EGYPT
March 5-8, 2009, Fleck Dance Theatre, Harbourfront Centre, Toronto, Canada.
Egypt explores the subtle nuances and profound spiritual poetry in classical Middle Eastern music. The production features the ground-breaking choreography Kariat El Fingan, inspired by Yasmina’s mentor and one of Canada’s most imaginative ballet and modern dance choreographers, Robert Desrosiers. Mr. Desrosiers served as choreographic advisor for the entire production.
“Through this collection of six new works and three remounted classics, audiences will be able to reflect on the twenty-year history of the company and our exploration of more than 14 classical and folkloric styles like whirling dervish and bellydance,” expressed Yasmina Ramzy, Artistic Director of the company. “It will also give new audiences a chance to experience and understand the increasingly rare and extraordinary interaction between Middle Eastern dance artists and a traditional Middle Eastern orchestra.” Yasmina Ramzy remains active in the promotion of Middle Eastern art. In addition to teaching and performing in the Middle East and worldwide, she is the founder of the International Bellydance Conference of Canada. Ms. Ramzy has recently been commissioned to create choreography for the internationally renowned Bellydance Superstars (US). The Arabesque Dance Company & Orchestra plans to remount the production Descent of Ishtar (1998) in 2010.
World Premiere: March 5-8, 2009
Premiere Dance Theatre, Harbourfront Centre, Toronto, Canada
Sponsored by NextSteps, Toronto Arts Council, Now Magazine
Cast & Crew
Artistic Director / Choreographer: Yasmina Ramzy
usical Director / Composer: Bassam Bishara
Percussion Director / Composer: Suleiman Warwar
Composer: Richard Feren
Lighting Design: Arun Srinivasan
Choreography Advisor: Robert Desrosiers
Dance Artists:
Yasmina Ramzy, Karima, Mary Cabral, Saba Alemayehu, Melissa Reber, Laura Selenzi, Sarah Brawley, Maryfer Cardenas, Claudia Rios, Nikki Gentles, Ingrid Schossler, Amy LeBlanc-Parkinson, Yzza Akhatar, Leigh Clarke, Shema, Katrina Kukurs
Isis: Kristan Miller
Musicians: Bassam Bishara, Suleiman Warwar, Walid Najjar, Milad Daher, Tasheen Nawfal, Eddy Suleiman, George Barbas, Mohannad Maotassem, EmmaLucy Cole
Costume & Prop Manager: Deborah Shaw
Stage & Production Manager: Ainsley Kendrick
Assistant Stage Manager: Rachelle Allen, Shams Dahabi
Technical Advisor: Larry Cox
Costumes: Deborah Shaw, Denise Mireau, Jane Graydon, Rachelle Allen, Suzanne Karima, Robi Hamilton, Vicki Felix, Jaene Castrillon, Amy Kirk, Shema, Marika Latorcai, Leyla, Shirley Samuel, Alicia Arcand, Sarah Harrison, Leah Gold, Marj Wingrove, Magdalena Ganowska, Kay’la Mahy, Cisi Zhang, Debbie Hoang, Elana Plankiw, Shams Dahabi, Jamie Bracewell, Jennie Wannacott, Norman Brackett, Mary Petsoulas, Eileen MacNuff, Frances Strong, Audra Simmons, Adriana Candeloro, Minoo Zarif, Zoe Dodd, Kimberley Busato, Shirley Blanco
Masks: Jessie Cole
Props: Denise Mireau, Jane Graydon, Anisa Misaljevic, Jessie Cole, Deborah Shaw, Avital Gazit, Eileen MacNuff, Joanne Le Blanc, Jane Son, Vanessa Moreal, Dragan Karanovic, Angela Traupmann, Debbie Wong, Vanessa Seneriches, Audra Simmons, Amanda Harvey, Kristine Kjeldson, Danica Salaiko, Karen Brown
Production Staff: Nikki Gentles, Sussi Dorrell, Melody Bogin, Karen Brown
Videography: D.O.P.: Matt Phillips, Elie Zakaria, Ronen Grunberg
Photography: Sussi Dorrell, Samira Hafezi
Administration: Melody Bogin, Karen Brown, Suzanne Karima
Publicity: Media Profile
Graphic Design: James Robinson, Melody Bogin
Volunteers: Fatima Nabat, Ilham Bekkaye
Honorary & Supportive Members: the late Hani Guirguis & Alaa El Taher
EGYPT
Act One
Hall of Pillars (excerpt from ISIS premiered 2001)
Music Composition & Recording: Richard Feren
In the temple of Isis, there are four chambers; the Outer Court, the Inner Court, the Hall of Pillars and the Inner Sanctum or Holy of Holies. The Hall of Pillars is completely filled with huge pillars and is where the Gods reside.
Priestess Walk
Recording: Richard Feren
Priestesses travel deeper into the temple, knowing soon they will be in the presence of Isis.
Inner Sanctum (excerpt from ISIS premiered 2001)
Music Composition & Recording: Richard Feren
Prayer calling to Isis until the Mother of the Universe responds.
Oum Kalthoum Medley - Arabesque Orchestra
Music arranged by Bassam Bishara
A taste of some of the musical phrases associated with Egypt's most celebrated and revered singer, Oum Kalthoum
Bint El Hitta / Il Helwa Bel Veranda - The Beautiful Next Door Girl on the Veranda
Partial Composition: Bassam Bishara
In the spirit of Cairo Style Raqs Sharqi / Bellydance
Haba Fok Haba Taht - A Bit Up, A Bit Down
Originally sung by Ahmed Adaweya
Raks Al Assaya, Shaabi Style, popular Folklore Cane Dance
Hayee - Eternally Alive (referring to God)
Composition: Bassam Bishara
Exploring nuances of the world of the Zaar Excorcism Ritual
Ya Msafer Wahdak - The Lone Traveler
Originally sung by Mohamed Abdel Wahab
Aeiwa! - Yes!
Composition: Suleiman Warwar
Bellydance and Dumbek technical prowess intertwine.
INTERMISSION
Act Two
Kariat El Fingan - The Coffee Cup Reader
Originally sung by Abdel Halim Hafez
Many styles of Middle Eastern and Western dance movement combine to reveal this innovative and famous song describing a life filled with love, beauty, hope, sorrow, despair and broken illusions. Translation next page.
Dumbek Talk – Drum Improv with Suleiman Warwar and Milad El Zaher
Shat Eskandaria - The Beach of Alexandria
Music for Nagwa Fouad
Musical arrangement: Bassam Bishara
Raqs Sharqi / Bellydance
Artistic Director Notes:
Each time Arabesque embarks on a large production like this one, I inevitably find myself saying it will be the last time. I have heard the ordeal of childbirth described similarly. As new creative ideas flow, the joy they bring eventually causes one to forget the pain. Before you know it, you are pregnant again and ready to give birth.
I find each new creation is always better than the last so it is tempting to continue. This time around, I was lucky to be able to bring together many of my past explorations, themes and ideas into one presentation, as well as work with almost all of my favourite artists at the same time.
We were able to remount parts of ISIS with the powerful music Richard Feren created for this piece in 2001. Meeting Richard almost 20 years ago on a theatre project, I knew he was the one who would understand my vision for Descent of Ishtar and Isis and indeed, many years later, his sensitivity and perfectionism proved to be exactly what these pieces needed.
Lighting designer Arun Srinivasan always makes me feel secure that my vision is in the right hands and then proceeds to blow me away with unexpected beauty. I am so comfortable with Arun and his talent that whenever I am offered theatre dates, he is the first person I contact to make sure he is available before confirming. The love he has for his art always shines through making the original vision so much more than I could have imagined.
I have one choreography idol and it has always been Robert Desrosiers. When he attended the first presentation of ISIS in 2001, I thought all my dreams had come true – that is until the day he showed up at my apartment with a few cameras looking for an interview as part of the Dance Series he hosted for Bravo TV called Freedom. I shook like a giddy school girl for the entire interview. After this day, he continued to meet and mentor me, offering his sage-like advice. I asked him to help express some difficult classical Arabic music that I felt could not be contained in the usual traditional movement I was familiar with. Well, his fountain of creativity has no end and has opened all kinds of doors and possibilities for me as is evident in Kariat El Fingan. I hope we can continue to work together.
As the name Bassam Bishara falls off of my lips, a smile always forms. Bassam is the incarnation of pure musical honesty. You hear it in the warmth of his voice and the unexpected uniqueness of his composition. Arabesque always had great potential but when Bassam came on board for the last production of ASALA, we flew to a new artistic stratosphere. It is uncompromised talent like his that makes Arabesque beyond my best of dreams.
Finally, and certainly not the least is Suleiman Warwar who is the glue that keeps me from falling apart, Bassam from falling apart, the dancers from going AWOL and the musicians to keep in tow. Thus, it is his earnest and selfless hours of work that has made Arabesque what it is today. His confidence in all of us as artists and his clear vision of our potential is what supports all of us. As master lead percussionist and fierce composer, he is the backbone of the music, the movement foundation of the dancers and the backbone of the company itself.
Of course, the original mentors and believers of the vision Dr. George Sawa, Jane Graydon, Denise Mireau and Amer Matri were there in the beginning putting in too many hours to give birth to an impossible dream. They went above and beyond the call of duty when Arabesque had no theatre or audience welcoming them. The future would have never happened had it not been for them.
But it takes a family like team to bring such magic to the stage, so each and every dance artist, whether lead or apprentice, each and every musician, the composers, the lighting designer, the mentors, the stage management, the wardrobe mistress, the technical crew, the office staff, the countless volunteers and the supportive fans that have once again brought new inspiration to life.