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It's
a beautiful summer day in the Montclair District of Oakland, California.
Laurel Gray and I are discussing "From Tashkent to Cairo" a new
video from Laurel's work in Europe. This performance was in 1995
in Menningen, Germany and was produced by the Ensemble Raks Sharki
and Havva & Basseima. They have big shows almost every year with
different artists. "Egypta" (1997) is the tenth and most recent
production. Laurel has participated in several shows with them.
The people in Germany really support these big productions as well.
They fill the theatres - in fact, "Egypta" was done three nights
and the theatre was quite full for all shows. We're talking no small
venues here, something like a capacity of 600 or more folks! During
the afternoon, we delve into Laurel's thoughts about choreographies,
research and more.
LVG:
"The dancers in Germany put on very professional shows, from the
full-colour posters to the lighting and production. This really
makes a difference because I often create dances for the concert
stage, not neccessarily for a restaurant setting. So to be seen
in their best light, they need to be presented on a stage."
KD:
"I am so impressed with the choreographies. They are very intricate
and full of subtle nuances that make them special. So I'm curious-
how long does it take for you to teach these choreographies to the
dancers? There must be more to it than just 'whipping them out!'"
LVG:
"Usually they let me know in advance what kind of dance they want.
Sometimes they send me music, or I will send it to them, but I have
their approval before I even arrive. I have the choreography written
out and the music broken down. I come very prepared, with a total
vision. I use the Soviet system of notating choreography which gives
dancers a visual image of the stage. This preparation allows me
to set a choreography very quickly. Sometimes we have only a couple
of rehearsals. But when an ensemble commmisions a choreography from
me, they are allowed to videotape me and themselves. From this video
record as well as consultations with me, they are able to keep working.
It's
rather phenomenal, because I'll leave Europe and for a year and
the dancers have to work on their own. I leave them with diagrams
for the costumes, and sometimes I even go fabric shopping with them,
working closely with their costumers. This is absolutely crucial
because, when I design a dance, I see colours and costumes. I know
the look that I want."
KD:
"So this is something you can do anywhere! Like here in the States,
too."
LVG: "There are two troupes in Virginia that I've designed choreographies
for. One group is 'Women of Selket,' who did a Georgian dance at
the Nadia Hamdi show this April. According to one review, it looked
like they "were on roller skates." When I read that, I was really
pleased, because the Georgian gliding step is so difficult to master.
It's deceptively simple to look at, but doing it is incredibly hard.
The other troupe is 'Caravan East,' Chelydra's ensemble. They have
a Russian Gypsy (Tsigany) dance from me."
When
Laurel designs a choreography specifically for a group that's "to
order" her fee includes the videos, notes and costume designs. Laurel
works extensively with the group, holding rehearsals whenever they
need it. Laurel balks at the idea of doing "video-only" choreographies,
where she cannot work personally with the dancers because she feels
"there's something about these dances, because they're ethnic dances,
that's part of a living legacy. It's dance geneology. There's something
to be said about actually being in the same room with the choreographer
and seeing the nuances. I know this from working with my own teachers.
I feel it's important not to be too dependent on technology because
then we're not in the moment."
One
of the choreographies that really caught my attention was "Amazonka,"
and I asked Laurel how she went about researching this piece. It
is a sword dance, but not like any I'd ever seen. LVG: "The Ensemble
Raks Sharki came to me and asked for a sword dance. They said they
didn't want a sword dance where they just balanced the swords on
their heads, but rather a martial, militant one. Like the Amazons!
I'm trained as a historian and I know where to look for information.
There are accounts from ancient Greek times about the Amazons as
well as depictions in art, including statues. One is in Berlin,
called the 'Wounded Amazon.' There are also vases that display Amazon
figures. The Amazons came from an area called Colchis on the Black
Sea. It's present-day Georgia near the Caucasus Mountains. I knew
the men of that area have a war dance called Khorumi in 5/4 time.
I like these uneven time signatures. So I commissioned Steven Flynn
to base a new composition on this traditional war dance from this
region where the Amazons originated. Anyone who knows the Georgian
war dance Khorumi and listens to 'Amazonka' will hear it comes from
this authentic song. It begins in 5/4 and changes once the 'battle'
starts. The costuming came from the old designs I mentioned. The
movements were based on artistic depictions as well as fencing.
Beating the swords on sheilds was also an old tradition. After all,
you can't clap while holding a sword and shield! So I took these
elements and worked with their fabulous costumer. The dancers wear
red, short tunics and have leopard-like skins; even their jewerly
has a battleaxe design on it. The headdresses are also patterned
after pictures of the warriors of the day."
Another
dance that caught my eye is entitled "Spring Rain." It's a Persian
dance, originally done as a duet. I was interested to learn how
Laurel originated the idea.
LVG:
"For me, ideas usually come from the music, especially since I am
trained as a singer and a musician. I play violin and viola and
have performed in orchestras and choirs and musical theatre. When
I find a particular piece I put the headphones on and I listen to
it over and over. I close my eyes and shut out everything else.
You'd think I was in a catatonic state! But I see things: colours,
images, stories - and completely surrender to this. I get a story
in mind and start improvising. All choreography comes from improvisation
so I'm thankful I can do both. So I improvise until I find movements
I like best, and I keep those."
KD:
"Where did you get the idea for 'Jinouni?' This was so cute, and
so nice to have comic relief."
LVG: "'Jinouni' is the most popular song in Tashkent, maybe all
of Uzbekistan. Any concert you go to, 'Jinouni' will be played.
Although 'Yalla's' liner notes say it means 'Drove Me Crazy,' I've
heard it also means 'Little Paradise.' But 'Jin' in Uzbek means
crazy- like the Djinnis got you. I was sitting in my apartment in
Uzbekistan in August and it was so hot, even at two in the morning.
The song begins with Alisher singing in falsetto, so I had an image
of a man dancing like a woman. But then I thought 'where in Uzbekistan
today would I find male dancers who'd be willing to do this dressed
as women?' They wouldn't, even though there is the tradition of
the bacha, or dancing boy, who wore women's clothing and make-up.
But nowadays it's thought of more as part of the decadent past and
no one would do it today. So I fantasized about it and thought it
would never happen. Then I was asked to be a judge at a bi-annual
puppetry contest they have in Uzbekistan. Puppetry is very advanced
and sophisticated in Central Asia, it's quite ancient. These puppet
festivals are amazing! There were talented young students from the
Theatrical Institute in Tashkent who were also in the puppetry department
who were open to improvisation. I asked them if they'd be up to
this. They agreed, so we began. These were young guys, like 17 -
19 years old, some with moustaches - you know, 'manly men,' but
Uzbeks. Very wiry and athletic, so they were capable of physical
humour. We performed 'Jinouni' the last day at the puppet show.
I threw together costumes for them. They began with their faces
veiled and with their backs to the audience. Part of the joke was
when I introduced the act, I said these were 'young girls and very
shy.
This
is their first performance and we've had only a few days to work,
so please be patient.' Since they were veiled and had their backs
to the audience, everyone thought they really were young girls!
And as trained puppeteers, they could do beautiful, fluid arm movements.
But when the boys turned around, the entire concert hall saw they
had been tricked. The audience was laughing so hard they were crying
- almost rolling in the aisles! 'Jinouni' was such a big hit that
we were asked to do it again at the East-West Theatre Festival with
people from all over the world. We did it at the closing reception,
and when my boys came out with this, it stopped everyone in their
tracks. The audience again loved it. But unfortunately, there was
someone from way up in the government in attendance who took exception
to this. They called me over to their table and asked 'Gray Khanum,
what are you doing with our Uzbek boys?' They didn't like it. They
weren't theatre people. But the German dancers loved the idea and
asked to do 'Jinouni' too."
One
of the choreographies that really caught my attention on the video
was an Uzbek Dance from the Khorezm region. Laurel pointed out that
this dance was originally done standing on a plate! (Talk about
isolations!) But she feels that is not quite interesting enough
when adapted for a concert stage, so Laurel added four male dancers
when she performed it in Tashkent. In the version she taught Ensemble
Raks Sharki, there were multiple dancers as well. Laurel feels its
very important to keep the traditions of these dances while also
keeping them exciting. "As a choreographer, when dealing with these
ethnic forms, you have to colour between the lines. I don't mean
that when choreographing a polka you can have people dropping to
their knees doing a zar, even if it would make it more interesting!
I was trying to keep true to the traditions but I had to alter it
for stage. So one dancer does stay on the plate for the whole dance,"
Laurel explains.
On
choreograhies in general, Laurel shares that "People will take such
pride in having a costume made for them, and they'll be willing
to spend a significant amount of money for this. It will really
fit them, suit their colouring, their style and the kind of dance
they're doing in it. How much more important is it to have a dance
made for you? Maybe someone is a fabulous dancer, but not a choreographer.
There may be certain elements this dancer has missed, or perhaps
she does what's easy for her. Or maybe she simply does not see that
a dance doesn't look right. Sometimes choroegraphies just look the
same because a dancer does not have fresh ideas or new inspiration.
I love going to my teachers and having pieces made for me. It not
only helps my development but it helps me broaden my movement vocabulary
and it pushes me into something new. With some of these ethnic forms,
it has taken years and years to do the research and to understand
what's appropriate to each style, each nuance, every little tilt
of the head. Some dancers say 'I don't need anybody, I'm going to
do an Uzbek dance (or another ethnic form) on my own,' but I've
seen the results of that. There's no shame in getting help! Yet
some people feel they're less of a dancer if they don't make all
of their own costumes and dances. But that's not the case at all.
It should be prestigious to work with an established choreographer."
KD:
"I feel there are a growing number of dancers who do feel this way
as well. I am seeing more often 'Choreography by So-and-So,' or
even 'Choreography by So-and-So, Arranged by ______' at events."
LVG: "That is appropriate also. It's important to realize that a
choroegraphy is actually property.
People understand that a song by, for example, Michael Jackson,
is a song by him, and you can't pass it off as your own. And you
would never go and steal someone's costume and then wear it. But
for some reason, this is often lost when dealing with a choreography!
If these people had any idea about the years it takes to truly master
this material, and how much work and research it all takes.......
what I experienced living in Central Asia nearly killed me. Why
should others have to suffer?"
When
asked for clarification, Laurel agreed to talk off the record a
bit, but for this article we cannot go into great detail. "Those
people are fighting for their survival, to keep their own heads
above water and to keep food on the table for their families. They
cannot take care of you when you visit. You need language skills
and a strong physical and psychological makeup. I don't want to
go to the grave with this material I have collected! I want to share
it. I'd LOVE for these dances to be performed all over. They're
meant to be seen and to be shared."
But
Laurel feels that when she teaches a choreography at a seminar,
it's her gift. "I want the dancers to learn it and to perform it,"
Laurel assures, "that's why I get strict. It's an incredibly short
period of time in which to learn a dance. It's one thing to learn
a new bellydance routine, as you already know most of the moves
and you're trained within that genre. You need time to get kinetic
memory and your muscles need to learn how to move in these new fashions.
That's why I'm a demanding workshop teacher, as I want participants
to be able to present something they can be proud of. And, if the
'ethnic police' show up, I can say 'yes, this is how it's done.'"
(laughter!) To her credit, Laurel can report that the video featuring
many of her own choreographies, the "Rose Petals of the Orient,"
(filmed in Germany in 1993) has been shown on Uzbek television.
That's pretty good for an American choreographer, I'd say! "The
Uzbeks know it's not 100% perfect, but close enough that the Uzbek
people can feel proud and charmed that the German people are going
to such lengths to try and master their dance."
KD:
"What brought you to study Russian Gypsy dance specifically?" (authour's
note: the proper term for the Russian Gypsy people is Tsigany in
Russian, or Czigany in Hungarian.)
LVG: "All of my childhood I was interested in the Russian culture.
At age 13 I was studying the Russian language. I love the music,
the art, the poetry- everything! I was a real 'Russo-phile!' My
degrees are in Russian history, and I have belonged to Russian folkdance
groups. Every Russian folkdance company worth it's salt has a Russki
Tsiganyie dance in their repertoire. It's the big blowout number
at the end that everybody loves. So I was exposed to it that way.
Also, the Moiseyev Dance Company came to my hometown when I was
at a young and impressionable age. After them, anything American
seemed very tame, drab and - very - biege! The Soviet folk ensembles
incredibly influenced my choreographic style. Except that they're
very symmetrical in their stage patterns. One thing I got from my
modern dance technique is asymmetry. Although I had been doing some
of the style, I wanted to work with Soviet teachers, as they have
a bigger range of movements than I knew. So I worked with Aidin
at first who created a choroegraphy for me. Then I created my own
piece and took it to Tanya (a former soloist with the Romen Gypsy
Ensemble in Moscow) along with a costume design for her opinion.
The costumer for the State Academic Bolshoi Theatre of Opera and
Ballet in Tashkent had done the costume design for me. Everything
checked out except I had been clenching my fists at one time, and
even though other Romany peoples do this movement, as in Turkey
for example, the Russki Tsiganyie do not. These nuances are important!"
Laurel
teaches a class called "Elements of Choroegraphy" in which she helps
dancers understand how to put together choroegraphies for themselves.
"You can take simple, beginning- level steps and make very interesting
dances out of them by using certain tools or building blocks. These
can be things like dynamics, level change, directions- and so on.
I use video examples for illustration so that by the end of the
class people can look at a piece and instead of just saying 'it's
beautiful' they can say why it's beautiful, or powerful, or why
it worked. They learn how to analyze dance because they have these
tools. They can then go home and design their own choreographies
with more confidence and greater ability."
KD:
"Since 'Egypta' has just been released, would you please tell us
a bit about it?"
LVG: "I told one group that I wanted to choreograph a suite of dances
in the style of ancient Egypt. At first they were not interested,
saying they didn't want any part of it, of the 'Hollywood kitch,
King Tut Strut' and all that. But I explained that was the whole
point of my idea - to create something very different than what
now passes for 'pharoanic dance.' Ancient Egyptians performed brain
surgery and built the pyramids! They were extremely sophisticated.
Why would we think they had these boring, imbecillic dances?! My
theoretical basis is founded on Alan Lomax's system called choreometrics.
Lomax looked at different societies and cultures and saw that they
had similar patterns of movements depending on the societal structures.
Hunting - gathering societies had simple horizontal or vertical
movements, like throwing a spear. Agricultural societies have more
curved movements, like in 'sowing wheat' or cutting it with a scythe.
Societies with highly centralized governments with control over
hydraulics, like canals and irrigation use spirals in the dances.
The Chinese acrobats have many spiral movements, as do the Persian
and Central Asian dances. So I took this theory a bit further, using
it not only to decipher living dances, but to reconstruct ancient
ones. Instead of this flat, two-dimensional thing we imagine from
hieroglyphs, I have used three dimensions and spirals. The tomb-paintings
are like snapshots; they freeze just one moment and cannot show
the whole dance.
There
were so many kinds of dance in Egypt, and during over 3,000 years
of written history the styles changed. Some of the movements I could
only reconstruct with several dancers actually physically trying
them, like a certain child's game they used to have. Since there
is not enough choreographic material to make a complete dance, I
had to fill in the blanks. 'Egypta' begins at the River Nile because
it is the source of life. Many of the creation myths go back to
the Nile. Then the suite goes out onto the land and agriculture.
Then religion comes, and the worship of the Sun and the Nile. I
added the building of the pyramids, and since no one knows how that
was done, I did it in an evocative, interpretive way. 'Egypta' includes
Priestesses, Hathor, Isis, Anubis, a court dance, a period of foreign
domination and finally, a death scene.
The
first Egyptologists were white male imperialists, who had a hard
time accepting this amazing technology and high culture coming out
of an African country. So they discounted much of the black African
contributions to Egyptian society. I've tried to put some of those
African elements back in. It seems only logical. If you look at
depictions of people in ancient Egypt there are many dark skinned
people who look like Nubians or Ethiopians."
KD:
"Please tell us about a workshop you offer called 'Beyond Beads'
which explores the spiritual dimensions of oriental dance."
LVG: "The late Lois Ibsen al Faruqi, who was a specialist in Islamic
art, described four categories of dance in the Islamic world. There
were line dances, war or combat dances, solo or improvisational
dances, and finally, ritual or spiritual dances. The more I study,
the more I find a deep spiritual foundation to these dances. My
workshop is a way for people to explore this realm in a safe environment
in a controlled classroom setting. We end the workshop by creating
our own ritual by improvising. This is so fulfilling- in fact, I'm
finding more and more that my personal moments of supreme ecstasy
are coming not from performances, but in the classroom."
When
asked about future projects, Laurel mentioned a workshop she does
with Artemis called Ancient Visions that will lead to a concert
eventually like Egypta, except that it won't be just about ancient
Egypt. This one's focus will be on "Women in Myth and Legends,"
and will include well-known and less familiar Goddesses.
LVG:
"I'd like to explore many countries' myths and legends during this
project. The dances would be presented on stage, and again, with
as much research in the movement style and costuming as possible.
I just think it's time. I'm looking for dancers to cast in the different
roles, but this won't be one solo after another, or with someone
standing there with lightning bolts or something saying 'I am the
goddess.' Humour is important too. I think we need to see more images
like that of women showing their strength, power and wisdom."
Another
project Laurel is working on is putting her wonderful warm-up on
video. "I'm sort of torn, as one of the reasons people like my warm-up
so much is because of this unseen dimension of it - the sharing
of the energy. This happens in the way I've structured it, as part
of it is about 'being present in the moment.' To me it's more than
a warm-up, it's a dance. And, I don't usually verbalize much during
the warm-up, people have to follow me. But what that does is it
makes the students learn on a different level. It's the same idea
as when a mother and infant are together so much their heartbeats
become synchronized. There's this sort of learning we do that's
not on an intellectual level, it's just by being there. This goes
back to why I think it's important to physically study with a teacher
in the same room because by sharing the same space, you're also
sharing the same molecules - literally. Some things happen where
you get to a certain level and begin to unconsciously imitate the
teacher, by picking up their movement patterns.
This
warm-up is my sly way of getting people used to working with me
and following me. They really have to concentrate as I don't tell
them 'we are going to do four of these and four of that,' but they
naturally fall into it so that by the time we're ready to start
the class, we've imprinted on each other a little bit. So I don't
know if it'll work on video, but I've been getting so many requests
I must consider it. I hope it comes across, as our dance form is
primarily a solo art. To be solo you must have a strong ego to get
out there, and we don't do a lot of circle dancing. When we have
problems in our community such as the jealousy and cattiness, it's
because we don't have opportunities to experience unity. So if all
we get is a few minutes during the warm-up to get in a circle and
hold hands, at least that's a beginning.
Sometimes
I'm so overcome by the shared energy in a workshop that it's all
I can do to keep from crying. It's quite amazing. You feel this
trust and this incredible, tender, vunerable, nurturing feminine
energy that just is heartbreaking because it's so beautiful and
different from male energy. When we have a chance to be in a circle,
move together, and feel safe, dancers can get rid of ego. It's then
not important whether they look better than the woman next to them,
or whether their practice outfit is nicer. All that matters then
is the act of being present and enjoying moving together. And that's
what I mean when I say that some of the peak experiences that are
coming to me are in the seminars and classrooms where I teach. Maybe
that's where the new level of work is in this dance, in the experiential
aspects of the dance and less in the performance."
If you desire to study with Laurel, she teaches at least two new
choreographies each year at the intensive Central Asian Dance Camp
held in August in Santa Fe, New Mexico. Travis Jarrell is the other
featured instructor at this Camp. With a small enrollment (no more
than 25 participants,) and a huge, mirrored dance space, the camp
is designed for serious students who wish to be totally immersed
into Persian and Central Asian styles. Laurel also travels and is
available for seminars internationally.
~end~
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