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