Dancer To Dancer - Dancer to Dancer with Rafi'ah Ruy'ah

Dancer to Dancer
A Personal Interview with
Rafi’ah Ruy’ah

Interviewed by Zaina Hart

She is a Kaleidoscope of color, texture and movement. A mixture of all of the elements; fire (exciting and intense), air (moving like a breeze), earth (deeply connected) and water (gracefully liquid).  Rafi’ah has a rapier wit, is a perfectionist in all things and has keen sense of humor.  Truly not a dull moment in not only our conversations for this interview but all those before.

I use the description of "kaleidoscope" because Rafi’ah so completely fits this “picture”.  A kaleidoscope operates on the principle of multiple-reflection, layers and patterns, colors and elements - -  just like Rafi’ah.  She is multi-faceted in her dance styling combining layers of Egyptian and American Cabaret, with the passionate flair of a gypsy. The kaleidoscope enters again as you see Rafi’ah’s sense of costuming - - lots of layers of fabrics, rich in the colors of fire and jewels, liquid and every moving.  Besides dance, and just as fitting of her personality, she is a poetry buff – even writing her own poetry.  Rafi’ah is passionate, emotional and inspirational, both on stage and off.  

I recently attended a “Rafi’ah” performance. The audience was so quiet you could almost hear a pin drop - they seemingly couldn’t move in or from their seats; there was little talking amongst them and no clapping until the end.  It is rare to find an audience so entranced by a performer, intently watching every move, only swaying this way and that as the dancer moves across the stage - - then finding themselves shocked even at the end of the performance when it is over as they awkwardly pull themselves from the moment to offer their thanks and applause.  This is her effect - - she pulls you in, sets you into her moments of performance, rich with those elements, then releases you back into your own space.  What you will have just felt is the mesmerizing color burst, energy and excitement of the kaleidoscope that is Rafi’ah Ruy’ah.

Zaina:  I love to ask this question first - - “Why Belly Dance?”

Rafi’ah:  It was love at first sight. Watching my first belly dance performance was like being reunited with an old and intimate lover. The movements and music captured my heart and from that day on I was taken on an uncharted and life changing journey. I tried to get away a few times, thinking that I was meant to go in another direction, but the dance always pulled me back.  It became something that I did not want to live without.

Photo of Rafi'ah by: Chris Kennedy
Student and Member of Balefire

These first sentences that I wrote in the "Power of Bellydance", in my mind, say it all. But in case they don't I'll add, that though I had been involved in many types of dance before, this dance appeared to me as the most beautiful way of moving I had ever seen. It resonated with something deep inside with it's serpentine curves, exotic shapes, costuming, movements that mimicked nature, engaging rhythms and exquisite music that drew me into another realm. The dancer that night was amazing (Susheila was her name), portraying the essence of the dance to live music played in an intimate ethnic environment. It was perfect. I was excited, mesmerized, inspired and knew that this dance had to be a part of my life's expression. So, it wasn't an intellectual decision, but then, is it ever when you fall in love?

Rafi’ah:  It took me a while to settle on one. My sufi teacher suggested Adawiya, "Wild Rose" (I think my dance was a bit wilder back then, but for whatever reason, that name just didn't stick to my ribs.  Then, at my first restaurant gig, a Persian place in Boulder Colorado, the owner Javad Tehranian suggested "Ruy'ah", a spiritual vision or dream...aaaah, getting closer for sure!! A beautiful name that I used for a short time and kind of wish I had kept it as my primary name, but one day "Rafi'ah" called to me. Rafi'ah, uplifting, exquisite, sublime (stretching in my mind to also mean to "sublimate"), as true art does. So now, when a longer name is appropriate, Rafi'ah Ruy'ah, sublime, uplifting or exquisite vision, a spiritual dream, feels right.

Photo of Rafi'ah by:  Rachel Rodgers

Zaina: I love your costume choices - you really know how to put together the whole package.  What do you look for when you go out to find the next new costume for yourself?

Rafi’ah:  Well thank you Zaina. I may have a somewhat unusual way of costuming. Though there are many gorgeous designer costumes that I love, at the moment, I rarely purchase a complete new costume and if by chance I do, no doubt it will be rearranged in some way. I enjoy searching for creative embellishments, jewelry, vintage pieces and accessories that add a personal flare, a mix of treasured finds from second hand stores, estate sales or something I find in my house that has been patiently waiting for me to put it into 'danceable' shape. I like my costumes to express a mood, my mood, the mood and theme of the music or theme of the venue rather than looking like something off the rack. Many times I go to my closet or piles of "to do" projects or to boxes filled with collected, coveted or, in all honesty, hoarded fabrics, and start to design, allowing the design to grow into it's finished or almost finished product. Many remain a work in progress for a while as new ideas come to me and I tweak, add, subtract and re-do. Just as I love improvisational dance, designing the dance "in the moment", I might be caught putting last minute touches on a costume right before a performance. Colored pins are a great asset for those of us who function this way.

Zaina:  As I read through your web site, something jumped right out at me; your study of Sufi practices.  How does a girl from Colorado find Sufism?

Rafi’ah:  I blame Eva Cernik for this, thank goodness. (note from Zaina: see Eva Cernik’s personal interview also here in the Dancer to Dancer column). At the beginning of my belly dance studies, I frequented the Khyber Pass, an Afghani Restaurant in Denver where 3 or 4 dancers would perform each night. I learned almost as much from being in that audience and intently watching those dancers as I did from taking classes. One fateful night, Eva Cernik appeared on the stage. I was immediately, attracted to her dance, her technique and style, but also to a spontaneous and somewhat otherworldly quality that she expressed. I began taking classes with her and found out that she had been studying with a Sufi teacher who used belly dance, middle-eastern music, drumming, and whirling for self-development and as a spiritual practice.

I started attended weekend workshops and longer retreats whenever possible, sinking deeply into that practice for 7-8 yrs. It was invaluable in many ways, but especially in learning to become more sensitive to and work with the physical and emotional energetics of dance and movement, to learn to free the mind and body while dancing, to trust myself to flow, improvise, merge with the music and channel the deep soulful parts of myself and the mystical parts of the dance.

Zaina: Were you born and raised in Colorado? 

Rafi’ah:  Nope, I'm a Philly girl. I was born and spent my childhood in Pennsylvania but was first exposed to and started belly dancing after I moved to Colorado.

Zaina:  Again, as I go back to reading your biography, you also list “Contemplative studies of Ancient Sanskrit Scriptures and Vedanta”.  How do you feel this relates to Sufism and belly dance? 

Rafi’ah:  As long as I can remember, even as a child, I searched for answers, looking for the deeper meanings of circumstances, life, death and spirituality. I wondered about our true purpose as humans and wasn't satisfied with the common everyday views given by society and many religions. After studying and exploring quite a bit, I found that eastern meditative and contemplative practices addressed these matters in ways that made sense to me.  Sufism was a big part of my life, gave me some great tools and answers but not all of what I was looking for. One day I saw a photo of Swami Dyananda (Vedanta teacher and Sanskrit scholar) on a poster. I immediately recognized something profound in his eyes, a deep knowing that led me to the next step in my exploration. I began studies with him and some of his advanced teachers, then my husband and I went to his ashram with the goal of taking a 3-year teacher training course.

I was so inspired to share that teaching with the world, that I thought I was even willing to give up dance if need be. Well that was short lived! Due to life's circumstances, one of which was pregnancy asking me to find a "nest" back in Colorado, and my true destiny as an artist and teacher of belly dance beckoning me, I gave up the goal of Vedanta teacher. However that teaching gave me an insight, understanding and perception of myself and of the world that will stay with me forever. As far as how Vedanta relates to Sufism, they are both spiritual in nature, but whereas the Sufi work that I was involved in related more directly to dance, Vedanta does not except that it is inclusive of every aspect of life and beyond.

Zaina:  Do you have any pet peeves or concerns about our dance art?

Rafi’ah:  With a groan and then a giggle, she goes on to say - - hmmm, I want to be honest but not offend so I'll speak of these as my "personal preferences and wishes".

Well Zaina, from our point of view, being dancers from the "older school" as they say - - we fought hard to elevate the reputation of our art, struggling to negate misconceptions and keep the boundaries clear.  So that said, what pops up first in my mind is the mixing of burlesque, stripping and overt sexuality with belly dance, in performances or at the same venues and then, calling it "belly dance" as well. Please realize that I am not judging burlesque in general or referring to the harmless burlesque flavored dances by some of the tribal fusion dancers. I'll add a cute story here: When my son was young, a few of his friends tried to get a rise out of him by saying that his mom was a stripper and that belly dancing was the same as stripping. He said he told them "you are just uneducated". I wouldn't be surprised if he actually said something stronger...(giggle) but you get the point, and my point is, can this still be said? It concerns me that these types of performances are not being kept separate and are not accurately described and labeled as what they truly are.

Labeling means a lot. These days, a student can get on a public stage and perform after say, six weeks of classes. If a student recital, fine, but in a public venue, it's our responsibility to let the public know what level of dancers they are viewing. If a student group, then it needs to be billed as such. Or, if an alternative type of dance with a few belly dance moves thrown in here and there, I would like to see it labeled properly ... and costuming, ... In a sense is a type of labeling. Why perform to an alternative piece of music in costuming that has nothing to do with the theme, like a sword duet to a rock and roll song in a flashy cabaret costume. We are telling a story and again, educating the public. So, why not care enough to carry the theme through all the way?

It disappoints me to see 'only' alternative music used by dancers who haven't learned or experienced dancing to the ethnic or classical music that originally inspired the dance, which as we know Zaina, is so much more complex and different in timing, nuances, etc. Branching out artistically is great, and done at the appropriate venue - - I enjoy this as well. I just wish that branching out was done after a dancer is at least somewhat educated in how to dance to the more authentic stuff ... and hey, they might even find out that they like some of it. 

And smile, have good posture (a separate issue but not really) and connect with your audience please. All the tight routines in the world won't make up for a slouching withdrawn, unhappy looking performer and it makes the audience uncomfortable as well. Ok, I'll shut up now, but not before I say that, there are many caring artists and students, with integrity, who love this dance and music, whether used for healing, fun, sisterhood, artistry, etc. They work hard, are enthusiastic, supportive, dedicated and often quite talented. This makes me really happy ... but you asked me about pet peeves ... so I told you and now I'll shut up!

Zaina:  Who inspires you - dancers and musicians?

Rafi’ah:  Ah...so many, as far as "who inspires" and "what inspires".  I find inspiration in many places, from many dancers at different times, from art, poetry, music and musicians of various genres, animals, and even elements of nature.  I think I am probably with the majority of us when I mention my first teachers as major inspirations. The first belly dancer I saw perform, when I fell in love with the dance, my first teacher Salima, who consistently inspired me with her beauty, femininity. She made a lasting impression, Then of course, Eva Cernik, mentioned above, Sahra Saeeda, so so graceful in her Egyptian style, ... and Rachel Brice and ... I could fill pages because truthfully I adore dance and music and watching dancers of many genres and styles of belly dance.  I can definitely say that I am not inspired if artistry is not there. Of course, what moves someone and appears to be artistic is subjective, but you are asking me (she giggles) . . .and most of all these days, I am inspired by my students and their enthusiasm, dedication, support and love of this dance and for each other. When I see their eyes light up, and they get it, and when a new student says, as one recently did..."I'm a lifer"...it warms my heart.

Zaina:  What do you feel your legacy in dance will be?

Rafi’ah:  “Oh, hmmm, well... I would like to be remembered as a true "artist" of the Danse Oriental, who touched people's hearts and shared my love for the dance and music in a way that educated and left a lasting impression of its cultural roots, depth and beauty. Performing arts, dance, music, the arts in general, can communicate, heal and connect people in such a universal way, so much deeper than words...so I hope that I dissolved some biases, built a few bridges that were not there before and brought a bit more joy to the world. And, I know it's kind of cliché, but I hope that I helped women feel good in their bodies, enjoy themselves and each other more, recognize the beauty of their strength, femininity, spirit and curviness…and all that…and hell, this is all so serious…I really-really hope that when people think of me, they remember that I moved them, was generous in the sharing of my - - “our” art, and most of all, that I made them smile!!!

Zaina:  With your eclectic style, I am curious to know what are your favorite songs to perform to?

Rafi’ah:  Egyptian classical songs like Alf Layla and Leylet Hob are on the top of my list and then some modern Egyptian and folk, as long as there isn't too much mizmar..giggle..my students have had some good laughs watching me react to too much of that sound...sorry Mizmar players. Afra Beledi by Mustapha Sax is an all time favorite, a signature dance piece...that tenor sax, jazzy, delicious, moody and bluesy sounding, in western terms, yet Egyptian. But my favorite songs, no matter what, are played live, give me live music, ethnic, folk, Middle Eastern, Turkish...live over taped any day.

Which brings to mind a pet project started a few years ago.. a series of workshops and performances in collaboration with Sadaqah, a band from Alb., New Mexico. We call it "Dancing from the Soul to Live Music". We teach about the music, instruments, layers, nuances, switching back and forth between percussion and melody, how to hear, express and improvise. Exposing dancers to live music in this way, when many have only danced to taped, opens their eyes and ears a lot. They seem to eat it up and with our guidance, open to new levels their dance.

As far as picking my music, I like to choose according to my mood and as close to performance time as possible whenever I can get away with it!  And lately, I've having fun branching out into alternative tunes...by Balkan Beat Box, dancing with wings to a Bach fugue, Trans-Siberian Orchestra, jazz, latin-flavored music. I adore Azam Ali, the Countess loves Nox Arcana, and ooops...there goes the MPBD in me again....I'll explain that later.

Zaina: When you want to go out for a night or day of belly dance and music, what kind of event do you go to; a large festival or restaurant? What is your favorite dance setting?

Rafi’ah: I prefer to watch a dancer at a smaller more intimate venue or at a concert with live music whenever possible. Ethnic restaurants are a favorite place to go with friends, for the social aspect, decor and of course, the food, if it's good, and having a dancer there to entertain us adds to the ambiance. However, it's not the place I go if I want to sink into the depth and artistry of the dance. But if the restaurant has an actual stage or is more of a nightclub, then it's the best. As far as festivals, they sure are exciting, lot's of fun and actually a bit dangerous (the shopping aspect I mean). It's a treat to be able to see snippets of so many dancers and dance styles, but can be a bit superficial and dizzying as well. 

Zaina:  As we have talked about various styles of dance, you have commented about the nuances of Egyptian Style, the layers and subtleties of Egyptian music, but also the layers and textures (music, movement and costuming) of some of the tribal and fusion styles and adding some of those elements to your dance as well.  That said, what would you call, or consider your particular dance style to be?

Rafi’ah:  I call myself an MPBD, "multiple personality belly dancer", a multi-faceted versatile dancer whose style doesn't fit neatly into any one category, nor do I want it to at this point.

Where I am most at home, the foundation of my dance, is "classical oriental" with, as you mentioned, a strong afinity for Egyptian music and technique, what moves me the most.   But like most of us who have danced for awhile, over the years our styles evolve into a personal expression infused with our uniqueness.  In my case, flavorings from ballet, modern dance, jazz, ballroom and even meditative movement seep into the mix.  And then fluid mudra-like hands, snaky arms and slinky serpentine moves seem to stand out in my dance and may have some similarity to the tribal styles.  I've heard that my dance looks "boneless" at times, with a fiery nature, hence the descriptive of "liquid fire" came to be. 

One of my personalities, known as the Countess...(giggle)...has a penchant for types of gothic and vintage costuming and enjoys expressing darker, more mysterious elements.  I love theatrical dance as well, themed dances with a story line and have collaborated with others who also have this talent to create dramatic choreeographies and some pretty hilarious dance skits.  I want to do a lot more of this.  I always cherish the opportunity to dance to live music, a forte', and improvisation is where my heart is.  I am skilled with and embellish my performances with props, here and there, (swords, canes, wings and candles) and zill playing is second nature, probably because we didn't set foot on stage without zills when I started performing.  And then, speaking of emotionality; sometimes I feel like a blues singer who is belly dancing - passionate and moody, then joyful, exuberant, funny, soulful, hypnotic, mystical.  "At one earthy and ethereal: and "the embodiment of sensuality" are what some have said.

Rafi’ah:  I am glad you asked Zaina and what perfect timing since I finally have the space to put this into action. It's been a dream for a while, "Mentoring in Motion", as in, helping a dancer really become a full dancer.  I can’t help but just want to share everything I have learned and experienced, including the health and spiritual aspects of our dance. In summary, it will be consist of comprehensive individualized programs to include goal accomplishment and critiques, progressive refinement of different styles of belly dance technique, performing technique and stage presence, musicality and interpretation, personal style development and emotional expression, costuming, zill proficiency, wings, veils and sword meditative movement (with serpentine yoga) and healing dance for spiritual, physical and psychological balance.  Availability will be in private sessions, workshops, retreats, on-line, and video...

The preliminary info is on my website http://www.rafiahdancer.com/id119.html and I am soooo excited to begin!!

Zaina:  If I were to ask your students or past sponsors about Rafi'ah, what would they say?

Rafi’ah:  I can give you some excerpt from article and comments from producers, students and fans:

"Rafi'ah Teaches Dance from the Soul" - Jareeda Magazine 2007-by Cathy Walton-Smith-sponsor of Fall Dance Intensive, Grand Lake, Co.

Her muscle control and isolations give her a "boneless" quality She shares this in her classes. There are no secrets. Rafi'ah will teach you to dance with a freedom dictated by the music and your soul."

"She conveys the music deeply. Her ability to execute shape, dynamic hip isolations and then finish with a look of ultimate lightness and liquidity is a visual treat."-Casseopea (student)

"Rafi'ahs teaching goes beyond the movements. She challenges each individual to finish off those subtleties that make belly dancing so intriguing. If you get the chance to study with her, I recommend the privilege. -from "Rafi'ah, The Liquid Fire Dancer" Jareeda Magazine 2001 

"Rafi'ah is like a mythical creature. A modern day goddess who infuses magic in all that she does."-Kelli Shafer of Lumina Entertainment 

"I enjoyed my first night of class in an unexpected way. This is a dance that seems to transform. My whole concept of beauty changed as I watched women feel beautiful because of the graceful way you were teaching us to dance. It was very profound for me."- Co. student 

"I am grateful for your teaching style. Relaxed but hard work and attention to detail."

"Thank you for being my teacher. I don't think I've ever told you how much belly dancing is improving my relationships with my body and myself. 

"Rafi'ah's intensive was a blast. She busted our butts with a fun teaching style that challenges all levels. I would recommend attending future events with Rafi'ah."-Jawahir-9/2005 

Zaina:  Rafi’ah, it has been such a pleasure working with you, getting to know you more through our conversations.  I am excited to share “Rafi’ah” with iShimmy.com’s readers.  Do you have any final words for us?

Rafi’ah:  It hass been great getting to know you also Zaina and thank you so much for the opportunity to be featured in your magazine.  And by the way, you do not ask superficial questions...giggle...which was a bit challenging at times but, also what I love about you. 

So what are my final words...hmmmm...practice, practice, practice, refine, be conscientious when it comes to dance technique, do your homework so that you have integrity and clarity about what you are presenting to students and the public, give graciously to your audience, all of yourself, when performing, but in the end remember that:                                                              

'Dancing is not getting up any time painlessly like a speck of dust blown around in the wind.  Dancing is when you rise above both worlds, tearing your heart to pieces and giving up your soul.'   ~ Jalaluddin Rumi ~