Family history, floorwork, and teamwork
An email dialogue by Lynette and Rahma Haddad
Sahda, Vancouver, January 2001
Lynette: The first time I saw a group of women "bellydancing" together in Vancouver was in 1976, I had just returned from the Middle East. I was blown away by the exotic clothing and music that had suddenly appeared at a community event in Kits; and then my mom pointed out one of the dancers: "That's your cousin."
Rahma: I remember meeting your mom for the first time. She came to my very first class that I offered in 1975 or '76 at Aberthau Community Centre. I sent her away because she had a bad back and I didn't want her to get hurt in my class. I've really learned a lot since then about protecting and strengthening the back! But in that first conversation we realized that we were related. Her father (i.e. your grandfather) and my grandfather were first cousins. They came to Canada together as teenagers, from Karoun Lebanon, in late 1897. That was the end of the Ottoman Empire and as Christians they were being persecuted by the Turks so my great grandfather Farhat Haddad brought them to Canada. They almost didn't make it. Had they not, none of 'this' would be happening!
 About floorwork:
Lynette: I love doing and teaching 'Floorwork' - there's a kind of intensity that's possible when dancing close to the ground. I find it's easier to get immersed in the music, interpreting its emotional qualities. On the other hand, it's also a great chance to show off fancy and innovative movements! Each dancer expresses their own unique style when doing 'floorwork' - but in this workshop, we'll share many useful techniques, 'tricks' to make things easier, and tips that make floorwork safe for your body.
Rahma: I share your sentiments. Floorwork adds another level to the dance, in many senses of the word. Drawing the spectator's eye to the floor is very powerful, in addition to the dancers' own sense of power. And the nice thing is that dancers at any stage of accomplishment can find moves that suit them. You and I have both trained in other dance forms and have had many years of experience so we can teach to all 'levels', but I have to say that my body at this age does not do as easily what it did 10 years ago. It's the 'tricks' and the warm-ups that get me through it these days!
About teamwork:
Lynette: What I think is special about taking a 'teamwork' approach to dance, is the idea that each individual has something unique to contribute. A good team works together to create something greater than the sum of its parts; it doesn't demand that each member always submerge herself into the whole. Recognizing and supporting individual talents and abilities enriches a team, as well as choreography! I feel like I'm continuing learning better ways to collaborate with my fellow dancers - to create more richly textured choreographies, to deal with creative differences, to develop a coherent whole when improvising together.
Rahma: Me too! I'm always amazed at the variety of talents and abilities and the enthusiasm that members bring to a team. And since I am frequently in the position of coordinating or organizing, it is such a relief to know that I can count on people to shine in their areas of expertise and to appreciate other peoples' talents. This interweaving of talents is really what makes the whole fabric more than just a bunch of threads. It's always so exciting to see things come together! But I have to say that in order for a team to work there must be some common ground between the members. You and I have a vast amount of common ground which has contributed to our working together so successfully over the years. However, common ground can be as simple as committed willingness to work together while recognizing our own strengths and weaknesses and those of others. |
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