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One dancer on RaqsART facebook community asked a question about Hossam Ramzy's interview article. I immediately asked Mr. Ramzy the question, and he gave me the answer which is attached below.
Where do zils fit into his teaching? If the dancer is a 3D representation of the music and only responding to the music, surely they should not be making music... just wondering.
Basically, yes, of course, the dancer should be translating the music and is meant to be the final instrument that translates the music to her audience. The "Zills" ar a prop, and addition, an attraction to grab the attention of the audience... but it is not the dancing. It is a tool for making the audience look at a dancer, but this is not what keeps them interested... it is the translating of the music that keeps them there for you.... not the noise.
1.How would you go about learning rhythm as a dancer?And as a musician/drummer?
This is exactly what I teach at our Drumzy School of Music & Dance in the UK and around the world.This subject is very close to my heart as I feel that the main reason our beloved dance is stagnating and the artists within our art form are having to resort to all sorts of deviations that result in disrespect of the dancer and the dance itself. The examples are many and I need not explain it here.
However, the answer is, as a DANCER, you start by listening and identifying the rhythms from the music. The dancer should be taught to tap our the rhythms in a simple format on a drum with no technicality whichwill help her identify these rhythms.
If you start to learn Flamenco or Indian Kathak, you are expected to fully learn the rhythms and understand all the rhythmic syllables before you even start learning the moves. But this is because the teachers and instructors know what they are teaching and are experienced in the science of their art forms.
However, I know that this is not the case in the art of Belly Dance and this is what Serena and I are coming to your country with the wish to teach this to the dancers.
As for musicians and drummers, then they will need to study how to play a drum and learn the rhythms from that.
2. Would you recommend learning a series of different rhythms (and in what order)?
I have developed a series of related rhythms that flow from a root all the to the branches of those rhythms and I called them “THE TREES OF RHYTHM”.
3.What is the best way to go about learning rhythms specific to belly dance?
By learning the rhythms of Belly Dance. I have created a double CD specifically for this subject called Rhythms of The Nile” EUCD 1427 available from my websitewww.hossamramzy.com.
In this album, I speak and explain the instruments, rhythms and the second part of the album is dedicated to teaching how to play the instruments too. There is a transcript of everything I say on the album in four languages.
4. What is the most common error dancer make when trying to move to drum solos?
The main error would be “Not repeating your moves 4 times” each time you do a new step.
5.What should a dancer be careful about while trying to match their rhythm to that of belly dance?
They have to pay very close attention to time keeping and ensure that they do not over translate the rhythm or the music and not under translate the rhythm or music.
6. What do you expect of a dancer while you play the rhythm?
7. What signals are used between drummers and dancers when a change in tempo or rhythm is wanted?
There should NEVER be a change of tempo. Unless it is designed, understood, rehearsed and practiced between dancer and orchestra as well as between dancer and drummer.
There seems to be this false information, perpetuated by the uninformed instructors who are damaging this art form, that there is a sign to show your drummer or musician to change tempo or to change rhythm.
This is false, this is not true and this should not be used in dance performances.
If you watch a Ballet, you will never see this between dancer and orchestra. If you watch a Flamenco Tablao... you will never see this between dancer and band..
Same if you watch an Indian Kathak dance performance.
What makes anyone think this can be in Egyptian dance.
Have you watched Nagua Fouad, Mona El Said, Soheir Zaki, Namima Akef, Zeinat Oloui or any of the true Super Stars of Egyptian Dance live with their bands? You will never see such a thing ever take place.
I guess that the answer to your question is ... NO, there aren’t any signs.
8. Is it possible for a group to dance to improvised drum solos and hit the accents?
Dancing to an improvised drum solo will have to follow the rules I gave in my article “Drumming 4 Dancers”.
But to do this by a group, then you will be opening the door to many miss interpretations.
Such drum solos may be organized for a group, but a proper routine must be learned and rehearsed between them all, or it will look like a mess.
9. When collaborating with a belly dancer for a performance, what do you look for in both the dancer and in the musical presentation?
I make sure that both dancer and orchestra understand the article “Drumming 4 Dancers”.
And that the dancer knows how to translate the music according to this article. Then we discuss the emotional content of the music, how it going to be portrayed and why.... then we start rehearsing, trying, making mistakes, correcting, agreeing, disagreeing and working out a vision we want to present.
When all above is agreed, then we rehearse and practice this agreed upon results and we perfect it each time we perform it.
For us, a Belly Dance performance is a sacred as a symphony orchestra’s performance.
1. Could you tell us about the competition to be a cast of Bellydance Evolution?
To enter the competition, it was pretty straightforward. Once to you sign up and pay the entrance fee, we had to learn a choreography from Jillina from a video clip they send you. Then you had to submit a video of yourself dancing the choreography along with a clip of you doing your own dance. Once you submit these videos and upload them onto the Bellydance Evolution site, your competition submission is complete. People who visit the site and view the videos can vote on the videos of the contestants they like and rate them. The contestant with the most votes got the People’s Choice award. Then, the tough part… you wait to hear if Jillina has selected you to be part of Bellydance Evolution!
My strategy was to show Jillina that I could dance her style and also bring something interesting to the table. I tried to dance her choreography with her stylization and her technique as much as possible and then show her my style in my section. I think being versatile and showing you have the potential to do anything she asks of you is key.
2. What is your strength as a cast of Bellydance Evolution?
I think my strengths are my work ethic and that I am a team player. The way I approached my experience was to try and enjoy it as much as possible and soak in every moment. Being cast in the show was a great experience and I loved dancing with a team of such professionals! We all understood that we were brought together to create a great show and to represent bellydance as best as possible. Because we all had this common goal and understanding we were able to put together an amazing show and gel together as a group in only 10 days. At the beginning, I wasn’t sure what the other girls were going to be like but Jillina and her Sahlala Dancers really set the tone of teamwork and inclusiveness from the beginning which carried through till the end. Since the show I was in was the one being filmed for the DVD, there was a little more pressure to deliver clean shows. This might have been one of the reasons that Jillina had cast many of her own dancers and dancers who have done the show before. Ziva (another contest winner) and I were the only brand new girls to the group so I felt like Jillina had put her faith into me so I had to step up and not disappoint!
3.Do you have any advice for dancers who will apply the competition of Bellydance Evolution?
Entering a competition is always a little nerve wracking because you are putting yourself out there. I always approach auditions and competitions the same way, I try my best and work hard but know that at the end of the day, if I didn’t get picked/win, it’s not the end of the world. I think you have to be realistic and accepting of whatever decision is made. It’s not my show, it’s not my production, Jillina has every right to choose who she sees fit. It takes someone who is a strong dancer of course but also someone who can pick up choreography quickly, adapt to changes, apply feedback quickly and can dance her style. Not getting picked isn’t necessarily a reflection of your dance ability but it just means you are not the right fit for this particular show. As this is a cast with many group dances, you have to be able to dance as one unit and understand you are part of a bigger picture. If you do get in, enjoy every moment, have fun and be ready to work hard!
1. Could you tell us about the competition to be a cast of Bellydance Evolution?
I had heard about it by chance from Irina Akulenko, who had already done the show. She had great things to say about it, so I got to thinking about doing it. I think it was in October that I learned the choreography online, from one of the OTHER contestants, before I even signed up for the competition, just for kicks. I wanted to see if I could learn it accurately and quickly from a mirror image video with no breakdown. It went well! so I think it was in December that I signed up, and having already learned the choreography, sent it in right away. I was hopeful, but decided to not think much about it, and when chosen, some panic did set in. Organizational-omg-now-what-do-I-do type panic? I had a bunch of things going on that I had scheduled for that time period, what with my ''don't think about it too much'' approach, that I had to re-organize. But then it all worked out.
2. What is your strength as a cast of Bellydance Evolution?
I would hope my strength is my bizarre Fusion Bellydance style, that I do not know what to call. Contemporary Fusion Bellydance, is a good description, I suppose. I hope that this aspect of my dancing can bring something interesting to the show as an entirety.
3. Do you have any advice for dancers who will apply the competition of Bellydance Evolution?
Learn the audition choreo well. Very clean arms and turns. If you do something neat and unique, show that in your personal section of the audition video. Be willing to work with everyone, work hard, don't complain or make excuses, adjust and adapt to all changes that come up. Be positive in your outlook. You can learn something good from ALL experiences, changes and situations. Give it your all. AND BE SURE TO GET YOUR SLEEP. It helps a lot.
