REVIEW AND DOCUMENTARY FILM THEME DANCES ON THE MEDITERRANEAN AND CENTRAL ASIA
towards. Art: Marialuisa Sales
FRIDAY 'November 21, 2008, AT 19.30: LATCH Dromio of T. Gatlif (1992) Film. Unforgettable musical journey and dance from northern India to Spain gypsy flamenco more authentic, passing through Egypt and the Balkans Performance presentation by Paola Stella: Contemporary Oriental Dance FRIDAY December 12, 2008, AT 19.30: ROMANY THE TRAIL, PART 1: GYPSY MUSIC INTO AFRICA, J. MARRE (1992) Documentary. Exclusive footage on the route of ancient dances from northern India to Spain. Camera unforgettable Ghawazee Egyptian and exclusive interview with one of the last Ghawazee. Speech by Natalia Bonanese on "Cinema and Roma."
FRIDAY January 23, 2009, ORE 19.30: DANCE OF NORTH AFRICA: TUNISIA AND MOROCCO TO AISHA ALI (1973-82) Outstanding documentary dance and folk music of Tunisia and Morocco, 1973-1982
FRIDAY 21 February 2009, AT 19.30: DANCE 'OF IRAN FRIEND RC (1982) Documentary: footage of performances of one of the most popular performers of the dances of Iran and Central Asia. Classical Persian Dance, Folklore of Iran, dancing dell'Azerbajan and Georgia. Persian Classical dance performance directed by M. Sales Ballet dancers during the Persian CUS University University of Rome "La Sapienza"
FRIDAY March 21, 2009, AT 19.30: ASHIKA KERIB OF S. Paradjanov (1988, English subtitles) Jewel memorable films Symbolists. Based on an ancient medieval legend of Central Asia, the film tells the story of a minstrel who, after initially refusing, he began to travel the world to become rich and be able to convince the family to allow him to marry his beloved. Composed in lyrical form and refined, Ashik Kerib manifests a rigorous, almost obsessive attention to the beauty of detail, whether the incidental music, choreography, costumes made by local clothing, or of suggestive scenes in outdoor dreamscapes between the ruins and monuments.
ORGANIZATION: ACADEMY OF DANCE Via G. SULTANA Castelbolognese by 30 / a, Rome Free Entry. Mandatory membership card.
THE 2008/2009 SEASON REPERTOIRE OF MUSIC AND DANCE
"Gul Amaad"
track entry and greeting. Music: Reng-e Abu-Ata , Reza Mahjoub. Choreography: M. Mahdavi, M. Sales.
"Miniature"
of pure dance track which shows the geometry executive style. Music: "Mozhdeh Bedeh" dastgah Mahuri , K. Alipour. Choreography: S. Khorsandi, adaptations of M. Sales
"Raqs-e Bazaq"
track traditional masked dances on makeup and dressing of the dancer. Music: Reng-e Dasht the second section, do so Hijaz, R. Friend, N. Siegel. Choreography: RC Friend, adaptations of M. Sales.
"Raqs-e Mahuri"
Former dancer choreography attributed to Chobak so Mahuri. It is believed that the song was dedicated to the night of Yalda. Music: Reng-e Mahuri . Choreography: M. Mahdavi
"Kosrov y Shirin "
track of masked dances inspired to extracts from the work of the same name of Nizami. Music: song and drum tombak Ali Akbar Moradi in the style of Kermanshahan. Choreography: M. Mahdavi, M. Sales
"Reng-e Homayun"
track inspired by Kai Arash-e Kamanje, the character of the Shahnameh (Book of Kings) who put all his strength into a single bow shot to fix the boundaries of 'Iran. Music: Reng-e Homayun (gosheh-e Isfahan) Choreography: M. Mahdavi
"Leily-o Majnun"
dance inspired by the eponymous poem by Nezami, recounts the story of Leyla crying in the garden. Music: song for tar and daire the gush-o Majnun Leyli R. Friend, N. Siegel. Choreography: RC Friend, adaptations of M. Sales.
"Gol-e Gandom Shekofteh" track into two sections: the first inspired by a dialogue between the flute and the birds and the second dedicated to the legend of the Phoenix, which sits on the Tree of the World. Music: piece for ney and tombak, Reng-e Dashti Hossein 'Omoumi and Madjid Kaladja Choreography: M. Mahdavi
QAJAR SONGS OF STYLE: two songs in nineteenth-century Qajar style: Shater and "Attar Bashi"
ARMENIAN DANCES: "Uzundara" "Archa Yeruzanke" Choreography: traditional on adaptations of H. Eriksen
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Excerpts: " MEDIEVAL ARAB DANCE DANCE AND INTERPRETATION of Arabic poetry" Marialuisa Sales, Ed. Akkuaria, 2006
(For gent.le of the Author. Author's Copyright, Reproduction in whole or part of the text without explicit permission . To request permission to write orchestes @ gmail.com . The article is devoid of text notes original.)
The Sufi and theologian Abu Hamid Muhammad at-Tusi al-Ghazali (1058-1111) is Sunni Islam's highest authority of all time, to the extent that is allocated exclusively the honorary title of Supervisor of Islam (Hujjat al-Islam). While it is common that some Muslim scholars constitute the unquestioned authority in their specific area of \u200b\u200bresponsibility, the case of al-Ghazali is quite rare, because its authority extends to many areas. For regard to the right, within the school SCIAF al-Ghazali is considered second only to its founder as-Shafi'i, and in the speculative theology (kalam) is one of the greatest exponents of Ash'arite. In the context of Sufism is then considered a "Pole of Time" (Qutb az-Zaman), ie, the beginning of higher rank who is living in a given period. The literature of al-Ghazali is very wide and extended to many disciplines. His main work is Ihyā''ulūm ad-Din (The revivificazione of religious sciences), a multi-volume compendium that is considered a veritable encyclopedia of Islamic sciences. Of this al-Ghazali himself composed two synthetic summaries, one in Arabic, entitled Al-arba'īn fi usul ad-Din (The Forty principles of religion), and the other in Persian, called Kimiya-e Sa ' Adah (The Alchemy of Happiness). From this it seems appropriate to quote some passages from the chapter entitled "About the role of music and dance as the pillars of the spiritual practice." In our view, they allow you to dispel the assumption under which the Islamic jurists would be detrimental as opposed to the use of musical instruments and dance practice.
"The Most High - says al-Ghazali - has designed the human heart so that it contains a hidden fire which is awakened by music and harmony, and that can lead man beyond by himself, in ecstasy. These harmonies are echoes of that higher world of beauty that call the 'spirit world'. They point to man his relationship with that world, and produce in him an emotion so deep and so strange that he is not able to explain . The effects of music and dance are more or less deep in proportion to the extent that those on whom they are acting more or less prone to movement, they flare up the fire that is dormant in the heart, regardless of whether it is a fire sensual, or divine and spiritual. "As a result there have been many disputes among theologians about the permissibility of music and dance from the religious point of view." Here we merely asserts that music and dance is not something external to instill in the heart, but simply to flare up emotions - albeit dormant - are already present in it. Therefore, if a man has in his heart the love of God which is required by law, it is perfectly legal, and even meritorious, that he devotes to activities that help to increase. On the contrary, if you have a heart full of desire to dominate the senses, music and dancing will only increase it, and in his case are therefore prohibited. As one who listens to music or attend the dance for the purpose of mere entertainment, music and dance in his case are neither lawful nor prohibited, but simply indifferent. The fact that they produce pleasure is not in itself sufficient to bring prohibited. Listen to the birds singing, contemplating the green grass or a running brook that they are also activities that give pleasure, but no one ever dreamed of and define them as prohibited. "Those who deny the reality of the ecstasies and other spiritual experiences of the Sufis do not prove that their narrow-mindedness. It should be recognized, however, some mitigating them, and as difficult to believe in the existence of states that have not experienced firsthand, as well as a blind man is difficult to contemplate that the green grass or a running brook that is pleasant or for a boy and difficult to understand the pleasure of governing. The wise man, however, despite not having experience of those states in person, you will look good and deny their reality. What folly could be greater than deny the reality of a thing for the mere fact of not having experienced ? "
So if al-Ghazali believes that music and dance, respectively, should be considered beneficial or harmful depending on the state of mind that generate the result, some lawyers rear Hanbali school, as Ibn al-Jawzī (1116-1201) and Ibn Taymiyyah (1263-1328) are so hostile to the dance to be condemned in toto, sometimes resorting to sophistry and specious arguments of nature . 'Abd al-Rahman ibn al-Jawzī al-Baghdadi was a literalist animated by a strong hostility to the Sufis in general and al-Ghazali, in particular, so as to write an entire treatise against him, entitled al-I'lām Ahya ' aghlāt bi-al-Ihya '(Notification of living beings errors in the Ihya'). Should therefore not surprising that he not only condemns every kind of dance, including Sufi, but even any kind of singing, including qasīdah, that is the anthem of religious argument. In Talbīs Iblis (Lucifer's temptation) Ibn al-Jawzī says
"The hearing music and dance have two defects: first, distract the heart from the knowledge of the power of Almighty God, and encourage the other pleasures of this world and make you give free rein to the passions of the senses, including the main stimulus to the sexual union. Thus, there is a relationship between music and adultery: the music is a pleasure for the spirit, just as adultery is the greatest of pleasures for the soul desires. For this reason, lawyers close to me say that musicians and dancers are not respectable people, and consequently believe that their testimony might be used in court. Music is in fact losing to a sense of proportion and the use of reason and cause behaviors similar to those induced by the wine drunk in the spirit. For this we go prohibited. "
continues blaming the Sufis and their dance
" When the excitement of the Sufi dance becomes more intense, one of them urges whoever is sitting next to stand with him. Under their rule, whoever receives the call can not refuse to get up. When the first rising, the others get up with him. If one of them turns his head, so do others and ceremonies of this sort supposed to worship God and to show him submissive. Then, when their excitement and became more intense, they throw their clothes to the musicians. Sometimes the whole cast, sometimes after being torn apart. " The same preconceived hostility towards music and dance, as demonstrated by Taqi al-Din Abu 'Abbas Ahmad ibn Taymiyyah al-Harran, the one that it is considered the forerunner of contemporary fundamentalist movements. While condemning the dance, Ibn Taymiyyah did not find anything untoward in resorting to an interpretation of the Koran itself very specious. Verse 37 of Surah of the Night Journey (XVII) states that: "Wa beyond tamshi fi al-ardi Marah," ie "do not walk the earth with insolence." It seems clear that the verse in question does not in itself imposes nothing on the dance, but merely to prohibit the vainglory and the pride of those who walk ostentatiously. Ibn Taymiyyah claims, however, read this as a condemnation of the dance and - in the footsteps of Ibn al-Jawzī - explains that "dance is something relevant to this kind of arrogance." This way of arguing, which is to force the legal sources just to prove a preconceived thesis, was typical of Ibn Taymiyyah and was indeed one of the reasons that led to his sentence to life imprisonment for heresy by the emir of Damascus Ibn Qalawun. It is no coincidence that, while after his death, al-Ghazali became undisputed legal authority for the entire Islamic world, Ibn al-Jawzī instead was sidelined because of his pedantic literalism, while Ibn Taymiyyah was even imprisoned by those who feared the spread of his extremism. It 'also significant that while the connoisseur of music and dance Ghazali brought Sufism to insurmountable heights of doctrinal formulation, his detractor Ibn al-Jawzī completely rejected him, and Ibn Taymiyyah, as well as order the music and dance, developed sterile polemics against the work of the greatest of Sufi masters of all time, that Muhi ad-Din Ibn al-'Arabî who was the heir of al-Ghazali in the rank of "Pole of Time" . This disagreement between a letter of spiritual and a fundamentalist Islamic doctrine is in fact come down to our days, so much so that contemporary fundamentalists, that the Wahhabis and Ikhwanidi, see Ibn Taymiyyah in one of their capiscuola, and oppose so fiercely to what Ibn al-Ghazali - 'Arabs. The legacy of these two authors, therefore, to be followed related to the hope of rebirth of the potential cultural, aesthetic and artistic activities of the Islamic world, while that of Ibn Taymiyyah and his followers continue to debase the deeper dimensions of Islam and to the point path of decadence, intolerance and obscurantism.
For years our association holds conference-show matters relating to the Persian Ballet, iconography and art of Iran and the Middle East.
Public and private stakeholders can contact us at: info@orchestes.com TEL. 333.7220123
MEETING-SHOW (ARCHIVE):
- " Persian classical dance and dance of the iconography of the Qajar era "
lecture-performance at the Teatro Derby of Milan, as part of "East and West, ancient and modern" by the Circle Zagharid, Milan, May 2008
- "Hortus Persicus "
(show / lecture on the symbolism of the flower and vegetable Iranian. Medieval Bristol, City of Brisbane, RA, July 2007)
- " Medieval Arab Dance of Arabic poetry and interpretive dance " ( presentation, Library Sangraal, Anagni, May 2007)
- "The Thousand and One Nights"
(intervention danced to classic songs of the repertoire of M. Mahdavi during the presentation "A Thousand and One Nights," traduza . edited by R. Money and M. Casari, Donzelli edit., Librairie Orientale "Nima", Rome, April 2007
- "Eyes of Narcissus"
(lecture-demonstration of Persian Classical Dance based on the symbolism of floral and plant their own tradition of the Iranian literary and poetic "(review" Florilegium ", cultural center Orsini Chapel, Rome, March 2007
- "Dance Dance Interpretative medieval Arabic and Arabic poetry" (presentation, Eastern Library "Nima" - Rome, December 2006)
- "Gulistan - medieval Arabic and Persian dance" (University of University of Rome La Sapienza, Rome by Night at La Sapienza, July 2006)
- "Classical Persian Dance: Raqs-e-Qajar era Bazak" (Università Degli Studi Roma Tre, Faculty of Humanities, June 2006)
- "The Garden of Love" (two-conference demonstration of medieval Arabic Dance, Orsini Chapel, Rome, April-May 2006)
- "From Mesopotamia to Damascus" (monumental complex of Santa Maria del Rifugio, Cava de 'Tirreni, SA, April 2006)
- "The souls and ghaziya: historical and symbolic dance in the Middle East"
(within the Conference on "Islam and the West: dialogue impossible? "University of Roma Tre, Faculty Humanities, May 2006)
- " The One, the All, the impermanence " (Orsini Chapel, Rome, March 2006)
- "Medieval Arab Dance: an attempt at reconstruction (Università Degli Studi Roma Tre, Faculty Humanities, December 2005)
member of the International Dance Council (CID) of UNESCO
(Author's Copyright, Reproduction in whole or part of the text without express permission. To request permission to write orchestes@gmail.com )
Before discussing the "Ballet of Iran", it is necessary to emphasize the fact, often not at all clear that Iran is linguistically, culturally and ethnically distinct from its Arab neighbors, even in the dance, the similarities of the Persian style should therefore be sought among the non-Arab peoples of the Central Asian region. When we refer Iran to the Ballet's artistic stylization mean a proper Persian elements in modern choreography, ballet assimilates ideas from Azerbaijan, Armenia, Tajikistan, Afghanistan and Uzbekistan.
Fundamentals of Classical Dance and ballet Iran
Scholars tend to agree to identify the origin of this dance style in Raqs-e Tehrani ( dance of Tehran) in solo improvisation that is both private ( Majles) , which has a prominent role of graceful gestures and expressive gestures, while the lower part of the body plays a role play of the second floor and a mere support. This "improvised solo is indeed Iranian women's solo version of the exhibition we find that common feature among the Armenian population, turkish-Anatolian, Uzbekistan, Tajik and Uighur, until reaching the Eastern Mediterranean and the Balkans.
ballet Iran is therefore the stylization of art and dramatization of items in raqs-and Tehran. Although it has not been a hard coding, similar to that of Western ballet or Indian classical dance, it has none of the limitations of style, attitudes, facial expressions and interpretations of music that are clear to interpret, beyond which it can no longer speak Classical Dance of Iran.
Brief Historical
was especially the dynasties of Safavid (1501-1732) and Qajar (1779-1924) to develop a tradition of court dance in today is inspired by the Ballet Iran:
" The most beautiful women in Persia are devoted to dance (...) the exquisite symmetry of form, their apparent agitation and the licentiousness of their verses are many incentives to a passion - to be contained - needs more philosophy than I possess in general the Persians . "
(ES Waring," A Tour to Sheeraz, London, 1807, p. 55)
Classical Dance Iran seemed to share with the Indian dance degeneration saw these historic forms of choral activities associated with prostitution, the professional dance regained prestige and respectability only with the new court established in the marriage between the Shah Mohammad Reza Pahlavi and Soraya. From that time he developed a professionalism that allowed the formation of real companies. Following the 1979 revolution, this process of regeneration of the dance and the arts connected with it underwent an abrupt halt to the point that today Iran is predominantly a dance dance of the diaspora, no more home grown but they are in Western countries present and active community of Iranian exiles.
The Art of Bazm
oral tradition some performances more refined and specifications were included in the final part of the "private concert" called Bazm . The latter represents an artistic context is often difficult to understand for Westerners. Often translated as "home entertainment", the Bazm was a real concert with its own mystical rituals and a specific spiritual goal, that the sacredness of Bazm was implicitly respected by the audience and the musicians themselves. Connected to this is in fact implementing the concept of hal, meaning "state of mind" that transcends ordinary consciousness, the vehicle is intended for the condition of purity and simplicity pursued by the mystical spiritual concert. In this sense, the dance, which intervened in the final section, on a specific musical performance called Reng (usually in 6 / 8, Hindi " Ranga Bhumi," the "place of dance"), had a cathartic function and to "bring down" the energy of the group.
Hence the idea of \u200b\u200bthe dancer as a mediator between Heaven and Earth , whose performance, again for the oral tradition, is subject to limits imposed by the peculiarities of their context. For example, could express all the feelings, with the exception of the surprise and anger, but not absolutely had to assume a seductive or lascivious, or perform sudden movements and sudden, and should also contain forms of virtuosity. All these are examples of parameters that perhaps today we would find very limiting, unreasonable or bizarre, but they had their own logic on the subtle peculiarities of the context. We are therefore not in a liturgical dance, whose function it is easier to identify (as in the case of Indian classical dance), but a dance that goes beyond the intent of conveying content related to religious myths to be interpreter of a spirituality that regards the state of being and not that of believing. We remember it as the ritual in Islam is incantatory and turns all'incondizionato immediately without going through a period of meditation on a physical or mental shape. The same implementation of sama 'Sufi is in fact a sacred dance that is not designed for the temple ceremonies and that even remembers the man as the only true temple is the heart.
The current evolution of the Ballet of Iran
The performers today are generally agreed to place the Ballet Iran in an evolution which brings a uniqueness to this art form and aesthetic expression common to the arts of music, poetry, calligraphy and illumination, in part interrupted evolution on many historical events. Many companies operating mainly in the U.S., where the higher the concentration of migrants from Iran, using the art theatrical spectacular setting as the main theme, sometimes with good results and sometimes betraying the spirit within and inward, creating a style strongly influenced by our classical ballet, which in historical memory, is based on principles very different from those presented by the Ballet of Iran.
If he wants to preserve its authenticity, it should be pointed out that the mime and refined poetic, subtle gestures, the constant interaction with the public and the origin of intimate performances make Dance Classical Iran unsuited to modern theatrical contexts. This dance was created and grew in the princely courts, in private houses and tea houses flourished in all contexts incomparable with large stage spaces to which we have become accustomed to the modern theater. The prominence of the "state" and expression than the physical movement and dynamism would undoubtedly lost from the tenth row on one of our Italian theater. This makes the Ballet Iran a unique gem and a bit 'elitist in an age of standardization and evolution "circus", a spectacular and "physics" of the dance. This expression is dance, and remains, an exploration of love and education to the many aspects of union and separation expressed by Persian music, as well as all the other arts of this ancient culture.
Our association proposes for dance schools or private, short intensive courses or workshops dedicated to the repertoire of nineteenth-century court dances of Iran: women's solo dance whose origin is identified in "Raqs- and Tehran" (dance of Tehran). Characterized by the prominent role of graceful gestures, the expressive gestures and some characteristic steps and movements of the pelvis, this dance is considered the Iranian version of the exhibition as a soloist and find common feature among the Armenian population, turkish-Anatolian, Uzbekistan, and Tajik Uighur, until reaching the Eastern Mediterranean and the Balkans.
The proposed route of the famous songs choreographed Iranian dancer and choreographer Medea Mahdavi. Apprendemdo the songs in the 80s and getting in touch with the latest exponents of this tradition of the court, Medea continued to settle remaining strictly within those stylistic borders, while preserving the taste and authenticity. Learning the songs is integrated with historical, iconographic and music through the slideshow, video and film in the workshops.
Teaching provides an introduction to basic technique el 'learning one or more dances on a repertoire of Medea Mahdavi " Reng " (classical composition for dance) tradition.
TO GET THE PROGRAM OF SEMINARS ( cost, time) write or call:
publication, examining both the theory and practice of medieval Arabic dance, exposes cases of recoding on basic poses, the vault , the facial expressions and gestures. Includes two articles on the Sufi ritual gestures and the position of Islamic jurisprudence in music and dance.
CONTACTS YOU FOR THE BOOK: Akkuaria Publisher: libro@akkuaria.org - veraambra@akkuaria.com Association 6 Catania Via Akkuaria Dalmatia - tel.095.7223831
REVIEW Enrico Pietrangeli per say, 18/12/2008 "The art of poetry and dance inspired" click
