Thoughts on Kılıç Kalkan, Kaşık Oyunları, and Karşılama

This month our video class watched examples of Kılıç Kalkan, Kaşık Oyunları, and Karşılama. The Kılıç Kalkan is a Sword and Shield Dance from Bursa. According to Cefkin, it is a controversial dance in Turkey because it represents the Ottoman’s conquest of their first capital city. In its early development, the Republic of Turkey banned many symbols that were associated with the former Ottoman court, including the Fez, the Hajab, and the Mevlevi order. Although some are still banned, others like the Mevlevi order have been officially reinstated. Although the Kılıç Kalkan was not banned, it is a site that continues to negotiate between participants celebrating the past regime and the State which seeks to dissociate Turkey from the Ottoman Empire. In the video excerpts, the all male groups performed high leaps and skips, made rhythmic sounds by hitting and sliding swords against the shields, and engaged in mock battles.

We also watched numerous versions of Kaşık Oyunları, the dance performed with wooden spoons. It was interesting to see to young men in everyday clothes dance outside – in a relaxed manner, often gazing downward, and sometimes adding hip twists to their foot patterns. This was very different from the all female version performed on a large proscenium stage by The Tourism and Folklore Education Center Troupe. The dancers dressed in colorful pants, skirts, sleeves, and head coverings, gazed out towards the audience, with wide leg stances, and energetic movements, that included drastic level change (predominantly seen in Turkish male dancing).

We also learned that in Turkey Karşılama is a couple’s dance. However, it often performed by multiple male and female couples or by several dancers of the same gender. In many of the videos, the dancers made circular floor patterns, performed small footsteps, and added the occasional deep knee bend and small front leg kicks. One male duet added a hip twist into their front leg kick. Pretty impressive! This version is of course very different from the Karşılama found in Turkish-American Belly Dance. In the U.S., like its Turkish counterpart, it uses a 9/8 rhythm. However, in the U.S., the Karşılama refers to the 9/8 rhythm section often performed at the end of a seven-part solo routine, before the exit music. 

Like my Blog? Want more content?

Review of Melissa Cefkin’s "Choreographing Culture"

Our reading class this month focused on several chapters of Melissa Cefkin’s dissertation, Choreographing Culture: Dance, Folklore, and the Politics of Identity in Turkey. Cefkin examines tensions that the State, the Popular, and the Market produce through their support and vying interests in Turkish folk dance. For example, the State provides funding for research, training, and dance companies, and also constructs national aesthetics and standards by deciding which groups represent Turkey nationally and internationally. The Popular, which Cefkin defines as amateur, regional, local, and perhaps ethnic, works to maintain the integrity of folklore sometimes in contrast to the nationalizing forces of the State. The Market is interested in the display of value of dance. It not only impacts where dance companies will perform, how they are financially supported, but also what version is placed upon the stage. Cefkin’s research is great for those who want to understand how various positions, such as official and private interests, amateur and professional dancers, and authentic and showy formats play out in the politics and identity of Turkish folk dance.

Like my Blog? Want more content?

Amara's Belly Dance Video: Arms Going Up and Down

Hi All,
Here is my video covering a common arm pattern: going up and down. I use this one a lot in my dances and classes.


The first section breaks down its mechanics and the second part has some drills focusing on different tempos.

I hope you enjoy it!
Amara

Like my Blog? Want more content?

Amara's Belly Dance Video: Posture

Hi All,

I am finally creating my teaching videos series. This has been a project I've been thinking several years now. And am very excited to get it going. I will be posting videos regularly.

Please join my Amara's Belly Dance Video youtube page as well!!!!

Here is the first video: Posture.

Enjoy!

Amara

Like my Blog? Want more content?

A little bit about the Halay and Horon and a Dance Observation

A little bit about the Halay and Horon

This weekend my video class examined two Turkish folk dances: Halay and Horon. Both are line/circle dances that contain numerous versions. Frequently, they are accompanied by the zurna (double reed instrument played with circular breathing) and the davul (two headed drum). The kemenche (a string instrument) may also be played during Horons.

The Halay is performed largely in Eastern, South-Eastern, and Central Anatolia. Participants hold each others’ hands and often stand shoulder to shoulder. The leader and end dancer typically dance with a handkerchief. At times, the leader may break off from the group and perform more complex and elaborate movements.  Men and women dance together, especially in non-professional settings. Many of the professional dance group videos either have all men dancing or men and women alternating dance positions. The movements predominantly consist of complex foot and knees patterns. The group generally holds their arms still and maintains an upright body position. The soloist may execute some drastic level changes and more arm movements.

The Horon is performed along the Northern Turkey in the Black Sea region. The Horon is fast paced, and can be in different rhythms, such as 7/8, 7/16, 2/4, 5/8, and 9/16. In fact, professional dance performances often have several rhythm changes and a tempo acceleration.

It is also a chain dance performed by men and women, in which dancers typically hold hands.  There are many more videos of professional male groups dancing. When women are present in these venues, they frequently maintain their own chain. In non-professional settings, women and men dance in the same line/circle. The Horon also has a leader. However, unlike many line/circle dances where the leader is at the end, in the Horon, the leader is in the center. 

The Horon contains complex foot and knees patterns, such as knee lifts, small frontal leg kicks, shoulder shimmies and upper body twists that are frequently combined together, hip twists articulated with leg movements, and deep knee bends (performed by men). Horon dancers hold their hands low or circle them forward at hip or shoulder level. Men frequently bring their arms over head. I particularly enjoyed watching Horon dancers fine a line between the looseness of the shimmies and the tension underlying them in the elongated body. 

Thoughts

One of my students asked and commented on the apparent lack of ballet and ballroom in the staged versions of the Horon and Halay. I initially replied that I thought the Halay and Horon did not lend themselves to these types of additions. While studying Egypt folk dance, we discussed the fusion of ballet and/or ballroom into Egyptian folk dance, especially in regards to the extension of arms, the use of releve, and the many feet patterns. Since the Horon and Halay performers focus on holding arms/hands and complex foot patterns, these ballet feet and arms elements could not be fused. However, latter on, my students commented that they enjoyed the precision and tightness of the unison presented by the professional dance companies. Their comments made me compare the staged and non-stage versions, in which the non-staged versions did not contain precise unison movements. And I thought, perhaps ballet’s influence of the choir aspiring to be one unified unit comes in the form of the spectacularly precise unison of the Turkish staged folk dance.

Along with watching videos from the JVC’s Anthology of World Music and Dance and video clips on youtube, I also came across a website that I love: http://www.folkdance.tk/. They not only have clips of Turkish dance but also a few clips demonstrating dance moves!!!

Like my Blog? Want more content?

The Fitness videos will focus on exercises and stretches that will help any Middle Eastern dance strengthen her or his body, increase flexibility, and keep in shape. I call my personal practice Bellates, in which I fuse Belly Dance, Pilates, Yoga, and Ballet. I combine these different practices together for a fun and dynamic workout. Students will strengthen and tone their muscles, increase flexibility and fortify their posture alignment.  

Like my Blog? Want more content?

Amara is a versatile Middle Eastern dancer. She is well known for her entertaining and dynamic American belly dance style that is interspersed with sword, veil, double veil, and zil work. She is equally skilled in many Middle Eastern folk dances. Amara is also a leading innovator in theatrical and experimental Middle Eastern dance.

Amara has performed as a soloist and in Middle Eastern Dance companies all over the United States. She has held long-term dance engagements at several Middle Eastern restaurants and nightclubs including Pars (LA), Elbasha (LA), Mamounia (LV), and Alborz (Austin). She has also been highlighted in numerous videos by IAMED, BDTV, and EEMED.

Amara teaches Beginning through Professional level classes. She is also a featured instructor at many belly dance events throughout the United States, offering workshops and classes in: American, Egyptian and Turkish cabaret, Staged-Folklore from the Middle East and North Africa, Experimental performance and concepts (X-MED), sword, veil, double veil, candles and candelabra, stick, zils (finger cymbals), floor work, and how to teach dance.

Amara is known for her innovative teaching methods. In her studio classes, she stresses strong foundational technique through combinations of choreography, improvisation, solo, and group work, while she also helps students explore the workings of Middle Eastern dance and their own individual needs. In addition, Amara presents information about the history of Middle Eastern and Belly Dance, differences between various genres, and issues facing dancers today. She has taught accredited courses on dance appreciation and Middle Eastern dance at UCLA, UCR, and California State Polytechnic University, Pomona and workshops at a number of universities and colleges.

In addition to teaching, Amara is the Director and Choreographer of Ya Helewa!, a Middle Eastern dance company which performs a diverse repertory of traditional and experimental improvisations and choreographies. Ya Helewa! has held a long-term dance engagements at Moun of Tunis (LA) and Pars (LA). They have also been invited to perform at numerous functions for Las Vegas Belly Dance Intensive, IAMED, UCLA, The Knitting Factory, and Desert Sin.

Amara also produces numerous events. Her main focus is “An Evening of Experimental Middle Eastern Dance” concerts and videos. She co-founded “Dance Under Construction,” a UC system wide dance conference, co-produces "X-MED," a workshop series presenting tools and methods for creating experimental Middle Eastern dances, and produces "How to Teach Middle Eastern Dance," a seminar series designed for new and seasoned teachers to learn and practice new pedagogical styles.

Amara holds a PhD in Dance History and Theory (UCR), a BA in Music History and Literature with a certificate in Ethnomusicology (FSU), and worked towards an MA and MFA in Dance (UCLA).

Like my Blog? Want more content?