Karim Nagi Visits San Diego

I ran across a Facebook post by Cassandra Shore a few months ago with a YouTube video of an Egyptian man playing zills.  Curiosity compelled me to click play and that single action led me to the discovery of a true Master Artist.  I was just absolutely stunned and amazed at the rhythmic skill and coordination this gentleman had.  Immediately after watching the post, I went on a Youtube search to find more on this mystery man who floored me with his performance.  Each video I found was another display of sheer greatness.  Not only is he a master at zills, to my pleasant surprise, he is also a master at Tabla, Riqq tambourine, Buzuq, Tahteeb & Dabke dancing.  It is a very rare combination indeed to find one so talented and versed as both a musician and dancer.  One video led to another and I stumbled upon a glimpse of this man as a passionate educator on Arabic Music and Dance.  His name is Karim Nagi, Egyptian Master Percussionist, Master Arabic Folk Dancer, and creator of Turbo Tabla.  As luck would have it, Morwenna Assaf of the Art and Dance Academy in Oceanside announced shortly there after she was hosting Karim Nagi for workshop.  I immediately signed up for it without even reading what the workshop topics were.  I just knew whatever he had to share was going to be awesome based on the YouTube videos I had seen and it most definitely was.



The first two hour session was a lecture on the musical introductions called "Muqadamat" in Arabic of Egyptian pieces sung by the legendary Oum Kalsoum.  Morwenna's studio provided the perfect intimate setting for such a lecture on the music composed for the great Kalsoum.  Karim played the buzuq, an 8 stringed Egyptian lute similar to the Greek Bazouki, and went through the musical scales known as Maqam each piece used.  With the patience of a father teaching his children, he described in detail how the notes in the Maqam emotes certain universal feelings such as happiness, sadness, and the bittersweet nature of love itself.  Karim, a native of Cairo, displayed a very witty sense of humor and the "Itsy Bitsy Spider" song was used as the example of the Maqam called Ajam to set the basis and differentiation of how the other Maqams sound by comparison. 

Each "Muqadim" was also broken down by rhythmic changes accompanied by Karim playing tabla and teaching us to clap the rhythm while singing the tune of the song.  He also described the difference between the single instrument sections and the orchestral sections in addition to describing the feelings and meanings behind each song.  His explanations added a depth and richness to the pieces I've heard many times but never really knew in this way.  I equate it to having a decadent dessert that looks so delicious you can almost imagine how it tastes before it even touches your lips.  It's not until you've actually taken a bite you discover the full spectrum of what your mind began to process by sight.  Karim's lecture opened my mind to the colorful palette in the music I listened to for years and I now realize have only heard with a limited black and white understanding until his explanations. 



The second workshop was a challenge of physical stamina and rhythmic timing as we plunged into the Arab Folk Dance Intensive.  Karim displayed such a strong presentation of the dabke which was equally matched by his enthusiasm to share his knowledge with us of stylistic differences between regions in the Arab world.  The energetic spirit of the dance was moved through the group as Karim led us in the line dance around the studio.  Dabke was followed by an introduction to Tahteeb, an Egyptian cane dance.  We explored the history of the dance and basic moves with cane being careful not to accidentally destroy fragile merchandise in the studio.  At the close of the workshop we were introduced to the trance educing dance used by Sufi mystics called Zikr.  It was in this portion of the workshop you were exposed to the powerful spiritual connection Karim Nagi has in his music and his dance.  Like a great electrical transmitter, he spread the spiritual energy through the group as we moved to the Zikr music.  The result was a state of reverent silence at the conclusion of the dance.



Karim has a great ability to convey and communicate the workshop material in a manner understandable to those of us who have not been born into the culture.  His teaching methods reinforce your learning experience by presenting the subject using live music, drumming, group participation, and a dimensional concept of the relationship between music and dance.  Karim has a unique expressiveness and genuine desire to expand your knowledge creating a learning environment that is uplifting and radiant with a very positive energy.  I walked away feeling more confident not only in my understanding of the music but in my dance as well. 
Morwenna Assaf will be bring Karim back Fall of 2011 for another workshop.  Stay tuned for the opportunity to study with this Master Artist.

For more information on Karim Nagi, visit his website, www.karimnagi.com
by Maya Jewel

What's in Your Performance Bag?

Here is a list of things I like to make sure are in my belly dance performance bag every time I dance.

• 2 copies of my music with an additional set just in case they want an additional performance.  
• A spare costume, sometimes a zipper will break or something doesn't fit suddenly like it should so a back up costume is good to have.  Plus, if they do want you to do that extra show set you have a new fresh costume.
• Shoes:  I ALWAYS wear shoes in restaurants.  There are health codes to remember and in some restaurants, especially Greek restaurants, glass on the floor.  Many injuries can be prevented by wearing shoes.
• Sweat towel, this is of course handy for after you perform to dry yourself off.
• Emergency Sewing Kit:  things like small scissors, needle with basic white or black thread, an extra hook and eye can come in handy for simple repairs on finger cymbals, costumes and accessories.
• Travel Size Deodorant, Lotion, Hair Spray, Body Spray/Perfume
• Extra Safety Pins of all size
• Bobby Pins, hair clips and rubber bands.
• Nail Clippers, Clear Nail Polish
• Business Cards
• Body Glitter
• Jewelry 
• Touch up make-up with red lip stick to freshen up before or after your performance. 

With these simple things you are bound to be ready for any nuisances that come your way!  

New to Restaurant Performing

So you've decided to perform at restaurants?  You will find it is a world all of it's own.  Do they already have dancers or will this be a first time thing for them?  If there already have dancers it is a good idea to check out their shows.  Note how long they dance for, is it live music or recorded, what is the flooring/lights/decor (are there any obstacles such as chandeliers, heat lamps, etc),  do the shows begin on time and how may are there, is there a style or particular kind of music the restaurant owner likes?  Try to talk to some of the dancers ask what they like or don't like about performing there.  Ask them what the pay rate is to see if dancing there is even worth it for you.  Plus, you don't want to undercut dancers or other restaurants.  Find out about the dressing room situation as well.  Who does the booking for the restaurant?
Then when approaching the restaurant about performing there, do it at a time when they are not busy.  Bring a current photo of yourself, a business card, as well as a DVD of your dancing.  I do not suggest doing a free "audition" or "trial show".  They should be able to judge your dancing from the DVD just fine.  You might want to bring a portable DVD player just in case they don't have anything to pay it on.
Lastly, be careful if the owner wants you to do all the advertising for the show.  Ask him/her where or how they regularly advertise  Ask if you can pass out coupons or have a printable coupon put on your website to attract customers.   If you make fliers for the show be sure to bring some for the restaruant to pass out as well.  Before you do any expensive advertising be sure to ask the owner if you will get any reimbursement and if so up to what amount.
Don't give away your services, remember to set the bar high for payment if this is a new show.  You can always negotiate from there.  Tips are not guarantied so I don't recommend considering them as part of your payment.

Used Belly Dance Costumes for Sale

This royal blue beauty is absolutely stunning but it is just too big for me.  I bought it from the Egyptian dancer Faten Salama for about $700 and it now just hangs in my closet.
The hip "belt" and skirt are all one piece.  The "belt" is stretch velvet - with looping beading along the bottom and tasseled fringe through out.  Will fit hips 36" to 42"- skirt length from hip to floor is about 40" long.
Bra will fit up to a C cup, 30" to 35" around.
Light catching large rhinestones are AB.  All beading and sequins are silver. 
Includes a head band & gauntlets
Asking $350 OBO

This one was bought from Sakti International for I believe around $600.  It is flawless - great craftsmanship, fabulous colors but I just don't care for the belly belt on me.  The veil and the arm cuff have never been used. The emerald green fabric is stretch velvet, very comfortable and easy to get into.  I added the inserts in the leg slits but they can be easily removed.  The beads are large with both beads and sequins in a array of different greens and silver.
Skirt length is 35" long, Hip is 32"
Bra is 30"-36" around and would fit up to a C cup, rhinestones along top
Comes with 3 yard veil, headband and 1 arm cuff
Asking $300 OBO

If you would like to know more about these lovely costumes or are interested in having them in your closet please email Talia taliamedance@yahoo.com