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RULES FOR DANCING WITH A SOLO-ING INSTRUMENT
Nay:
Always use fluid arm movements, figures of 8's, as well as add
that famous spiritual expression on your face. Keeping in mind
whether or not it is played fluidly or rhythmically, or without
rhythm, and the musical accents of the solo as well as any call
and reply between the Nay and the orchestra.
Quanoon:
Shimmy, shimmy, shimmy, but always pay strong attention to the
rhythm and the musical accents of the solo as well as the orchestral
call and reply between.
Aud (Lute):
Same as the Quanoon.
Violin:
This is the one to watch out for. As the violin can play long
drawn notes as well as fast choppy type tremelendo sounds. When
the violin is doing "Legato" sounds, longish fluid drawn notes
without stops in between, you follow what he is doing with your
movement. Fig. 8's, with arms and fluidity. If he does tremelendo
sounds (fast rhythmic parts), you know what to do.
Accordion:
Same as violin, but it's more earthy and Baladi.
The basic rule is simpleE = E
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The soloist does a sound this long /// you move this long
///. He makes a sound fo this long //////, you move for
this long //////. He goes ~~~~~~~~~~, you go ~~~~~~~~~~.
He does XXXXXXXXXX You do XXXXXXXXXX.
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The same thing applies to the orchestral sound, but with large
movement, and with greater use of the space. If in the middle
of the soloing part you have a question and answer between soloist
and orchestra, reply with the orchestra with larger movement,
even a spin or changing of position, according to the sound of
the orchestra, then move back to what you were doing with the
soloist.
Then when the orchestra plays a big LAZMAH, then you move larger
movements and you choreograph that accordingly, with special attention
to stops, rhythmic changes and speed of the musical part.
All this does not infringe on artistic interpretation, or aesthetic
input, however, I know that unless that it corresponds to the
music in this manner, in my personal eyes it's neither artistic
nor aesthetic. This is MY PERSONAL OPINION and I know it to be
the opinion of the Arabian audience.
Oh boy, I know I have opened my big mouth now, but it's because
I feel you want to know, and have not been told before.
Not many people know what I have just told you, even some big
and famous named dancers and choreographers and even famous teachers
I don't wish to mention any names for obvious reasons.
I hope I have helped, my aim is to let you know and to help you
to become a more KNOWLEDGABLE DANCER.
Please don't let my hot blooded attitude in my writing affect
your views on the deeply felt message I am trying to pass on.
It is my burning ambition that our beloved dance and art, to which
I have dedicated my whole life, be applied in a way that will
reach others and make it more loved and respected by all. Egyptian/Middle
Eastern dance will only progress if we know it's science, and
study it as one. Look at what they are doing with Ballet, Jazz
Dance, Indian Kathakaly, Flamenco, Balinese Baris Dancing and
other Indonesian dances. They are considered as a science and
are studied rigorously and are highly respected worldwide.
Why is our dance considered LOW by the people who invented it?
It is because they did not make it into a science otherwise they
would have all been killing themselves for that CERTIFICATE that
they can hang on the wall of their offices, which opens all the
doors. In the Arabian world as well as many others, if you are
not Doctor this or Lawyer that you are a NO-BODY. Sad But True.
I grieve because of it....
Knowledge commands responsibility, and control.. and the knowledge
is here for you on a silver plate
Happy dancing With lots Of Rhythm
Hossam Ramzy.
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