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As you probably noticed, the necessity to improve and or correct the image of oriental dances, the public at large have, seems to be a recurrently expressed preoccupation.
Behind the noble intention... And the “how to make the difference” marketing argument... What does this mean exactly ?
To say that this cover the search of a double recognition, as a genuine cultural heritage and as a true Art, should obtain general agreement. Even if, at the same time there’s absolutely no doubt concerning the wished recognition as a true art, I’m not sure the genuine cultural heritage basicaly worried more than a minority... Altough significative...
The fact is Oriental Dances “globalization” already happened, long-standing affair, like the one of chinese cooking... With varying fortune...
But this is another story.
Talking about artistic and cultural heritage, there are, in occidental world, two traditional devices dedicated to preserve it. The Academy (the history of which shows numerous pros and cons to weigh up) and the “listed heritage” (about which we can just regret the “museum”/”taxidermy” aspect). Seems it should be interesting to find something different for Oriental Dances...
Maybe something like what they call “Living Treasures of Japan” for example. What seems quite clever indeed. This consist, instead of listed artistic productions, to prefer appoint “Listed Masters”. Living Masters preferably (I don’t know why we developed that strange habit to recognise talented artists only after their death ?), the way to make sure they will be able to transmit knowledge and “know-how” through generations.
It’s with that kind of idea in mind that the European School of ART of Oriental Dances organised during last Momo Kadous workshops in Belgium (april ‘07) a “welcome lounge” at the Chateau de Limelette, to honour the Master as he deserves...
And it’s with that same idea in mind that, at the occasion of next Momo Kadous workshops in Belgium (18th-20th april ‘08),
the same European School of ART of Oriental Dances decided to dedicate a “Tribe” (contemporary and very international crossbreeding of a “fan club” with a “dazibao”), for which I, today, write this opening article....
Who am I talking about, and call Oriental Dances Living Treasure ?
Mohamed Kadous. Called Momo. Born in Mahalla, Nile delta region.
Egyptian. Body and soul. Both entirely dedicated to the Art of Oriental Dances.
Now established in Frankfurt, Germany, where he made out of “Studio Arabeska” and “Arabeska Dance Theater” the base from where to spread over the world an artistic vision that carry of quasi-universel enthousiasm...
What else ?... Well, guess that’s all you’ll find in intelligence services files.
After close anthropological study of the subject... This is what I can add:
Momo and I have something in common. We both work in an essentially female circle. A women’s world. A fabulous universe... (that, unfortunatly, a little bit too often looks like the one of “Dallas”...)
The comparison (between Momo and I, and unfortunatly for me), don’t go further...
Momo, him, is some kind of a “genie”(*)
I mean, someone supernatural, like elves, or corrigans... I can assert this, due to the following events I witnessed.
It’s been a long time since I “know” Momo... Like, most of the time, anyone interested in Oriental Dances can “know” famous dancers and choreographers. Through the grapevine... A rather not very reliable telecommunication appliance...
For, less than half of those hearsay about Momo – as about many others, any other who happened to hoist him(her)self out of the ordinary – are based on facts. And more than half of the others appears to be tainted with ignorance, lack of understanding, jealousy and frustration... All those things that turned gossip making into a quite orgasmic self-psychotherapy.
One should better be born deaf than hear those... Not to become so (deaf, and even blind, the way human perception works...) when the opportunity to experiment the richness of a true encounter will happen... Do you follow me ?...
The first time I saw the man in the flesh, happened a little bit sooner than expected, because of a railway strike which let me no choice but drive without delay to Köln, where his train stopped, with no possibility to enter in our kingdom. We fixed in the rush a rendez-vous at Hauptbahnhof exit direction Dom. Once in the place,watching at the comings and goings of anonymous travellers, it suddenly come to my mind we neglected to agree upon any recognition sign.
How could Momo recognise me ? As we never met before. But, for me, maybe should I be able to recognise at first sight a great dancer and choreographer in a crowded station ? Maybe should I ?... But, shame on me, I must admit I can’t.
I had no time to stay puzzled on that question as we both suddenly discover that the man with the other mobile – we were trying to explain to each other the exact place where we were – was at only a few meters distance. And that man (the one with the other mobile) definitely looks like a quite ordinary man. Not less, not more than you or me... (for you, I don’t know indeed, but for me, no doubt about it...)
This may seems out of subject, but for sure it means something to me.
I had numerous occasions to meet Oriental Dances Stars during last four years. True Stars, reputed to be and little-known ones, presumed stars and self-declared (or recipro-declared) stars (a nowadays swarming type...). And my natural learning curiosity allows me to find in all those encounters discovery opportunities, thought and, sometimes, debate opportunities.
Information mines. The value of which it should be simplistic to measure only according to the amount of information obtained.
What all this is about is also human relationship.
I owe, directly or indirectly, an important part of my present knowledge about Oriental Dances, to Momo Kadous, who deserve much more than I the title of walking encyclopedia... But at the same time, the fact I can – in rare occasions – sit on doorstep and share with him nothing but a little piece of pure simple existence. Rare moments of perfect usefulness stolen to workshops intensive week-ends.
Workshops week-ends... That’s the place where it happens, indeed. Every time, with a perfect recurrence.
We go inside the sport center. Open the door of the dance hall... Momo goes in the direction of mirrors wall and just say one word...
I noticed in fact 3 different words, equivalent, apparently chosen according to no objective criteria.
« Aïwah », « Yallah », and very commonly « Hoba » !…
Instantly. The man I was talking with a few seconds before vanished. Appears The Choreographer.
Momo Kadous in his true nature. Metamorphosed. Free of all gravity, his movements, meaningful, precise, unfold accurate energy.
Absolute transfiguration... Which is not a mystical experience prerogative then.
Unless artistic experience fullness has got a mystical dimension ?... Or, unless I overuse any illicit substance (That’s well known, Art, like Love, is an illicit substance...)
What else ?
If some kind of a genie he is, Momo Kadous is also a genius of Art of choreography. And his work is a dazzling, crystal clear, illustration of the brilliant relevance of Hossam Ramzy’s maxim « The true art of oriental dancing is to visually hear the music » …
TO BE CONTINUED …
(*) The original french text plays with the double sense of the word “Genie” which , in French, means at the same time “genius” and “Spirit”
Behind the noble intention... And the “how to make the difference” marketing argument... What does this mean exactly ?
To say that this cover the search of a double recognition, as a genuine cultural heritage and as a true Art, should obtain general agreement. Even if, at the same time there’s absolutely no doubt concerning the wished recognition as a true art, I’m not sure the genuine cultural heritage basicaly worried more than a minority... Altough significative...
The fact is Oriental Dances “globalization” already happened, long-standing affair, like the one of chinese cooking... With varying fortune...
But this is another story.
Talking about artistic and cultural heritage, there are, in occidental world, two traditional devices dedicated to preserve it. The Academy (the history of which shows numerous pros and cons to weigh up) and the “listed heritage” (about which we can just regret the “museum”/”taxidermy” aspect). Seems it should be interesting to find something different for Oriental Dances...
Maybe something like what they call “Living Treasures of Japan” for example. What seems quite clever indeed. This consist, instead of listed artistic productions, to prefer appoint “Listed Masters”. Living Masters preferably (I don’t know why we developed that strange habit to recognise talented artists only after their death ?), the way to make sure they will be able to transmit knowledge and “know-how” through generations.
It’s with that kind of idea in mind that the European School of ART of Oriental Dances organised during last Momo Kadous workshops in Belgium (april ‘07) a “welcome lounge” at the Chateau de Limelette, to honour the Master as he deserves...
And it’s with that same idea in mind that, at the occasion of next Momo Kadous workshops in Belgium (18th-20th april ‘08),
the same European School of ART of Oriental Dances decided to dedicate a “Tribe” (contemporary and very international crossbreeding of a “fan club” with a “dazibao”), for which I, today, write this opening article....
Who am I talking about, and call Oriental Dances Living Treasure ?
Mohamed Kadous. Called Momo. Born in Mahalla, Nile delta region.
Egyptian. Body and soul. Both entirely dedicated to the Art of Oriental Dances.
Now established in Frankfurt, Germany, where he made out of “Studio Arabeska” and “Arabeska Dance Theater” the base from where to spread over the world an artistic vision that carry of quasi-universel enthousiasm...
What else ?... Well, guess that’s all you’ll find in intelligence services files.
After close anthropological study of the subject... This is what I can add:
Momo and I have something in common. We both work in an essentially female circle. A women’s world. A fabulous universe... (that, unfortunatly, a little bit too often looks like the one of “Dallas”...)
The comparison (between Momo and I, and unfortunatly for me), don’t go further...
Momo, him, is some kind of a “genie”(*)
I mean, someone supernatural, like elves, or corrigans... I can assert this, due to the following events I witnessed.
It’s been a long time since I “know” Momo... Like, most of the time, anyone interested in Oriental Dances can “know” famous dancers and choreographers. Through the grapevine... A rather not very reliable telecommunication appliance...
For, less than half of those hearsay about Momo – as about many others, any other who happened to hoist him(her)self out of the ordinary – are based on facts. And more than half of the others appears to be tainted with ignorance, lack of understanding, jealousy and frustration... All those things that turned gossip making into a quite orgasmic self-psychotherapy.
One should better be born deaf than hear those... Not to become so (deaf, and even blind, the way human perception works...) when the opportunity to experiment the richness of a true encounter will happen... Do you follow me ?...
The first time I saw the man in the flesh, happened a little bit sooner than expected, because of a railway strike which let me no choice but drive without delay to Köln, where his train stopped, with no possibility to enter in our kingdom. We fixed in the rush a rendez-vous at Hauptbahnhof exit direction Dom. Once in the place,watching at the comings and goings of anonymous travellers, it suddenly come to my mind we neglected to agree upon any recognition sign.
How could Momo recognise me ? As we never met before. But, for me, maybe should I be able to recognise at first sight a great dancer and choreographer in a crowded station ? Maybe should I ?... But, shame on me, I must admit I can’t.
I had no time to stay puzzled on that question as we both suddenly discover that the man with the other mobile – we were trying to explain to each other the exact place where we were – was at only a few meters distance. And that man (the one with the other mobile) definitely looks like a quite ordinary man. Not less, not more than you or me... (for you, I don’t know indeed, but for me, no doubt about it...)
This may seems out of subject, but for sure it means something to me.
I had numerous occasions to meet Oriental Dances Stars during last four years. True Stars, reputed to be and little-known ones, presumed stars and self-declared (or recipro-declared) stars (a nowadays swarming type...). And my natural learning curiosity allows me to find in all those encounters discovery opportunities, thought and, sometimes, debate opportunities.
Information mines. The value of which it should be simplistic to measure only according to the amount of information obtained.
What all this is about is also human relationship.
I owe, directly or indirectly, an important part of my present knowledge about Oriental Dances, to Momo Kadous, who deserve much more than I the title of walking encyclopedia... But at the same time, the fact I can – in rare occasions – sit on doorstep and share with him nothing but a little piece of pure simple existence. Rare moments of perfect usefulness stolen to workshops intensive week-ends.
Workshops week-ends... That’s the place where it happens, indeed. Every time, with a perfect recurrence.
We go inside the sport center. Open the door of the dance hall... Momo goes in the direction of mirrors wall and just say one word...
I noticed in fact 3 different words, equivalent, apparently chosen according to no objective criteria.
« Aïwah », « Yallah », and very commonly « Hoba » !…
Instantly. The man I was talking with a few seconds before vanished. Appears The Choreographer.
Momo Kadous in his true nature. Metamorphosed. Free of all gravity, his movements, meaningful, precise, unfold accurate energy.
Absolute transfiguration... Which is not a mystical experience prerogative then.
Unless artistic experience fullness has got a mystical dimension ?... Or, unless I overuse any illicit substance (That’s well known, Art, like Love, is an illicit substance...)
What else ?
If some kind of a genie he is, Momo Kadous is also a genius of Art of choreography. And his work is a dazzling, crystal clear, illustration of the brilliant relevance of Hossam Ramzy’s maxim « The true art of oriental dancing is to visually hear the music » …
TO BE CONTINUED …
(*) The original french text plays with the double sense of the word “Genie” which , in French, means at the same time “genius” and “Spirit”
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