Introduction by Zaina:
I saw Dalia many years ago, for the first time, in Las Vegas, Nevada, at Marliza Pons' Belly Dance Convention. She sizzled the stage and I still have that vision of her awe inspiring performance in my head, which would be only the first of many such visions of Dalia.
However, I remember even more, the evening that changed my own dance; it was in Corvallis, Oregon – at a beautiful theater in the early 90's. I was in the back of the room, excitedly awaiting Dalia’s oriental performance. She had already lit the stage on fire with her Dunyavi Gypsy – stealing our breaths away, more passion than I had ever seen from a dancer, so I could hardly wait to see what she was going to do next - - the versatility in the two performances - - literally I was on the edge of my seat.
To that point, there had never been a dancer who had affected me more, emotionally during a performance than Dalia did that evening. During that oriental piece, I had tears rolling down my face - - stunned by the emotion, the love and passion she so openly shared with the audience and the absolute breathtaking beauty of this woman who was in those moments, totally in her element and totally in the element of this dance art.
I feel blessed to have had the privilege of getting to know her better since that evening. She is genuine, loving and kind and when you have a conversation with her, she looks right into you with those riveting eyes - - and you will be “captured” by her spirit.
It is therefore with the greatest of joy that we are able to bring to you, this very personal Dancer to Dancer interview with my dearest friend Oberon offering you a glimpse of the totally amazing “Dalia Carella”.
Dancer to Dancer with Dalia Carella
by Oberon
What makes a dancer mesmerizing? Not just uniquely attractive or flashy and attention grabbing, but spell-binding so that you just can not look away.
Can a dancer glide in and out of the styles and ethnicities that make up our dance and be valuable and illuminating in every arena? Be a revealing instructor, a mesmeric and artistic international performer, a ground breaker destined to become legend? An architect of presentation, who has a fierce energy that reasons others to respect her vision and move it forward?
As my first workshop instructor she changed my sense of the dance forever and seeing her perform a number of times has left a never ending desire in my heart to see more. Beyond a striking beauty – she embodies passion, commitment and joyous creativity … how could it be anybody but the incomparable Dalia Carella!
O. I admit to being a little nervous that I’ll miss something here. Where to start … I’ve seen you dazzle, enlighten and even un-nerve the most experienced audience with your audacious and uncompromising performance. Where does that brave sense of assuredness begin?
D.C. I think it’s a gift you’re born with, honestly I do!
O. Were your parents performers?
D.C. Not my parents, though they both loved to dance, but not professionally. My Uncles, Louis Morell and his two sons were famous guitar players in Los Angeles. They also played Banjo, Piano and the mandolin. My Uncle played the mandolin in the famous soundtrack for the film “The Godfather”. They toured with Peggy Lee, Frank Sinatra, Mel Tormei, Glen Campbell, Sammy Davis Jr. and Jimmy Durante.
O. So have you studied dance from a young age?
D.C. We always played music and dance in my home, but what was really incredibly foretelling was that I would take the latest Motown music, and choreograph dance steps for all the kids in my neighborhood. I actually was putting on shows all the time.
O. So how did you connect with Middle Eastern Dance?
D.C. In the 1970’s I took my first class and my heart was totally hooked! I also met a friend Susanne Tekbilek – I actually was going out with her brother, Ibrahim. Ibrahim and Omar Faruk Tekbilek introduced me to Turkish Rom and classical Turkish music. Suzanne would dance around the living room and we would dance together. So I truly learned Turkish dance, watching Turkish women dance around their living room in Buffalo, New York. I also studied Arabic style oriental dance as well.
O. How did you expand your study?
D.C. I moved to New York City where I studied with my most influential teacher Elena Lentini. I also studied with Ibrahim “Bobby” Farrah taking his week long study sessions twice a year.
Eventually Elena Lentini asked me to dance with her first dance company, which was an amazing opportunity.
O. Were you able to support your life through dance?
D.C. Not in the beginning. Dance always came first in my life – really my whole life was dance – even personal relationships came in third! I always worked temporary jobs in law firms to supplement my life, but I traveled to teach work shops and worked hard dancing 5 or 6 nights a week in night clubs all over New York. I also performed at private parties – mainly Greek and Arabic.
As a result, I always had a tumultuous private life and although I almost married a couple of times, I really was too devoted to my art. I even said no to a proposal of a millionaire!
You know I’ve traveled all over the world through my art but … I may be ready to let someone into my life at this point, but dance is still my life.
O. What was your most memorable journey within your art?
D.C. In 1986, I was invited to travel to Egypt with a vendor named Bob Hamilton and my dear friend Mary Ann Marchese, who was acting as my manager. Bob invited that only myself but a very famous male dancer and my dear friend, Amir, (who was also an amazing Middle Eastern Dancer) and danced with the Fred Alias ensemble in Boston. We both went to Egypt to model and promote Bob's clothes.
Once there, we got up to dance at a hotel and as a result I was offered a contract to dance in Luxor for 6 months at the Movenpick Hotel on Crocodile Island – an elite and famous resort on the Nile River. It was incredible – I was being paid a lot of money at that time and got my working papers, which was very hard to get at that time and now even more difficult for a foreign dancer to obtain. I also had my own driver. I had an agent and I was being photographed for Habibi and other magazines while I was living there. At that time, I was a celebrity – asked to have coffee, lunches and dinners with dignitaries and many suitors.
By conditions of my contract, I was not allowed to go out at night, but of course I did sneak away, and my driver would take me to parties in Aswan on weekends. I enjoyed faluka rides while living on the Nile, (faluka is an Egyptian sail boat), and befriended some of the Saiidi boys who owed the boats.
Performing and living in Egypt at that time was an incredible part of my life that changed me forever – made me much more sophisticated and culturally aware. When it was over, I was offered a contract with the Marriott in Cairo – had I accepted I believe I would have never returned to America.
O. Sounds unbelievably rich and romantic, why did you refuse?
D.C. I’m an independent woman and everything was run by men! I was asked to dance only Egyptian and Arabic style, and I was reprimanded for any departure from that. Artistically I was bored! My own dance was calling – I moved home to Buffalo and then to New York.
O. It seems a good moment to ask if you would please define your style of dance as you see it?
D.C. I see my style as fusion depending on what form we are talking about here– I incorporate many elements of Middle Eastern Dance and ethnic dance. I have studied, Egyptian, Turkish, Lebanese, Moroccan and Algerian. Also, Flamenco, Latin, Caribbean and Indian. Realize, I have studied Dance Oriental for over thirty-five years so I have the knowledge to preserve the integrity of the styles that I am fusing. Yet still when I am fusing dance forms, I have a coach. I don’t believe that many people know how to fuse dance styles, which leads to confusion and misrepresentation.
O. Even with all your knowledge you employ a coach?
D.C. Yes! For instance my Flamenco and Ethnic dance coach, Mariano Parra has expanded and refined my dance. In our private lessons for instance he will look at me with an eye to professional theatre saying, “Dalia, walk this way - don’t walk that way – put your face here – your hands here”. He is a coach for any level and can see what is needed for the individual dancer.
O. Your vision for this art seems to be without boundaries and you are involved on such a huge scale. Performing, classes, traveling workshops, Rakkasah teacher etc. Now you are totally immersed in theatre, really breaking new ground and getting rave mainstream reviews. I’m exhausted just saying all this.
D.C. Yes – in fact I thought about you when I danced at “Spring Caravan” this year – finally a solo performance that you had said you were missing – and it was well received.
O. I’m jealous because I missed it!
D.C. I met a woman in 2002, her name is Fran Kirmser. I was working on taking my “Dalia Carella Dance Collective” mainstream and she invited me to The Duke Theater on 42nd Street (which is a renown contemporary dance theater in NYC) to collaborate with her on The Ruth St. Denis show. I ended up working with her, using my dances and dancers. They wrote the script – I designed the costumes, chose the famous dances of Ms. Ruth and choreographed them in a contemporary Ms. Ruth fashion – a successful collaboration. The show was called “In Search of a Goddess” and Fran remarked that she was surprised at the similarities between my own life and that of Ms. Ruth St. Denis. I researched her life for over a year in the Lincoln Center Performance Library and I even went to China town to study the mannerisms of the Goddess, Kwan Yin to be better able to transfer these affectations to the stage. I re-created her famous solos Kwan Yin (1919) and Egypta (1910) – we also performed a piece on the Oulid Nayli, the dancers of Algeria.
In Search of a Goddess ran from June 10th thru 20th, 2004.
O. I read some extremely positive reviews, ie.
The New York Times says – “Ingeniously told…Handsomely designed dance / theatre.”
And this from the New Jersey Star Ledger …
" Rich in inspiration , the new dance-theater piece "In Search of a Goddess" introduces 21st-century viewers to Ruth St. Denis. This ambitious production has a nobler purpose than biography. Like St. Denis herself, choreographer Dalia Carella and writers Andrew Frank and Fran Kirmser, the show's creators, feel summoned to transport us from the drab, material world to a higher plane that sparkles with transcendent beauty. This elevated plateau is the realm of "the Goddess" the spiritual force St. Denis"
These are only a few of the accolades your performances have gathered. Really Dalia, an elevation of your art and a feather in your cap for your whole community. It seems absurd to ask - but what is next?
D.C. Well I just performed with two of my company members an avant garde dance for The Every Woman Series – The Red Thread for Lori Belilove and Company. It was a collaboration of Middle Eastern Dance and the Duncan technique. It was great working with Lori. I am on faculty at Dance New Amsterdam (DNA) Dance Space in New York where I teach ethnic fusion and Belly Dance classes. This is a first for DNA. This is a highly regarded dance foundation in New York City. So its a big deal...There are also possible contract coming up for In Search of a Goddess to tour and also my latest show "Cabaret Macabre."
O. So Dalia Carella – what moves you in a dance performance?
D.C. I’m not looking for technique – I’m looking for a dancer who is totally absorbed into the music. I want to be inspired and a beginning dancer can inspire me.
O. What would you change when you see it?
D.C. You know – I’m a very up-beat person who loves life and people but I don’t like dancers who don’t work hard and are out their performing and even teaching when they are not ready to do so … You see performers in (for instance), ballet and flamenco – who really have to work so hard in order to perform in their craft. Many years of training. Near/Middle Eastern Dance does not require this commitment unfortunately because after six weeks of training, dancers are out there performing. Everybody should continue their education – take classes and privates – keep learning.
O. What is the greatest gift you receive from dance?
D.C. A purpose to be on this earth and the women that I have met in this art form. As a bright and positive Leo who tends to live in the house of Scorpio, I would go CRAZY without dance … because life is just too mundane for me if one cannot create.
The dance enriches me so that I can look at the mendacity with different eyes – more of a rose colored view! If not for dance (laughing) I would not know what to do with myself.
