upbeat dances. Both have been dancing since childhood. Tropical Polynesian Productions’ mission has always been “Keeping It Alive and Passing It On” and honors Kalena’s Polynesian ancestry. It is her desire to continue to perpetuate Polynesian culture through events, educational programs, classes, and seminars. She will travel out of state to conduct seminars, as well as perform. Kalena teaches the following monthly dance classes, as well as 1- or 2-day seminars: Hawaiian (Ancient and Modern), Tahitian, Fijian, Tongan, Maori New Zealand, and Samoan. In addition to dance classes, she conducts Tahitian drumming and Samoan fire/knife dance seminars. She welcomes all shapes and sizes to participate and performance opportunities are available. Kalena founded Tropical Polynesian Productions in 2007. Kalena is currently teaching Polynesian dance classes at the Arrowhead Montessori, 14801 N. 83rd. Ave., Peoria, AZ. She teaches Polynesian dance to the preschoolers on Tuesdays. New classes start the first Thursday of every month. You may contact Kalena at 623-255-8491 and/or visit her website at www.tropicalpolynesianproductions.com for class location and times. Carolyn Castro, Artistic Director, for Napua O’ Polynesia has been joyously leading this multicultural dance troupe since 1988. Napua O’ Polynesia’s dancers continue to perform throughout Rhode Island, the New England region, and nationally, too. Troupe members have competed three times at the International Hula competition in Honolulu, Hawaii.
Carolyn currently teaches on Saturdays from 3 pm to 5 pm, at the Carriage House Theater, 7 Duncan Ave, Providence, RI 02906. Carolyn will spear-head the 2012 season with seminars/workshops in RI. She can be contacted at 401-273-8928 for further information or visit www.tropicalisland-dancers.comFor more information about the upcoming Arizona Aloha Festival, see their website at www.azalohafest.org.

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At Siwa Oasis with Tamalyn

Salt Lake at Siwa

A Salt Lake in Siwa Oasis, Egypt.

Fathi, Tamalyn and Ali getting dinner ready before dark in our campsite in the white desert in Egypt with Tatiana, Pauline, Silvana, Akahsia, Trish and Tamallyn Dallal. Denise took the picture.

Dinnertime

The Tunura show in Cairo, Egypt.

Tunura Show

View of the pyramids

A local family taking a swim in an oasis in the middle of the Saharah Desert.

Swimming at the Oasis

The white desert at night, tombs in the Saharah Desert,  a mosque in downtown Cairo, a donkey cart in Baharia Egypt, the saharah desert, mummy wrappings…

Akhasia's Memories of Egypt

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Hello Dancers!

Pyramids of Giza

Scarf Malfunction at Giza

It’s been a steep learning curve for me (I’m not the most technically literate!), but I am so looking forward to hearing some of your stories- that makes all the frustrations worthwhile. The most important trip I ever took to date, was to Egypt in 2006 with Morocco (Aunt Rocky) of NYC. I had done a little traveling up until then and had dreamed of Egypt, but never thought I’d have the opportunity to go. I was awed by the ancient wonders I saw, improved my knowledge of dance and made some amazing new friends. Ever since that trip I’ve been interested in the idea of traveling AND dancing… an activity requires that you dig into the culture, really listen to the music, pick up cultural cues and physically interact with those around you; most other tourist activities don’t demand that. Travel/Dance improves the mind, offers respect, opens the heart and demonstrates love in motion. Here’s wishing you many memorable dance adventures!

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