Thread: Ibrahim (Bobby) Farrah

Preface: I'm trying to make some observations about noteworthy individuals who have made a unique stylistic impact on the evolution of oriental dance.

The problem is I'm having a hard time putting Mr. Farrah's contributions into words. Would some of you be willing to help me? (I'm hoping bintbeled will come along...)

Help me fill in the blanks:

Ibrahim Farrah contributed to the evolution of _______ oriental dance by incorporating ________ elements. Examples of his stylistic influence are shown by: _____________.

Here's an example, if I'm being too confusing:

Mahmoud Reda contributed to the evolution of Egyptian style oriental dance by incorporating Russian balletic elements. Examples of his stylistic influence are shown by footwork, spins, turns, a certain carriage of the body, and more.

(feel free to correct my sentence about Mr. Reda if needed, too.)

...and no, I'm not saying every bellydancer that ever lived is a direct descendant of Mr. Farrah or Mr. Reda's style, just that they made a mark on oriental dance. :)

Personally, his was the first workshop I ever too wayyyyy back. I had to stop after an hour and just watch, thinking (insert exclamatory words here)!!!!!!

I think he helped legitimize the dance here in USA, making it not just booty shaking, but in a category with other "real" dances from other countries. His magazine (brain fart here as to name) was found in other type dance studios and groups).

I don't have answers for you, but would be interested in seeing what comes up here about Bobby and interested in seeing what you have on other people too.

I'm not an expert on Ibrahim Farrah, but based on my understanding of his work, I'd say:

Ibrahim Farrah contributed to the evolution of _American & Western Style_ oriental dance by incorporating _Theatrics, Lebanese Styling and Modern Dance_ elements. Examples of his stylistic influence are shown by: _(hmmm... trickier)_.

Regarding Mahmoud Reda -- I wouldn't want to leave out that he created many of the dances we think of as 'folkloric' now by bringing elements/characters/stylings from the Egyptian people or from folkloric dance to the stage. His created dances include Melaya Leff and, according to some sources, women's Saidi cane dance (assaya). His adapted forms of Nubian, Fallahin and Hagallah dances are more widely recognized & performed in the West than their folk cousins!

thanks for the valuable comments so far, keep 'em coming!

Lauren, your fill-in-the-blanks were close to what I was guessing would be possible answers. And what you added about Mahmoud Reda - yes, absolutely. I didn't mean for my sentence to sound like it was a complete summary of his contributions, rather I intended for it to be an easy "example sentence" for the specific info I'm after. Which you helped with quite nicely, thank you!

LOL -- summarizing Reda was HARD!!!

Ooo can we do this for all the important peeps? Settles in and waits for the knowledge pour out

Originally Posted by Lauren_

I'm not an expert on Ibrahim Farrah, but based on my understanding of his work, I'd say:

Ibrahim Farrah contributed to the evolution of _American & Western Style_ oriental dance by incorporating _Theatrics, Lebanese Styling and Modern Dance_ elements. Examples of his stylistic influence are shown by: _(hmmm... trickier)_.

Hmm...I would fill that it with: dramatic pauses & poses, jazz/modern footwork sequences,

and..hmm..yeah. It's hard to quantify.

Originally Posted by joanneraks

Here's an example, if I'm being too confusing:

Mahmoud Reda contributed to the evolution of Egyptian style oriental dance by incorporating Russian balletic elements. Examples of his stylistic influence are shown by footwork, spins, turns, a certain carriage of the body, and more.

(feel free to correct my sentence about Mr. Reda if needed, too.)

Anthony Shay suggests that Reda's stylistic influence was also from Reda's self-acknowledged obsession with Fred Astaire and Gene Kelly style dancing in the movies. :) He admitted patterning his Troupe's staging and theatrics after the (Russian) Moiseyev Dance Company. The ballet influence is obvious, but I also see more of a -- maybe you can call it "ballroom" style influence on how the movements are done in space -- if that makes any sense...

Originally Posted by Lauren_

I'm not an expert on Ibrahim Farrah, but based on my understanding of his work, I'd say:

Ibrahim Farrah contributed to the evolution of _American & Western Style_ oriental dance by incorporating _Theatrics, Lebanese Styling and Modern Dance_ elements. Examples of his stylistic influence are shown by: _(hmmm... trickier)_.

far from a Bobby expert here, but based on his choreographies and the dancers who credit him, my money says Bobby had a lot to do with the use of the veil in American style dancing.
i think i see Bobby influence in how Fahtiem and Angelika Nemeth use the veil.

Originally Posted by aziyade

Anthony Shay suggests that Reda's stylistic influence was also from Reda's self-acknowledged obsession with Fred Astaire and Gene Kelly style dancing in the movies. :) He admitted patterning his Troupe's staging and theatrics after the (Russian) Moiseyev Dance Company. The ballet influence is obvious, but I also see more of a -- maybe you can call it "ballroom" style influence on how the movements are done in space -- if that makes any sense...

that totally makes sense to me.

Originally Posted by carolynn

far from a Bobby expert here, but based on his choreographies and the dancers who credit him, my money says Bobby had a lot to do with the use of the veil in American style dancing.
i think i see Bobby influence in how Fahtiem and Angelika Nemeth use the veil.

ooh, good stuff. I would love to know who else I can look to for evidence of Bobby influence. The folks I have footage of and were aware of: Phaedra, the lovely dancer who has passed on, Samara (though I think my only footage is an old choreography of his, not her own work), Fahtiem, Jasmin Jahal, Beata and Horacio, and hmmm... I guess from there I've just identified some trademarks in other dancers along the way. Didn't know about Angelika. Who else, anyone?

Originally Posted by joanneraks

Fahtiem, Jasmin Jahal, Beata and Horacio, and hmmm... I guess from there I've just identified some trademarks in other dancers along the way. Didn't know about Angelika. Who else, anyone?

Ruby Jazayre (Indiana), Mona Nawal (Wisconsin), Maleeha (Iowa), Jehan Kamel (New York), Jajouka (New York) are a few that come to mind.

I saw this earlier but have been busy teaching privates all day, so this is my first chance to respond. I hope this makes sense -- I'm sleepy!

To me, the most important thing about Bobby's teaching was his musical interpretation. He really heard every nuance of the music, and tried to make his students the visual embodiment of that music. His style ranged from elegant, formal oriental (and yes, often with a veil) to the earthiest mud-between-the-toes folkloric. He took our dance from the restaurant/nightclub level and elevated it to the concert stage through the use of theatrical technique, expression, and passion -- an element I always found in his dance.

His use of the veil was so different from everything else I was seeing. He didn't do veil "tricks" like lassos, envelopes, etc. Instead, the veil was an extension of the dancer's body, moving with her and complementing the movement. It was magical.

When I began studying with him in the 1980's, I was frustrated because the instruction I had been receiving seemed so inadequate -- so ordinary and silly, compared with the beauty of the music the dances were set to. It was a giant step to go to NYC to study with Bobby -- which I did as often as I could -- but I found what I was looking for and more. His interpretation of the music during that first workshop was so beautiful, so intelligent, so elegantly logical that I was on the verge of tears all week long.

This whole idea of interpreting the music might not seem so revolutionary now, but it was earth-shaking then. I think (and this is my NSHO, so you don't need to agree) his influence is so widespread that many don't recognize it and think that this whole musical interpretation thing was always part of our dance. He's been gone 10 years this month, but I still see his influence everywhere. It's like a ripple effect on a grand scale. (Even Raqia Hassan was influenced by him! She said during a workshop last year that she picked up one of her moves from him.)

I think the best example of Bobby-trained dancers are Fahtiem and Leila Gamal. I hadn't realized until I took her class at RakEast last year that Angelika Nemeth had also trained with Bobby, but boy, I really see his influence in her choreography and performance!

As you can tell, I am proud to be a total "Bobby Doll" -- he was the other man in my life for many years (at least that's what Mr. Latifa called him!). I think he was a total genius and I'm thrilled that he took me under his wing and taught me to hear the music the way he did.

Originally Posted by bintbeled

I think (and this is my NSHO, so you don't need to agree) his influence is so widespread that many don't recognize it and think that this whole musical interpretation thing was always part of our dance. He's been gone 10 years this month, but I still see his influence everywhere. It's like a ripple effect on a grand scale.

bintbeled, your whole post was just beautiful, thank you! Now I am hungering for more about him. I would love to hear more expansion on how you see his influence has "rippled" - this is exciting stuff!

Last night I rewatched Bobby's video The Journey. It was made in 1997shortly before he died. My very first teacher was one of his students but about the only thing about his style that I incorporate in my own is veil work. I personally don't care for his style. A couple of really good local dancers that I worked with went to study with him in New York and when they came back to Detroit they couldn't get club work. The ME audience in this area prefers a more classical grounded style of belly dancing ala Fifi or Tahia. Istead of earthy, I would say his style was airy. You can definitely see how he borrows heavily on ballet and modern dance. He likes the sharp piroutes, the kicks and turns, the dramatic poses, the extended carriage and stiff arms, and of course the veil. In fact in watching the dancers it seemed like traditional belly dance moves were just thrown in here and there. In the video he himself said that he was greatly inspired by Hollywood movies. He was western born and identified with western culture and music but he loved all music. He shamelessly borrowed from anyone who inspired him, from Chita Rivera to the Greek folk dancers.

One thing is he never claimed to be authentic anything. His choreographs were his vision of what the music was saying to him.

You can really see his influence in modern American Caberet dancers verses more traditional raks sharqi style dancers.

i know several dancers who trained with bobby and i have seen them perform choroegraphies that they said he created. the style is not to my taste. its too artsy fartsy for me. to me theres something artificial about the posing and arm carriage, and all the kicks and pirouettes stuff makes it feel very un-bellydance to me. i realize other people love the style and i dont want to disrespect anybodys idol but i prefer other dance styles.

Originally Posted by joanneraks

ooh, good stuff. I would love to know who else I can look to for evidence of Bobby influence. The folks I have footage of and were aware of: Phaedra, the lovely dancer who has passed on, Samara (though I think my only footage is an old choreography of his, not her own work), Fahtiem, Jasmin Jahal, Beata and Horacio, and hmmm... I guess from there I've just identified some trademarks in other dancers along the way. Didn't know about Angelika. Who else, anyone?

Yes, Dahlena. She talks about him often and his influence, they were friends.

Lisa

Originally Posted by gawaher

i know several dancers who trained with bobby and i have seen them perform choroegraphies that they said he created. the style is not to my taste. its too artsy fartsy for me. to me theres something artificial about the posing and arm carriage, and all the kicks and pirouettes stuff makes it feel very un-bellydance to me. i realize other people love the style and i dont want to disrespect anybodys idol but i prefer other dance styles.

I LOVE Bobby's work, but I, too, have seen dancers who have made his dances look like this. ..c::

aloha


was always a fan from afar, via arabesque. i was sad when i had learned of his passing...another reminder to celebrate our living treasures...

i'd simply add advocate for art/dance, which includes oriental bellydance. his editor's pages always made me think and he really encouraged the balance of inspiration with applied studies...great advice for anyone!

I'm frustrated that my current semi-frantic schedule is keeping me from writing the explanatory post that this thread deserves, so you can see and appreciate Bobby's artistry. A new class session just started, private students are besieging me, I'm preparing for RakW, plus some unexpected offers that demand attention are falling into my lap. It's all great stuff, but it means that I'm only able to post bits and pieces. ..c::

Bobby's choreographies were VERY demanding. After spending a week learning them, I always wanted to perform them immediately. Since Bobby was my mentor, I would consult him and he would dissuade me, saying that I had to let the dance become part of me. When my "Bobby technique" finally got to the level that could do him justice, he encouraged me to perform specific dances that he recommended, and asked me to come for coaching.

The dancers who didn't consult him would just go ahead and perform a dance. They would know it superficially, but the performances (except for real luminaries like Fahtiem) were (to my eye) brittle and artificial. They were going through the motions but missing the essence.

Why did they do this? Because performing an Ibrahim Farrah choreography can be like becoming a poet with your body, becoming a gorgeous piece of music. I always felt beautiful and special dancing the moves and moods he had put together. This was the first transcendent dance experience I had. The whole experience was intoxicating. But... if the dancer didn't spend a lot of additional time slaving in her studio and making the dance her own, well... let's just say that it would be more fun for the performer than the audience.

Does this make sense???

Latifa

Originally Posted by joanneraks

Phaedra, the lovely dancer who has passed on, Samara (though I think my only footage is an old choreography of his, not her own work), Fahtiem, Jasmin Jahal, Beata and Horacio, and hmmm... I guess from there I've just identified some trademarks in other dancers along the way. Didn't know about Angelika. Who else, anyone?

Did I miss something? When did Phaedra pass? Did you mean Solome who was taken by cancer this past Nov? I am no expert on Mr Farrah but my instructor is Alexia who also studied with Mr Farrah extensively (Bintbeled, do you know her? She moved to NY to study with him full-time back in the day--click on her name to go to her website to jog your memory if you need to.) I'll take your form and ask for her input when I see her Sun (getting her to come post herself would involve a tutorial*grin*) I know she credits Mr Farrah with elevating BD to the theater here in the West much as Reda did in Egypt.
Regarding his choreography, Samara (she & Alexia are very close - and her own work is pretty incredible -- comes down yearly) & Alexia both agree with Bintbeled assessment that his choreography's are very complex; far more so than what comes across by many performing an "authentic Bobby Farrah" --actually, they say it "looks nothing like Bobby's work..." apparently, the hip work is very prominent when done well. I have a YouTube of Alexia (will dig it up), none of Samara but perhaps Alexia knows of some footage... Oh, and Arabesque was the name of his magazine.

Okay, this was last year in New York -- sorry it's short and missing the veil section. Her others aren't lit well so it would be difficult to make comparisons with other former Farrah students... I'm trying to remember if this was Yousry's show or Samara's as she did both last year but if I knew I no longer do -- ah, well! Will see what else I can dig up... Anyhow, the clip... [ame=http://www.youtube.com/watch?v=xXm2KIN3okQ&feature=related]YouTube - Alexia Oriental Dancer Live in New York![/ame]

Re Phaedra: yes, she's still with us. I got an email from her a month ago.

Latifa

There was a Phaedra in Colorado that passed a few years back, wasn't there? She produced a series of large dance events in the 80's, I believe?

Leila Gamal is amazing, definitly an embodiment of the music, her expression and connection to the music and to the audience is palpable. She is joyful and very giving in her dance, and very centered (plug, she is having a workshop at the NRDC the 16th). I could watch her dance all day and be captivated because I feel Im on a spiritual journey with her.

Dahlena is a powerhouse of a dancer who is very strong, confident and dramatic. They are such different personalities, so its interesting to see their similarities and differences in their dance styles.

Originally Posted by sumayasaahir

Leila Gamal is amazing, definitly an embodiment of the music, her expression and connection to the music and to the audience is palpable. She is joyful and very giving in her dance, and very centered (plug, she is having a workshop at the NRDC the 16th). I could watch her dance all day and be captivated because I feel Im on a spiritual journey with her.

Dahlena is a powerhouse of a dancer who is very strong, confident and dramatic. They are such different personalities, so its interesting to see their similarities and differences in their dance styles.

Leila is one of my very fave Bobby-trained dancers. She took to his style so naturally that she was most often chosen to demo combinations that the rest of us were struggling with. Initially, when I started studying with Bobby, I was totally in awe of Leila, who had been studying with him for years. When I got to know her, I found that she was still a dancer inspiring awe, but also a gifted teacher and a wonderful and fun friend.

Dahlena shared a lot of Bobby's vision, too; they were contemporaries and initially did some performing together. She's totally amazing. The first time I studied with her, I introduced myself during a break and said I was studying with Bobby. She said I didn't have to tell her, that she could tell when I walked in the room. One of the best compliments evah!

Latifa

Originally Posted by bintbeled

Re Phaedra: yes, she's still with us. I got an email from her a month ago.

Latifa

I couldn't imagine that Alexia wouldn't have told us that... okay, so different Phaedra. I was confused/dismayed,f:: . Over it now. Will be sure to ask A~ input tomorrow at rehearsal...
Blessings,
Rach

I just took a workshop with Katia from Boston and she studied with Ibrahim Farrah too. She has done a lot of travelling to Egypt and Lebanon both to study dance (Oriental and Folkloric stylings) and understand the culture. She presented a diverse group of dances that she choreographed for a gala show in November 2007. She was showing us all the photos and it looked really interesting so I might have to buy the DVD when it comes out.

I never had the opportunity to study with him, but I have seen some of his dances presented and some of the dancers trained by him. Angelika Nemeth did a "Tribute to Ibrahim Farrah" workshop and shows, when she brought Samara, Jajouka and . . . the memories are weak, lol . . . but I think Phaedra was there too. I went because I am a big fan of Angelika. I think that was the first time I saw Fahtiem dance too.

I also attended a show in New York that Samara organized, which included several dancers who had trained with Bobby and they were performing his choreographies. The Shamadan was one of my favorites and I think it was billed as a Hollywood version . . . hey, it has been several years and so many things have happened since then. I can totally appreciate the theatricality of his dance presentations.

ely buffin in fresno, ca.learned ZAR from one of his workshops.she still teaches it today as he did, we have her booked for a zar workshop in june.

Thanks for all these postings. I dance a Bobby choreography that I learned from Angela in Las Vegas who studied under Dahlena. I am so removed, though, of course, from the origin of this choreography that I hunger to find someone up here in the Northwest familiar enough w/Bobby's work to be able to help me figure out what I'm doing that gives justice to the piece and what could be done better. I also know that some of the choreography has been changed, but don't know what portions those are. I love performing it, though. It feels absolutely beautiful to dance it. Delicate. Elegant. Sexy :) Classical. Airy. I'll be performing it in an upcoming theatre production at Seattle Art Museum and will post a youtube of it here :) Constructive criticism and your educated perspectives will be soooo welcome!!


It's really great to read all your postings. Thank you!!