Dynasties in Ancient Egypt’. This lecture high-
lighted many interesting geographical, cultural Most interestingly on discussing the Saiidi dance
and historical facts. For example did you know; Farida explained that what is generally seen as
traditional Egyptian dance - such as Saiidi is
• Misr – another term for Egypt actually actually a stylised form of interpretation from the
translates as ‘the protected area’. basic moves embellished by Reda Troupe for
• In 642 AD the Arabic language was intro stage. Saiidi, she explains is actually a dance
duced to Egypt. with minimal steps and little traditional empha-
• The city of Al Qahira is the ancient capital of sis on entertaining. Farida highlighted that the
Egypt and was built within astrological influ- originally masculine Saiidi is now a very theatri-
ences of the planet Mars. cal style of Egyptian dance which was in part
pioneered by the Reda Troupe. The troupe’s
The evening event saw the group attend the dances were not invented; they were inspired by
Makan Cultural Arts Centre in Downtown where original forms and these forms became styles in
we feasted on specially prepared food and re- their own rights. This gives her work such au-
laxed into the Zaar singing and dancing from thenticity as her movements and experiences
the Sudanese Shaman women. These women stem from years of field research and creative
banged their drums with incredible gusto and application that honours heritage, costume and
enchanted the group with their passionate sing- performance dynamics.
ing and caring spirits. We all danced and were
touched by the artist’s deep and soulful act. ‘The Farida graced us with suggestions on how not
evening spent with the Gypsy entertainers and to use certain props, gestures to stay clear
traditional Shamanic singers and drummers was from and a word of advice against being over
an incredible experience, not only from an en- technical in our dance. She finished off her talk
tertainment perspective, but a spiritual one too. with great advice saying overall when we’re on
Some things will just stay with me forever’, says stage we must be saying through our energy,
Cherry Walker from Wales. ‘ I’m happy to be here, I’m enjoying myself so
much and I’m showing you what I can do with
The morning of the Air element day held Loai this music.’ And of course, she says you don’t
Omran’s illuminating talk on Islamic Architecture have to say this you just have to ‘feel it and proj-
and its relationship to light. Here participant’s ect it.’
got to explore Loai’s pioneering research and
his passion for studying ‘The Divine Presence’ The Air evening was introduced by a session of
in religious architecture. Another sacred drum Sufi whirling by the Tanoura dancers and an ex-
circle was lead by Julie Ann who called on the planation from the performers on some of the
Angels to help us manifest ‘that which serves us’ common gestures used in this dance form. I
and rid ourselves of any negative thoughts. The then performed an airy wing dance with lots of
session ended in the room being darkened and spins to a track by Zohar for the group. It was
a shamanic rhythm being played. Many partici- an honour to be part of the Sphinx Festival en-
pants reported an emotional release or a vision tertainment! We then left for the Khan el Khalil
in this session. bazaar for a wonderful evening snack and a little
shopping in the souk.
Farida Fahmy was well received in her talk on
‘Dance in Egypt Ethnology’. It was great to re- Spirit element day begun as all the other days
ceive insight from such an established Egyptian had with yoga with Keti. What a fabulous way
dancer. Farida shared her insights, research to start the day - yoga in full view of the pyra-
and experiences from her 50 years dancing and mids with the early morning sun. Further ses-
touring with the Reda Troupe. Farida touched sions with Moustafa Gadalla and Diana Flame
upon the art of improvisation as a pivotal aspect preceded a practical session with Farida. The
of Egyptian dance, a brief history of dance in ‘Dynamics of Egyptian Dance’ workshop took
Egypt in theatre and society over the mid to late participants though some fundamental moves
1900’s and tips on gesture, characterisation and and principles within Farida’s style. We focused
performance. on the use of fast and slow to reflect the music,
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