THE MODERN ORIENTAL DANCE AND THE LCBZ TRAINING PROGRAM

 It’s hard to believe that Modern Oriental Dance has been around for a quarter of century and has been influenced by thirteen centuries. That means that many of our current dancers – from dance and no dance backgrounds - would have not been born when the Modern Oriental dance made its debut in 1980, in the same time of the contemporary dance. If you count 25 years as a generation, then a generation of dancers will have grown up with this contemporary influence.

It has been a fascinating (if overwhelming) task to try to find back thirteen centuries based on strength of genius habits. As a record of dance in those countries, dance has accumulated a rich archive of materiel. Going through, books and pictures and tapestry bloom of their careers. And the historical interest which might have appeared minor for a long time became, with hindsight, an extra significant available acquired facts.

Lets us not forget that when Dance was first established by the occidental countries, not much attention was given to the traditional ones. The only one that was represented, was shaped by Isadora Duncan, Diaghilev, Merce Cunningham, Pinah Bauch, Maurice Béjart…. as it was presumed that all the best thing came from occidental countries. Nowaday they use to program Indian dance and other traditional dances from Eastern area, at the Théâtre de la Ville in Paris, this leading contemporary dance venue. I guess the Modern Oriental will have one day his chance!

 I have travelled in many countries, seeking indices being able to help me to imagine the dance in past in those countries – if my memory serves me correctly – I found my first one in a picture into a Turkish museum, my second one in Al Kindy Book – Arab music classic – and the third one in the oldest street of Alep city, ‘Bad Qenesrine’, through the trance Sufi behaviours. Those treasures were marvellous and thrilling, and it didn’t occur to me that it might be strange to have to go to all these countries for my cultural nourishment.

The French Alliance has given to the hopeless issue the chance to exist one more time. In those days of “cultural cringe” the Festival of Fez, in Morocco, was one of the many signs that those countries was maturing as a culture. Having sessions devoted to local dance and other ways of expressions was all part of a generational change in thinking that has seen these countries admire their own artists as being as good as the rest of the world. I am proud to now be at the helm of this family that perhaps even aided in that change of attitude – is not always appreciate or understood – as I write is struggling to survive.

When I was setting up in the beginning of this century the Research and Choreography studies Centre, people were very sceptical, but I convinced them that dance is a mode of expression through which the world can be seen and interpreted and that would be beneficial in the long run. People have doubt whether there was a large enough market for the Modern Oriental Dance, but it’s a compelling, beautiful, subtle dance work that deserves all the credit. It’s challenging, interesting and definitely not irritating nor dull. It’s a contemporary dance written for people - from dance and no dance backgrounds – whom are able to understand thirteen centuries of Arabic History.