is for the most part also choreographed
by Virginia, but from my perspective,
seemed
more
improvised
than
choreographed, although beautifully
executed by its cast, and visually very
entertaining, and joyfully intoxicating
to the audience. Kudos to Virginia for
making it look so impromptu and fresh!
Some members of the performing casts
were portrayed as male, and they did
a great interpretation, but my wish for
Virginia is that she can actually get male
artists to participate in her show, as she
tours around the world! The segments in
Khan-el Khalili, (marketplace in Cairo), has been produced,
portrayed and performed by most artists, including myself,
since I’ve been part of the scene, but Virginia brings her
own vision into this, especially using the raised platforms
for each of the dancers, beckoning rhetorical “pillars” to
accentuate each solo performance, within the group number.
Tito was Tito! I love his performances, and in being
bluntly biased, he is spectacular! And as much as I love his
Oriental and Shaaby, he melts my heart with his “Raks Al
Saeedi”! There’s no ambiguity in his stage persona when he
does Saeedi! He’s powerful, macho, sexy, and outrageously
delicious to watch!
As Virginia takes the show on tour, globally, I’m
wondering if she’ll have Tito join her, or if she will have
different prominent (and local) male dance artists highlighted
in this segment, or if this segment will purely remain Tito’s
“spot” when the video of this show goes to market?
“Iquat Khaled” – Julie, Emalee, Alyssa, music
from Virginia’s Khal AL Khalili CD
As a feminist, this segment really caught
my enthusiasm, whether or not Virginia
choreographed it for the same reasons I chose to
see in it, and whether this was her real intention
as the choreographer – this is my perception. “The
world is not as we see it, but as we are” ~ Talmud vi
Virginia has a background in fashion and
music and show production, and she loves to use
many stage and backdrop props in her productions,
and this one, in particular, really works, with
the use of a woman behind a latticed screen of
a Harem, in conflict with herself. The woman,
in pursuit of her “freedom of expression”, while
Akher Shawarash
lacking the empowerment to claim it. (A tragic persona in
“orientalism”, or how the West views tribalism in the East).
This piece evoked the enigmatic role of woman; in keeping
“her place”, but in pursuit of her importance in the world.
Fall/Womanhood (ACT III) –
This segment of the show is all Virginia’s choreography and her
performances, executed by her protégés, her Dance Company
and guest students; each interpreted just as Virginia herself
has performed them in the past, down pat to the very last
gesture and eyelash flutter – a masterful task accomplished by
both the director and the artists herein highlighted.
“Akher Shawarash”, Lorellei, Romi, Destiny, Kelly, Lorena,
Arielle, Amida, Nawar, Carmen, Melissa, Victoria, music,
“Nahawand III, produced by Yousry Sharif.
“Al Fen”, Amida, music, “Classic”.
Amida - Al Fen
July 2017
The Belly Dance Chronicles
45