SABA Scroll
Originally printed – SABA Scroll, Summer 2009
The "Recent History " of Belly Dance
As told by Katina (Syracuse’s Grande Dame of Belly Dance)
So when was the first belly dance explosion?
Belly dance was huge is the ‘70s. Everybody, and I mean, everybody took belly dance. I started in 1973. My first teacher Elektra, had so many students we were quite crowed in her studio. Even her larger teaching venues had dozens of students at once.
Were there many workshops?
Of course. I lived on Long Island at the time, so most of the workshops were in New York City. My first workshop was with Morocco in 1973. It’s hard to estimate the number of participants, but it had to be between 75 and 100.
Did you have many performance opportunities?
My teacher, Elektra, and my other teacher, Caterina, both sponsored dinner/shows with student performances. They were hugely successful. We also did charity performances.
Were there many teachers in Syracuse when you arrived in 1978?
Not so many. Just before I came on the scene, Nadia Medicis was “the” teacher. By the time I arrived, she had turned the teaching duties over to Marjan. I took lessons from Marjan, primarily cabaret. I also took ghawazzi, Greek line dancing and cane from Kafka. My third Syracuse teacher was Krista. She primarily did Egyptian. She’d go to N.Y.C. to study with Ibrahim Farrah, bring the lesson back and teach it to me. In time, Rabi’a and I both taught belly dancing. There were not as many “instant teachers” as there are today.
Was SABA the first belly dance club in Syracuse?
No. There was one before I arrived in Syracuse. There were two others established when I got here. It was originally one club, but they split into two because they could not get along. Imagine that … belly dancers that couldn’t get along!
What was the club like?
We got together for potluck dinners and dancing at each other’s homes. We also put on haflas that featured members. There were successful and drew heavily on the Arab community.
Were there many workshops in the early ‘80s?
Yes. Tahi’ya (from Syracuse) put on several workshops. She loved Morocco and brought her to Syracuse several times. She also sponsored Sergio, a fantastic male dancer who unfortunately is no longer with us. Too bad the new dancers will never get to see him dance. Later Mabruka sponsored workshops in Syracuse. Workshops were big in Buffalo, Rochester, Albany and Binghamton – it was awesome. Unfortunately, because of my work schedule, I could not attend as many as I wanted. In spite of that, I managed to take workshops with Ibrahim Farrah, Morocco and Serena (I would have to call them the “big three” on the east coast). I also took a workshop with Suhaila Salimpour – when she was thirteen! WOW! And with Horacio Cifuentes (before he moved to Germany), Elena (before she was Elena Lentini), Bert Balladine, Cheri Miller, Delilah, Thalia (her stage name prior to Dalia, now Dalia Carella) … There was Laurel Gray, Faten Salam, Mohammed Khallil (choreographer to the great Nagwa Fouad), Amaya … the list goes on and on. Every one of these workshops had a show, and what seems amazing now, a live band … most of the upstate New York shows had “The Sultans”!
No. There was one before I arrived in Syracuse. There were two others established when I got here. It was originally one club, but they split into two because they could not get along. Imagine that … belly dancers that couldn’t get along!
What was the club like?
We got together for potluck dinners and dancing at each other’s homes. We also put on haflas that featured members. There were successful and drew heavily on the Arab community.
Were there many workshops in the early ‘80s?
Yes. Tahi’ya (from Syracuse) put on several workshops. She loved Morocco and brought her to Syracuse several times. She also sponsored Sergio, a fantastic male dancer who unfortunately is no longer with us. Too bad the new dancers will never get to see him dance. Later Mabruka sponsored workshops in Syracuse. Workshops were big in Buffalo, Rochester, Albany and Binghamton – it was awesome. Unfortunately, because of my work schedule, I could not attend as many as I wanted. In spite of that, I managed to take workshops with Ibrahim Farrah, Morocco and Serena (I would have to call them the “big three” on the east coast). I also took a workshop with Suhaila Salimpour – when she was thirteen! WOW! And with Horacio Cifuentes (before he moved to Germany), Elena (before she was Elena Lentini), Bert Balladine, Cheri Miller, Delilah, Thalia (her stage name prior to Dalia, now Dalia Carella) … There was Laurel Gray, Faten Salam, Mohammed Khallil (choreographer to the great Nagwa Fouad), Amaya … the list goes on and on. Every one of these workshops had a show, and what seems amazing now, a live band … most of the upstate New York shows had “The Sultans”!
Who was the major Syracuse troupe?
It had to be Samrah Shara (Tahi’ya’s troupe).
When did Raks el Sehr start?
Raks el Sehr (which means ‘dance of magic’ in Arabic) was formed in 1987. Rabi’a and I were founding members. Later Marjan and Petra became the other core members. We dominated the Syracuse scene from the late ‘80s through the early ‘90s.
What was your repertoire?
We did much more than cabaret. We did Pharonic, beledi, ghawazee, we used the cane, scimitar and even the candelabra. We kept each style distinct and authentic.
I heard you danced at nightclubs. Did you?
No, we should have been so lucky. There were no nightclubs. Before my time there were regular Middle Eastern dance performances at a restaurant called “The Phoenician.”
What about house parties?
Yes, we did house parties. Many in the Arab community regarded our dancing so highly, we were invited into their homes for haflas and celebrations.
It had to be Samrah Shara (Tahi’ya’s troupe).
When did Raks el Sehr start?
Raks el Sehr (which means ‘dance of magic’ in Arabic) was formed in 1987. Rabi’a and I were founding members. Later Marjan and Petra became the other core members. We dominated the Syracuse scene from the late ‘80s through the early ‘90s.
What was your repertoire?
We did much more than cabaret. We did Pharonic, beledi, ghawazee, we used the cane, scimitar and even the candelabra. We kept each style distinct and authentic.
I heard you danced at nightclubs. Did you?
No, we should have been so lucky. There were no nightclubs. Before my time there were regular Middle Eastern dance performances at a restaurant called “The Phoenician.”
What about house parties?
Yes, we did house parties. Many in the Arab community regarded our dancing so highly, we were invited into their homes for haflas and celebrations.
And belly-grams?
Belly-grams were HUGE in the early ‘80s through much of the ‘90s. Nadia had the biggest belly-gram business around. I swear it was years before I ever saw her dressed in anything other than a belly dance costume. Rabi’a worked for Nadia – she did lots and lots of grams. I worked for Nadia as well. I also got jobs on my own, from other gram agencies and a talent agent. Marjan did belly-grams, as did Samrah Sahra. Another dancer, Cassandra, played a major part in the gram scene. Later the tall, red-head Mabruka came into the belly-gram business. There was plenty of work to go around. There was one time I remember leaving my costume on all day because I had so many jobs in one day, it wasn’t worth taking it off. We kept performances sophisticated and artistic to preserve the integrity of our dance form. There was heavy advertising in the papers … “The Syracuse New Times” in particular. I have saved all the ads. You should see them some day.
Belly-grams were HUGE in the early ‘80s through much of the ‘90s. Nadia had the biggest belly-gram business around. I swear it was years before I ever saw her dressed in anything other than a belly dance costume. Rabi’a worked for Nadia – she did lots and lots of grams. I worked for Nadia as well. I also got jobs on my own, from other gram agencies and a talent agent. Marjan did belly-grams, as did Samrah Sahra. Another dancer, Cassandra, played a major part in the gram scene. Later the tall, red-head Mabruka came into the belly-gram business. There was plenty of work to go around. There was one time I remember leaving my costume on all day because I had so many jobs in one day, it wasn’t worth taking it off. We kept performances sophisticated and artistic to preserve the integrity of our dance form. There was heavy advertising in the papers … “The Syracuse New Times” in particular. I have saved all the ads. You should see them some day.
So all you did were belly-grams?
Absolutely not. We danced at many festivals in town … from the Robin Hood Faire to Shimmy in Syracuse … The New York State Fair, the Empire Theatre and the International Food Pavilion. Marjan was the primary dancer at many Arab functions. I have performed at the Greek Cultural Festival, The Festival of Nations, The Great Eastern Fair, The 1,001 Arabian Nights Show, The Oriental Express, Syracuse University’s International Day, weddings, charity shows and shopping malls. I’ve been featured on every major television network in Syracuse.
So what happened to belly-grams?
Complete saturation on the market did them in, as you could probably tell from the number of dancers who did them. The first war with Iraq took its toll. And lastly, the Clarence Thomas Hearings brought an end to belly dancers in the business office, where many belly-grams were delivered.
Absolutely not. We danced at many festivals in town … from the Robin Hood Faire to Shimmy in Syracuse … The New York State Fair, the Empire Theatre and the International Food Pavilion. Marjan was the primary dancer at many Arab functions. I have performed at the Greek Cultural Festival, The Festival of Nations, The Great Eastern Fair, The 1,001 Arabian Nights Show, The Oriental Express, Syracuse University’s International Day, weddings, charity shows and shopping malls. I’ve been featured on every major television network in Syracuse.
So what happened to belly-grams?
Complete saturation on the market did them in, as you could probably tell from the number of dancers who did them. The first war with Iraq took its toll. And lastly, the Clarence Thomas Hearings brought an end to belly dancers in the business office, where many belly-grams were delivered.
Was “Belly Fest “the first belly dance festival in the area?
Certainly not. I started the “New York Belly Dance Festival” in 1987. Dancers from six states and Canada attended. There were 75 performers in one show. Dancing lasted all day, for about eight hours. This was the first festival of its kind in the northeast, possibly even the east coast. Any and all belly dancers were invited to dance, as opposed to the “invitation only” shows that existed prior to this time. After the first Festival, I added a workshop as well. I have sponsored Yasmina Mahal (a very big name in her time), Margarita Tzighan (the snake charmer from Bush Gardens), Bedia, Dahlena (yes, the same one), Shireem and others. I continued to produce the Festival through 2003. I discontinued due to burnout and health issues. Who knows, maybe someday I will do it again.
When was the next big belly dance wave?
I would have to say it was when Carolena Nericcio’s “American Tribal Style” caught on.
Who introduced “American Tribal Style” to Syracuse?
Lorie Bebber.
Why do you think it is so popular?
I think it caught on because of its simplicity (limited steps) and the improvisation factor and following a leader (as opposed to complicated choreography). However, I do find it beautiful. The full elaborate costume, which is an eclectic combination of cultures, is quite lovely. What I call “the Rockettes effect” (a long line of dancers doing the same simple motions) is very nice.
What do you think of the new direction of belly dance?
I do like some of the new fusion that is going on. However with the constant use of non-belly dance music, non-belly dance costuming and so much modern dance thrown in – it’s hard to call it Middle Eastern Dance any more. I just hope the true Middle Eastern Dance doesn’t get lost in the mix.
I would have to say it was when Carolena Nericcio’s “American Tribal Style” caught on.
Who introduced “American Tribal Style” to Syracuse?
Lorie Bebber.
Why do you think it is so popular?
I think it caught on because of its simplicity (limited steps) and the improvisation factor and following a leader (as opposed to complicated choreography). However, I do find it beautiful. The full elaborate costume, which is an eclectic combination of cultures, is quite lovely. What I call “the Rockettes effect” (a long line of dancers doing the same simple motions) is very nice.
What do you think of the new direction of belly dance?
I do like some of the new fusion that is going on. However with the constant use of non-belly dance music, non-belly dance costuming and so much modern dance thrown in – it’s hard to call it Middle Eastern Dance any more. I just hope the true Middle Eastern Dance doesn’t get lost in the mix.
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I still remember the lunch meeting with Chelle when she picked my brains about the origins of SABA. At that meeting we developed SABA's mission statement ...
" Bringing Dancers Together"… read more
By Rabi'a
I still remember the lunch meeting with Chelle when she picked my brains about the origins of SABA. At that meeting we developed SABA's mission statement ...
" Bringing Dancers Together"… read more
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Dear Rabi'a,
I've recently started performing and have heard comments that I am a good dancer but that I do not have a good stage appearance. What does this mean?
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Dear Newbie,
We've all heard about stage presence, but no so much about
stage appearance. Just because you can dance …read more
by Rabi'a
Dear Rabi'a,
I've recently started performing and have heard comments that I am a good dancer but that I do not have a good stage appearance. What does this mean?
Newbie Performer
Dear Newbie,
We've all heard about stage presence, but no so much about
stage appearance. Just because you can dance …read more
Workshop Wish List
by Rabi'a (Maleka)
Before the workshop “season” begins, I thought
that I would make a workshop wish list. Please
remember that this is MY wish list - you don't
like it or don’t agree - please feel free to make
your own wish list. I wish …. read more
by Rabi'a (Maleka)
Before the workshop “season” begins, I thought
that I would make a workshop wish list. Please
remember that this is MY wish list - you don't
like it or don’t agree - please feel free to make
your own wish list. I wish …. read more
Cats as Teachers
by Rabi'a
A large portion of dancers live with cats. Did you
ever wonder why? I believe it's because cats are
the best teachers for the lessons we need to learn.
They're also the most relentless creatures on earth
and will just keep on repeating the lesson until
we get it right .... read more
by Rabi'a
A large portion of dancers live with cats. Did you
ever wonder why? I believe it's because cats are
the best teachers for the lessons we need to learn.
They're also the most relentless creatures on earth
and will just keep on repeating the lesson until
we get it right .... read more
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by Rabi'a
Dear Rabi'a,
I've learned a dance choreography - can I
perform it in public?
Love to Dance
Dear Love to Dance,
Yes and no ... read more
by Rabi'a
Dear Rabi'a,
I've learned a dance choreography - can I
perform it in public?
Love to Dance
Dear Love to Dance,
Yes and no ... read more
