So Lorna of Cairo recently blogged about how she’s really enjoying dancing saidi right now (and forgot to mention that her costume looks amazing; I want to see bigger pictures of it!), which sent me off Gleaning The Tubes for a plethora of saidi videos. Because I have an almost unhealthy obsession with saidi.
For those who are unfamiliar with the term, saidi was/is originally a folk dance from Upper Egypt, but has been lumped into/hijacked by bellydance. It’s also known as “raqs assaya” or stick dance, when performed with a cane/stick (dur), and there’s a men’s duet version called tahtib that simulates a fight. The women’s form is, of course, more refined and less warlike; I’ve also heard that the saidi step (the lifted legs and kicks) is mimicking a ‘dancing’ horse.
So, we’ve combined pole-arms, horses, and dance. If you know me whatsoever, I think you can see where my obsession with saidi comes from. So, on that note, I present to you: SAIDI SPAM!
As Lorna’s post was the instigator, her video is first! The first half of her dance at a wedding is a saidi number with two male back-up dancers. I particularly like how she “borrows” a cane from the audience. Cheeky and awesome, as always!
I just discovered this video today of a Lebanese dancer named Rindala (though this might be proof that I’m rubbish at telling styles: I would have pegged her as Turkish style if it weren’t for the cane!). Her energy, speed, and skill is inspirational!
For a complete contrast, Yasmina of Cairo (with four male dancers) produces a far sweeter and sedate dance. Also, this video alone makes me want to jump onto a plane to Egypt RIGHT NOW.
I have to include Elspeth Swishandhips in this spam! I was lucky enough to see this performance live, and it was amazing; the video doesn’t do it half justice. Every clap and cheer was more than deserved!
Penultimately is the great Fifi Abdo, who really needs no elaboration. However, I noticed with a bit of glee that she seems to be playing to the women in the audience.
Finally, sans stick, is Aziza. On YouTube this had a bit of criticism for not being earthy enough, but I really like the softness of it. If this is a ‘horse dance’, well, I’ve known horses that move like each of these women (that’s a compliment, fyi!). Anyway, when a horse is really dancing, they’re not earthy: they practically float!
Here, to drive that point home, have a video of a dancing horse:
That’s some of the most beautiful dancing I’ll ever see.
My love for Tribal Fusion bellydance was more-or-less inevitable. Tribal Fusion was, after all, developed in California from ATS, and I tend to make quite a bit of noise about me being a Californian. ATS itself sprung from Bal-Anat, an American Cabaret group that performed significantly at the Californian Renaissance Faires (from what I’ve been able to find on the internet, they were mostly at the southern Faire, but info on the original northern Faire is scarce seeing as it went under when I was younger—they very well may have been at both). My mother also took me to the RenFaire as a child, but I don’t know if I ever saw Bal-Anat, as we only went to the northern Faire, and our attendance ceased when it went under. All I remember was the amusing way food was sold, that I bought an ocarina, and I wanted a snood. I still want a snood. Seeing as I could make myself one these days, I should really get on top of that.
Anyway, when I was in high school/college I got really into RenFaires, performing in (and helping run) my undergrad’s medieval variant, and learning quite a bit of stage combat along the way. It was around then that I was introduced to TF/ATS, but due to faire didn’t have time to pick up another hobby (boy, that complaint still sounds familiar…!). It waited until grad school. I picked up bellydance simply for something to do with myself, taking Egyptian lessons because they were what was available. No more than six months after, however, my current TF teacher Laura was invited to do a workshop locally. Do I actually need to say I was hooked?
Yet I’m still conflicted as to what bellydance style to pursue.
Lorna of Cairo, dancing Egyptian style with veil intro.
Though I absolutely adore watching Egyptian (especially Lorna!), I know I’m not an Egyptian dancer. Though I take Egyptian classes on occasion and enjoy performing Egyptian class choreos, it doesn’t feel like me when I’m dancing solo. I feel like an imposter, which is exactly the opposite of how I should feel.
Sema Yildiz, dancing Turkish style with zills.
Part of me wants to learn Turkish so that I could at least have the option (eventually) of restaurant work, gigs at cultural events, etc. I also quite enjoy floorwork and zills, both standards in Turkish, and Turkish is heavily influenced by Roma dancing (which is just COOL). But Turkish is nonexistant in this area—no teacher!—and I have the feeling I’d run into something similar as with Egyptian.
Mia Shauri, dancing American Cabaret with tambourine.
As for American Cabaret, I absolutely love the way Mia Shauri dances; it’s something I’d like to emulate. I love her use of zills, her ability to manipulate props, her spins, arm carriage, and hip work. Since AmCab does floorwork too, that makes it an option, but as I’m not currently living in the States (or a closely-related area—Mia Shauri’s from Puerto Rico) I’d feel a bit silly trying for it. Though AmCab does exist abroad—it’s usually labelled “vintage orientale” or “eclectic”, but both those labels (and even AmCab) could simply be translated “immigrant fusion”. However, with the local community’s preference being straight Egyptian, such a conglomerative style would be difficult to pursue.
On the other hand, I’m rather obsessed with saidi. It’s a combination stick (weapon!) and horse dance, which puts it right up my alley. On the other hand, since it’s originally an Egyptian folk-dance it’s usually found lumped in with Egyptian style, and as discussed above that’s just not me. I would do saidi, but not the rest that it’s associated with. It’s just not me. Which is particularly ironic, seeing as when I was little I wanted to be an Egyptologist (though I’m pretty sure I chose that simply because I didn’t know a word for people who study mummies—and I was interested in mummies outside of Egypt, too. I liked natural mummies best. Yes, I was an odd child). By the by, the video linked above is the best stick dance I’ve seen. And I was lucky enough to see it in person!
Finally, returning to Tribal Fusion (I’m going to skip ATS—I know it’s too rigid for me). Anyone who knows me knows I’m a bit “SQUEE YAY HAPPY”…which makes me worry I’m just wrong personality-wise for TF. Yet other parts of me (the medievalist, the stage combat artist) make me feel like I fit perfectly into Tribal Fusion. I feel quite comfortable with it, both stylistically and from its origins. Props are a go, as is floorwork (though veil is usually out, alas!). I like the freedom TF has in music choice, and my favourite music (folkrock!) fits perfectly into the style.
Throughout my consideration of styles, the only thing that’s consistent is my love for props—a hold-over from stage combat, I think. My TF teacher has ordered me to do sword, and my Egyptian teacher has ordered me to do veil. I’m currently teaching myself zills, and want to learn basic Egyptian rhythms.
And regardless of style, I LOVE watching good bellydance. Period.
This ended up an inordinately long and self-absorbed post. Oh well. If you’ve made it to the end, would you be kind enough to provide feedback to help resolve my crisis?
