Choreographies
Cairo Veil (solo or ensemble) features
floating and percussive veil technique in broad and sweeping coverage of
the stage. An extra visual display is choreographed for 4 other dancers
behind the working ensemble.
Village (solo, ensemble or male/female pair) incorporates sustained
and percussive dance movement with signature steps of my creation. This
piece was re-blocked by my dancers for a visually exciting change, offering
two options for performance.
Sticks (ensemble of 3 or more) choreography, featured to the
right, has been a crowd pleaser, requiring confident handling of sequin-covered
wooden dowel rods. After learning to handle the sticks, this
choreography is great fun and fairly easy to learn.
Karsilama (solo or ensemble) is an aerobic tempo 9/8 that is
one of my most colorful and high energy pieces. The fast tempo and Karsilama
turns require centeredness and agility.
Scarf (solo or ensemble) is choreographed to an alternating 4/4,
6/8 selection. Two scarves in hand provide the movement and color for steps
that blend into the different tempos.
10/8*12/8 (ensemble) is my creation for which both percussion
and dance choreographies have been written. We have often used
this as our opening number in our repertoire. Lively
Precision Hip (ensemble) is danced in a tight line of dancers,
featuring precise hip movements. My intention was to closely center the
dancers' energy for the audience and I have been happy with the result.
Dancers with precise control will do well with this dance.
Sword (solo) work for my purposes is solo to relieve my audience's
eye from ensemble pieces. My solo music is provided by our drummers
for Tchefftetelli, Beledi, Fellahi, increased speed and finish. My
movements range from upright, to one supporting leg to floor work in 3-4
minutes of performance; however, innumerable possibilities for creative
movement exist for the strong dancer who has more performance time.
Saiidi Circle Skirt (ensemble) was created to feature our full
circle skirts. I wanted a piece that featured the grandeur,
femininity and the regal feeling of displaying our splendid fabrics
and color. This is not to be confused with gypsy skirt work which
uses a different style skirt and a much different tempo of music.
Performance Debke (ensemble line) was created for my Company
here and for an Indiana seminar when I realized I wanted something beyond
the simplistic 6 count debke which can be danced by anyone in the audience. For
this, dancers must work on the debke energy and form which is so very different
from usual dance movement. The resulting 3 choreographies can be connected
or not and are visually exciting.
Sagat Dancers (ensemble) is a work in progress for our dancers playing
certain zill rhythms for certain steps. My dancers have exceeded
my greatest expectations and I look forward to this piece being performed.
One virtue is that I can end it now and yet add on more if we wish later
on. That is nice freedom to have and is the direct result of
playing our own percussion.
Aswan (ensemble) has been our finale
piece wherein we dance enjoined choreography, counter choreography,
then again conjoined for which we have received wondrous affirmations.
I am currently modifying this piece to include our newest dancers.
The rhythm is a quick lower Egyptian rhythm, reminiscent of African, reflecting
the geographical closeness of lower Egypt and Africa.
Basketweave (ensemble) is best danced with couples of similar
height, in groups of four. This is a work in progress
with percussion being created in my drumming class for the dancers' choreography.
I'm very excited, as always, with the birthing process and how the choreography
takes form.
Aziza (ensemble of 3 or more) has been blocked in many ways,
all fun. This 5 minute piece has so many possibilities of being performed.
At the moment, 3 of our dancers are in and out until finishing the piece
in unison. The audience is always surprised and delighted with
the appearances and disappearances of dancers. Again, featuring many of
my signature dance movements, the piece has 3 distinctive parts that can
be performed by different dancer combinations.
Ansuya's Dance (ensemble)
derives it's name from the fact that Ansuya and I have shared the same student,
Jennifer Jesswein. Jennifer returned for a visit and performed a piece
she had learned in Ansuya's class. I expanded the dance and
taught it, then wrote percussion for it and we have been very pleased with
what it has become. Such are the strange beginnings of successful
ensemble works. We all thank you, Ansuya. 