Thread: What to ask for -- Privates in Egyptian style, music

I'm focusing on Egyptian style for a while, and I'm excited that our local Egyptian superstah Nashwa has agreed to give me privates. She's quite knowledgeable about both the dance AND the music, so I feel like I've been given a rare treat. Only problem is that I don't know what I don't know, so I don't know what to ask for.

I would really like to focus on the musical aspect for a few classes. I had a class with Karim Nagi where he talked about when to dance and when not to dance to the singer -- dance to the Lezma (sp?) that kind of thing. So I want to ask her about that. I want to know more about call and response, but what else should I know? I have Aboudi Badawi's cd on maqamat, and I sort of feel like I know enough about those for a dancer. I'm comfortable with my knowledge of rhythms. What do I need to be asking about in regards to the heavily orchestrated music that I want to dance to?

Does that make sense? I have the opportunity to really pick the brain of a dancer and musician, so what parts should I pick first?

Thanks!
Amanda

Gosh, you're already so far ahead of me that I can't help you! But I can tell you what I'd do with that opportunity.

I think I would want to bring some complex Oriental music that I love -- something with lots of rhythm changes -- and just work with that. I'd want her to first just sit with me, listen to the music, and tell me everything she could about the rhythms, their references, the instruments, the emotional content of the music as she hears it, etc. Then I'd want her to watch me dance to it, offering correction and critique. I might use those sessions to come up with a loose choreography to one piece of music in depth or I might choose to pick apart and dance/improv to various pieces and try to get through as much music as possible in those sessions.

This is how I like to work with privates, especially with instructors who've seen me perform (because I figure they have pet peeves about my dancing already, might as well let them express those to me constructively!) Then let the teaching grow organically -- if they want to see me traveling to a section, maybe they can also show me several of their favorite traveling steps to use to a Malfuf, for instance...

Originally Posted by aziyade

I would really like to focus on the musical aspect for a few classes. I had a class with Karim Nagi where he talked about when to dance and when not to dance to the singer -- dance to the Lezma (sp?) that kind of thing. So I want to ask her about that. I want to know more about call and response, but what else should I know? I have Aboudi Badawi's cd on maqamat, and I sort of feel like I know enough about those for a dancer. I'm comfortable with my knowledge of rhythms. What do I need to be asking about in regards to the heavily orchestrated music that I want to dance to?

I would suggest that BEFORE the lesson you start by creating choreography to an Egyptian classical song that you love. Then use the private lesson to ask her to help you eliminate as much of your American accent as possible by critiquing the choreo, helping you modify it to make it more Egyptian, and helping you learn to exude an Egyptian vibe when dancing it. Warn her up-front that as she gives you tips you may want to take the lesson into a Q&A format where you ask her why she made a certain recommendation, etc.

Originally Posted by aziyade

I had a class with Karim Nagi where he talked about when to dance and when not to dance to the singer -- dance to the Lezma (sp?) that kind of thing.

Sorry to hijack, but this piqued my curiosity. Can you expand on it? In a spin-off thread if you don't want this thread to veer?

Originally Posted by ssipes

Sorry to hijack, but this piqued my curiosity. Can you expand on it? In a spin-off thread if you don't want this thread to veer?

Me too. If you spin off, post the link here!

Me three!

Originally Posted by aziyade

I'm focusing on Egyptian style for a while, and I'm excited that our local Egyptian superstah Nashwa has agreed to give me privates. She's quite knowledgeable about both the dance AND the music, so I feel like I've been given a rare treat. Only problem is that I don't know what I don't know, so I don't know what to ask for.

I would really like to focus on the musical aspect for a few classes. I had a class with Karim Nagi where he talked about when to dance and when not to dance to the singer -- dance to the Lezma (sp?) that kind of thing. So I want to ask her about that. I want to know more about call and response, but what else should I know? I have Aboudi Badawi's cd on maqamat, and I sort of feel like I know enough about those for a dancer. I'm comfortable with my knowledge of rhythms. What do I need to be asking about in regards to the heavily orchestrated music that I want to dance to?

Does that make sense? I have the opportunity to really pick the brain of a dancer and musician, so what parts should I pick first?

Thanks!
Amanda

This is me being incredible jealous. Hopefully, I'll get to take some privates with her next year. I'm curious to hear the answers...

Oh...and I just noticed the lazma questions. During Karim Nagi's workshop, he explained as the instrumental answer to the singer. So the singer sings "Blah blah blah", and then the instruments do a "dum dum dum". The "dum dum dum" is in between singing sections...or when the singer is taking a breath and the instruments fill in. He said that you generally do smaller moves while someone is singing, but you throw in big moves during the lazma.

I hope that makes sense.

You said it better than I could!

I maybe shouldn't post this, but this is from the notes to that class:
"For most vocal songs there are several short melodies that separate each lyrical phrase. A singer would sing a part of a lyric or verse (which may be less than 2 words) and it would immediately be followed by a heavy instrumental phrase. The Lazma or Lawazim (pl) serve as an "answer" to the singer, separating lyrical phrases and building the dynamics for the delivery of the text. In cases of an orchestra, the musical accompaniment for the actual singing parts will be very light, and the full orchestral sound will be saved for the Lawazim and other sections."


I appreciate the suggestions for the class. Nashwa has only ever seen me do Am-Cab, so I don't know if she thinks I'm even CAPABLE of doing Egyptian. I've picked out the opening of an old Warda song to demonstrate to her. I just hope she doesn't fall over in a heart attack when she sees my interpretation of "Egyptian." I have these nightmares of her throwing up her hands and telling me, "Oh you are just hopeless. You must leave my sight immediately."