I learned mostly by performing with them and imitating their movements . It never occurred to me to take formal lessons from them and I don ’ t think they taught foreigners or people outside of their family at that time .
How does the broader society feel about their dance and music ( if that can be generalized )? With the exception of al Baron , it was rare to find Egyptian people from the Middle and Upper classes who loved or even appreciated this kind of music and dance , although the Reda troupe helped by introducing it to the general public in a way that was “ safe ” to them and encouraged pride of their cultural heritage . When I say “ their ” heritage , I do mean Egyptian heritage rather than Gypsy heritage , because the Gypsies go into an area and absorb and preserve the folkloric music and dance traditions of that region . For many , performing these folkloric styles has become their main occupation . So although the entertainers were Domari , the folkloric styles they preserved were Egyptian . Furthermore , since in Egypt folkloric music and dance is important for every rite of passage , not only were they preserving the traditions of the area , they were guaranteeing a demand for their own arts . During the 70s and 80s both male and female Gypsies , often accompanied by a young son or daughter , performed a Sufi whirling dance which is part of the Tanoura , in nightclubs for tourists . In Egypt , it is mainly the Domari people who have lovingly preserved all of the valuable Egyptian folk traditions .
Aisha , 1988
What advice do you have for students who want to study and perform Ghawazee ? Beginning in 1973 , I left a trail of resources which many musicologists and well-known dancers have followed while doing work on their own . Most , if not all , of the research that has been done since that time was first guided by sources we published in the booklet accompanying my recordings for the LP “ Music of the Ghawazee ”. It was the music in this album that fired broader curiosity about these fascinating dancers . I would encourage students who want to study the Ghawazee dance , music and culture to read my articles , listen to the real music , watch my ( or other )
Aisha Ali at the BDUC , 2014 - Photo by Carl Sermon documentary videos , and when possible , study with Khayria Mazin , myself , or any of the other teachers who have taken a serious interest in this genre . Here in the western world , I am always pleased when I can watch Ghawazee performances that have a natural organic feel to them because it shows me that the dancers cared enough to study and present the dance authentically . It ’ s not so much about the choreography , it ’ s more about the dancer ’ s love of the music and her / his ability to express all of its subtle nuances .
Aisha Ali will be giving a weekend workshop in Pittsburgh , PA on April 1-2 , 2017 , which includes classes in Ghawazee , Tunisian , and Moroccan shikat . For more information about this event and to register , visit : https :// www . facebook . com / events / 242332642814210 / For more information about Aisha , please visit : http :// www . aisha-ali . com /
KRISTIN RAEESI
20 The Belly Dance Chronicles � January 2017
Kristin Raeesi is a Romani-American scholar , activist and dancer ; a former board member for “ Voice of Roma ”, she continues to promote accurate information regarding Romani rights and representation .