Stretching a lively art to its cultural limits

The Sphinx Festival, Cairo, hosted by Keti Sharif
"Dancing is the loftiest, the most moving, the most beautiful of the arts, because it is no mere translation or abstraction from life; it is life itself" - Henry Ellis
The participants of this festival are not our usual tourists. They are ladies from 15 different countries who have come to absorb an expressive side of Egyptian culture; mainly its distinct type of dancing along with the right dose of history, music, ethnic costumes and folklore. With a backdrop of celebrities such as Farida Fahmy, Mahmoud Reda and Shahira Mehrez, I could not miss the chance!

Attendants share the same passion for dancing as one of the most dynamic and lively expressions of human art. However, they have different reasons for joining the "Sphinx Festival" in Cairo. Some of them are professional dancers who are keen to improve their virtuosity; others are teachers who want to master the art and be able to pass it on; a few believe it is an excellent healing spiritual medium and the rest pursue it for its proven mental and physical benefits.

Keti Sharif, festival creator and organizer, fully understood her guests' needs and carefully planned the schedule of the event. Each morning of the 5-day event started with a presentation from Farida Fahmy, the Egyptian dance icon. As she was the co-founder and the main dancer of the famous Reda Troop - which started presenting folk dances from different areas of Egypt to its audience 50 years ago - she would explain the characteristics and costuming of indigenous dances.

Bedouin dances from Marsa Matrouh, for example, included rhythmic clapping accompanied by vocal songs without the use of musical instruments, and their female dancer, known as 'Haggala', covers part of her face and folds the men's woolen shawls to dance with them.

Fahmy refuses to name Reda's School of Dance as "belly dancing" because it is distinct in its fundamentals and adaptations of Egyptian folkloric art. Following her lectures, the participants had the unique chance to practically learn the local dances with herself, or Mahmoud Reda, the dancing legend and choreographer of the troop, or Esam and Nesreen, two professional artists from the present generation of the troop.

After lunch break, either more techniques were practiced or presentations by specialists were given to help the attendants get a wider perspective of the history, music or philosophy of the Egyptian culture.

The evenings were dedicated to outings that would enhance the context of the festival:

Tannoura whirling dervishes in the Islamic core of Cairo, or an earthy Shamanic drumming night that is known locally as the Zar, or a cruise along the Nile with local dancers  with an opportunity for participants to present their own creative performances.

I  had a chance to attend the evening at Shahira Mehrez's atelier. She is an extraordinary ethnologist who went through painstaking field research to collect and preserve the native dresses of Egyptian women from all parts of the country; including Bedouins, Nubians, as well as peasants from the Delta and fishing communities in coastal regions.

The défilé revealed her rare collection that would have disappeared if it weren't for her dedication and passion during the past 30 years. Mehrez explained the characteristics of the native dress of each area pointing out its material, distinctive embroideries, jewelry and accessories as well as head dresses.

Her explanation provided insight into the costume roots – that sometimes dated back to the Pharaonic times – as well as its social connotations. As each woman would sew and ornament her own clothes, the beautifully embroidered outstanding dress did not suggest her rich status; rather her distinguished talent and special skills. Therefore, even if a woman did not have enough financial resources, she could still be proud of her handmade dress among her peers.

On the last day of the festival, I sat in the sunny garden outside the practice hall of the Swiss Club, the festival's main venue, and had the pleasure to share ideas with Min Adlide, a lovely instructor from Perth, Australia. I had this question in mind. What is so special about this type of "oriental dancing" that would attract ladies – coming from a "western" background - to learn about it with such eagerness?

Min gave me several good reasons; a lady does not need a partner to practice it. Also, a slim body shape is not a requirement for this art; she would have a chance to socialize with a community of women who share her interests if she joins classes; the music is lively and mood elevating especially if she would be filling a personal hole in her life. Finally, as many other hobbies, she would be practising a joyful art that satisfies her urge to get away from her daily chores.

Together, Min and I watched the lovely dancers when they were fully absorbed rehearsing the final Andalusian dance with Mahmoud Reda and Nesreen.

Their faces lit with their smiles as their bodies floated smoothly responding to the tranquil rhythm of the music. They were ready to go back to their separate worlds with a real taste of an ever dynamic art that holds its roots deep within the Egyptian Culture.