Farida fahmy biography of donald

On July 31, 2006, Mahmoud Reda agreed to an interview chance discuss the origins of distinction dances used in Reda Company.

The purpose of this interrogate was to clarify which aspects of Reda Troupe's work were drawn from actual folk multiplicity, versus which arose from beat inspiration.

My objective for distinction interview was to document Well-known. Reda's process and experiences desert shaped the work he begeted. I wanted to provide top-hole primary source that others could reference when performing their go bust research into Reda Troupe added its place in Egyptian dramatic history.

For purposes of these articles, it is not encompass my scope to critique ruler work or provide my inaccessible analysis.

Mr. Reda expressed elegant preference that I not tilt the interview. He said agreed would speak more freely venture I didn't capture it extend tape. For that reason, Comical opted to take written keep information by hand instead of standing.

To ensure I had specifically captured the conversation, I gave him the opportunity to look at the articles I wrote relating what he said in nobility interview and correct any errors I had made. This rearmost version has been approved outdo him as accurately representing what he told me.

During Egypt's war with Kingdom in the 1960's, the Afroasiatic government sent Reda Troupe adopt perform for the troops trace several occasions.

One of these times, circa 1967 or 1968, the performance was outdoors, take up again the troops seaated in say publicly bleachers.

The surface provided for righteousness dancers was a tent tissue which had been waxed. Farida Fahmy was the second pardner. As the first group undamaged their dance and left authority stage, they warned her have a high opinion of take off her shoes, in that the surface was so skiddy.

Following their advice, she plainspoken so.

Reda noticed that she was jumping oddly during her details. When she finished and came offstage, he asked her reason. She explained that the soles of her feet were severely burned by the hot polish.

He asked, "Why didn't give orders walk out?"

She said, "I can't.

They expected to see us."

A military doctor examined Fahmy's wings and said, "Don't worry, phenomenon have exactly the right cosmetic. It's what we have bent using for the soldiers."

It took Fahmy 3 days in relax to recover from the injuries.

ABOUT THE PHOTO: Reda Troupe performs for the Egyptian soldiers.

This photo was included on a- CD of photos that Reda gave me for the location of illustrating these articles. Jiffy on the photo to depiction more detail.

As Mahmoud Reda became known reach his work as a choreographer, Samia Gamal asked him cap choreograph a piece for permutation.

His method of approaching dancing was to ask the pardner to show him a persuade of her style, some dying her signature moves, and commit fraud he would build a show around it.

So they began come to get play some music on honourableness sound system, and she makeshift a bit for him. Significant saw some moves that prohibited wanted to incorporate into influence choreography, and asked her drive do it again.

She couldn't remember what she had done!

So she did objective new, and he saw moment he liked and wanted perfect use, but again she couldn't remember what she'd done!

ABOUT THE PHOTO: Samia Gamal does an Arabesque in a area from the movie Sigara wa Kas (A Glass and smashing Cigarette).

"In Egypt," whispered Reda, "we don't say 'belly dance'.

We say 'baladi'." Reda himself uses the term raqs baladi ("dance of the impress town") to refer to both the folk dance based aver this movement vocabulary and lying on the nightclub act that has grown out of it. In the way that asked about the term raqs sharqi (Oriental dance), he discharged it as a term operate doesn't use.

He didn't define why.

Reda said:

"All dance sham in Egypt is based market leader folklore. Raqs baladi is family circle on folklore. Baladi could befall praise, or it could flaw making fun of someone.

"For some reason, this dance became more naked and more hyperbolic.

The bad reputation of honourableness nightclub dance in Egypt decline due to the nakedness captivated the exaggeration of the intumesce and other parts.

"The cabaret dancer has nothing to affirm, no story, no theme, tetchy sexy movements. It's abstract."

He reflected on the Egyptian tryst assembly and their attitudes, and honesty places where the dance evaluation done.

"You don't take your mother or wife to boss cabaret. The dance there level-headed the same as raqs baladi except that it is comprise exaggeration of moves and bareness. It has also historically archaic associated with prostitution."

ABOUT THE PHOTO: Farida Fahmy's performance demonstrates Mahmoud Reda's vision of what raqs baladi should be.

This photograph was included on a Note of photos that Reda gave me for the purpose quite a lot of illustrating these articles. Click salvo the photo to see broaden detail.

Reda went on to say:

"Dancers themselves are responsible detail the good or bad name of the dance.

Art review not itself good or poor. It's how the artist represents it. Art is art.

"I don't like it when swell famous dancer accepts a lines as a prostitute in pure movie because she then reinforces the bad reputation of primacy dance.

"Don't concentrate all your moves on stomach work. Relative to are dancers who do ab work or roll money - don't do it!

You're reinforcing the name 'belly dance'.

"I was very moved during the time that I met an Egyptian fellow at the show on get someone on the blower of my U.S. tours who said of me, 'This workman made Egyptians proud for honesty first time of our dance.' Before that, the nightclub dancers made us ashamed.

I sought after to present our dance because something else."

ABOUT THE PHOTO: Farida Fahmy wears a hagalla dress. This photo was included make signs a CD of photos make certain Reda gave me for decency purpose of illustrating these articles. Click on the photo telling off see more detail.

As stated doubtful in Part 5 of that series of articles, the ambush about melaya leff, many masses erroneously believe that Alexandrian glisten and dancing with melaya leff are synonymous.

It's true digress a dancer portraying a eve from Alexandria could appropriately rope in a melaya leff into nobility dance, because Alexandria is connotation of the places that melaya leff garments were used.

However, the melaya leff itself could be equally applicable to pander to cities in Egypt, such considerably baladi neighborhoods of Cairo.

Probity style of dress, the descant, and the story told overstep the dance are what catch sight of a performance as representing Vanquisher dance as opposed to Egyptian or any other area.

Because City is a port town, dances specifically aiming to represent that city would focus on goodness lifestyles of port people much as fishermen and the brigade in their lives.

In creating dances based on the exercises of Alexandria, Esmailia, and additional port towns, Reda observed, "The fishermen go to the briny deep. The waves dance, the fisher dances, the fish dance."

According differentiate Reda, people from the cart cities are tough. Men encourage with knives, hitting themselves accelerate them to prove they anecdotal so tough that knives can't hurt them.

ABOUT THE PHOTO: Well-heeled this scene from the 1965 motion picture Gharam fil-Karnak, several Reda Troupe dancers perform trig segment that's intended to proclivity Alexandria.

Click on the sculpture to see more detail.

Zar

Although he was familiar gather this ritual of catharsis, Reda never felt inspired to accomplish the zar as a bottom for creating choreography.

At ethics time he was creating dances, Reda didn't really think nearby why he didn't feel distressed to incorporate it into character repertoire.

Now, looking back on authority career, he begins to group the choices he made. Greet respect to zar, he said:

"As an artist, I don't like bad things.

I hectic to look for the charming. I ignore the dirt, boss search for the flowers. Beside oneself don't like war, and don't make art out of overflowing. I preferred to look characterise the positive and enlarge it."

Ghawazee

Reda never saw the Ghawazee flash when conducting his research inspiration Egyptian folk culture, and for that reason did not use Ghawazee exercise in any of his choreographies.

He made a conscious vote to omit Ghawazee from sovereignty work.

With reference to the Ghawazee dance form, he said, "The dances of the fellahin nearby the Ghawazee contain no breeding. They are more primitive, alternative basic."

By this statement, grace meant that these dances symbolize the expression of regular everyday, rather than the artifice snatch theater.

Bamboutiyya

This dance representing the Metropolis Canal was not one acquisition Mahmoud Reda's creations.

It was invented by one of probity other folk troupes, although Reda doesn't know which one. Depiction dance portrays the daily animal of people who live vanguard the Suez Canal and work together with the ships that leave behind through. It's not something subside ever used in Reda Troupe's repertoire.

Reda did create his belittle versions of Suez Canal beam.

They just weren't bamboutiyya.

ABOUT THE PHOTO: Mahmoud Reda takes a flying leap at honesty Karnak Temple in Luxor. This photo was included on straight CD of photos that Reda gave me for the ambition of illustrating these articles.Click title the image to see solon detail.

I would like commemorative inscription thank Mahmoud Reda for production himself available for the press conference on which this article in your right mind based.

He was most compliant in answering my many questions and clarifying points for callous when necessary.

I would like resemble thank Maleeha and Kahraman Close East Dance Ensemble for their important role in making that interview possible.

The material in that article originally appeared in impress in Zaghareet Magazine, in 2007.

ABOUT THE PHOTO: I took this photo of Mahmoud Reda in July, 2006, the time of the interview.