You want fabulous? I'll give you FABULOUS! Normally it is only one photo, no words. But this is a slideshow of photos and I wanted to give you context.
So for those who don't know, this past September Amy Sigil, Suhaila, and a bevvy of talented dancers and producers put together a tribute show to Jamila. Best of all? It was COMPLETELY SECRET. She had no idea it was happening until she walked through the doors of the theater and saw all assembled there. The show sold out and was an incredible three-part show, showcasing Jamila's early years in the circus, her nightclub days in San Francisco, and Bal Anat at the Ren Faire.
We are told no video will be made available. I just can't fathom that. But in the meantime at least, we have this photo slideshow taken by the talented Pixie Vision. I can't embed it, so click through, and enjoy!
Oh finger cymbals, how do I love thee? Let me count the ways!
I so adore these simple metal disks, because there is so much musical possibility held in such a simple form factor. The rhythms that move me to dance also move me to play, to sway, to bop, to jam. That instinct is so reflected back at me in this awesome clip from Rakkasah 2005. The grandmama of American bellydance, Jamila, and her iconic daughter Suhaila take the stage to show us how it's done.
Anyone who plays finger cymbals knows how complex and difficult this choreography really is. I am not a huge fan of the staging, but the piece stands as a great example of the power of finger cymbals in unison! The background music will be familiar to my regular students--it's Saidi from Atef Mitkal Kenawy. You can find it linked on my recommended playlist on the Student Resource Center.
YIP Podcast did a great interview with John Compton of Hahbi 'Ru recently, which I thought y'all might enjoy if you weren't already aware of it.
When asked how he became interested in Bal Anat and studying with Jamila Salimpour:
"I moved to California in 1971...I think. In 1972 was the first time I saw Jamila's group. I didn't know if they were from the moon or what the heck they were. The drum beat just got to me, and I just wanted to be a part of it so bad.
I approached some of her dancers and they said 'Oh no, I can't teach you. Jamila... that lady...she would kill me is he knew I taught you.'"
...
"Finally somebody...a friend of mine... told me where Jamila's secret studio was. And there was a little room you went in before you actually went into the studio and there was a black curtain which separated the two. She said wait until after the class starts, and sneak into that room and you can see
And I pulled the curtains apart just enough to peek into the room with one eyeball, and then try to do the step in this little waiting room, and I did maybe basic Egyptian, Arabic 1, 2, and 3 or something. And all of a sudden the curtain ripped open. Jamila was a step above where I was standing...she looked huge...and she just went 'YOU!' pointed at me, 'IN HERE! SIT!'"
Wanna know what happened then? You have to give it a listen! More about John Compton's first performance with Bal Anat, why he quit and moving out on his own, influences on Hahbi 'Ru's stylizations, and so much more.
I am loving that Habibi has been digitizing their articles and putting them in an online archive. THANK YOU! Here is snippets from a gem from 1999, a history of American Tribal Style written by Kajira Djoumahna of BlackSheep Bellydance:
"I believe what people remember most from these influential beginnings is more a certain feeling derived from watching Bal Anat, as the ancient roots of past and present cultures seemed to be evoked. The colorful costumes and facial tattoos worn by many of the dancers seemed to recall a tribal culture, whether or not they were truly authentic. We must try to keep in context the fact that during this time the world, and especially San Francisco, was on the cutting edge of experimentation, undergoing a modern renaissance if you will. It was a time different from any other in our history as far as creative energy and limitless horizons. Add to that the fact that Jamila is an excellent show person, knows how to set an entertaining stage, and how to keep an audience enthralled, and it is no wonder her ideas were so successful — and still legendary even thirty years later."
"Carolena took ideas from Masha’s classes, Jamila’s approach and her own sense of style and began working on what would become the primary interpretation of American Tribal Style Bellydance we know today. I asked Carolena whether Masha’s style, or Carolena’s American Tribal Style, had anything to do with Jamila Salimpour’s format.
'I’ve never met Jamila, and I’ve never studied with her, but from everything that I can see from people who have studied in the Jamila school, it’s definitely the same base. I didn’t see exactly what happened, but I feel Masha was an artist who studied with Jamila, saw what Jamila was doing, and put her own signature on top of it. I saw what Masha was doing and I put my signature on top of that. I can still see the clear connections. I’ve read interviews with Jamila, and I’ve listened to how she put things together, and it all makes sense. She (Jamila) came from a circus background, and was really into presenting a show. Masha was an artist who was really into presenting a design, so I can see where I got my theory of presentation. I would definitely credit it to Jamila. Maybe someday I’ll get to meet her. I’d like to thank her in person!'"
(Shay's note: Incidentally, Carolena has still never met or had a chance to thank Jamila personally--something Jamila made a point to mention to me when I met and talked with her at her week-long intensive in 2009... I truly hope they get a chance to connect someday!)
Want to learn even more fabulous ATS history?
Join us for I *heart* ATS Month: A Tribal Intensive, which begins next weekend! The first workshop will include a presentation on the history of tribal bellydance (complete with a projector and everything!), followed by a comprehensive Level 1 Foundations technique workshop.
I *heart ATS is comprised of two hour workshops every Sunday evening during the month of February, focusing on ATS®-based group improvisational bellydance and its fusion offshoots. We will spend time on strength and flexibility work, individual movement technique, partner concepts, history, costuming, and more.
Renee and I are leavin' on a jet plane today for SF to attend the Jamila Salimpour Weeklong. I am sadly injured on two levels and won't be dancing much, which makes me very sad, but I am still excited to get to *literally* sit at the feet of one of the most influential dancers in American Bellydance history, soak up her knowledge and stories, share some good times with my friend Renee, take in San Francisco for a week, and generally make the most of a week of learning and silliness!
I will not be testing as we have to fly back on Friday for our annual troupe retreat. Testing begins at 1pm and our flight is at 3pm. Though testing would be something I would like to do (if for nothing else, to be able to have the option to do the Level 2), I am not going specifically to get a certificate, but instead am plenty happy to get the knowledge and hear it from the Source. Then we're happily heading home early so we can be swapping bags and leaving immediately for the cabin to meet up with our dance family for a weekend of sharing, drinking, noshing, laughing, drumming, dancing, crafting, and generally bonding with my dance sisters.
Wow, a whole week without my hubby (I will see him for about 30 minutes when he picks us up at the airport until we hop into Renee's car to drive off), and without puppies. But also a whole week without working on anything yard related! Woot! Though in related news on that front, We Can Haz Lawn! We have a weirdly perfect sod lawn outside my window as I type this, and it is tripping me out!
Okay, gotta finish my last minute packing, then off to the airport! But before I do, here is a little taste of what I will be working on. Here is the performance we did at the Northwest Folklife Festival last year. The first zill portion was inspired by the Jamila Level 2--Renee came back aflutter with finger cymbal goodness and orchestrated this zill-off. Then Renee, Quinn, and I perform El Ataba Khadra from Jamila's Level 2 coursework, which Renee and Quinn learned and brought back and included me in performing it. Enjoy!
