iShimmy.com - Zaina's Zany Adventures - Egypt and Beyond * Installment 4 * Part 2, The Festival

Zaina's Zany Adventures
Egypt and Beyond * Installment 4, Part 2
The Festival: Shopping and The Festival Workshops

So, the next day, we were off in the morning to the experience of shopping at the festival. We of course had built in enough time to have the full on costume shopping experience in between our workshop sessions. The festival does have it all in this regard; everything from music and instruments to the full array of costumes from the best designers in Egypt. Hip scarves, cover ups, jewelry, canes, and so much more. You have several days in which to shop and I found myself going back to the same spots. I purchased my name in Arabic script and my favorite necklace from Memo’s case. I have had more compliments on this one necklace than just about any other piece of jewelry I have ever worn. A scarab nestled inside an ankh. Oberon and I found more hip scarves (as if we didn’t already have enough from the Khan), bra/belt sets for students, more exotic oils, perfume bottles, just more “stuff”. I was beginning to get concerned about how we were going to get everything home – I mean, this was just the beginning of the trip. We still had a full cruise and a trip to Istanbul to go yet and already I was spilling over. Admittedly, at the end of the trip, several in our group did have to purchase additional suitcases. The suggestion of putting one suitcase inside of another empty one traveling “to” Egypt still did not seem to be providing enough room.

Quite sadly, there was very little available with all the hundreds of vendors that was long enough for this nearly 6 foot tall woman on any of those tables. BUT, Astryd de Michelle had told me that not only was Amira el Kattan (owner of Pharonics of Egypt Costumes – probably the best made costumes in the business) in attendance at the show, but she was there vending as well. So once I finished the jewelry and trinket shopping by day 5 of the festival I went straight to Amira for measuring and a designing experience that had me beyond excited. Amira actually has a sizeable room in which she works from at the festival. She has several seamstresses working on site to make alterations to costuming that is available right there. It is an amazing thing to see. Having your measurements taken is even more amazing. You are measured from stem to stern to assure the perfect fit. I had brought a picture with me from a magazine that I have been holding onto for a few years. This was the first costume I wanted and we worked on that one from that picture, choosing colors, lace, etc. I explained to her that I like elegant costuming with lots of rhinestones and less hanging fringe – AND everything asymmetrical. So, when she began to draw the second costume, based on a design that was in my head and no picture in front of me to go from, I was completely blown away. HOW DID SHE KNOW that is what I wanted? HOW? Because she is Amira, she is unique herself, and it seems she can take one look at the dancer and know her. Seemingly she walks the dancer move and walk into the room, and just has a sense of what looks and works for her. I know hands down I would have a costume/gown that no one else would ever have. This was one of the most amazing experiences.

We were not able to get back to her before leaving Cairo for a fitting which she prefers to do with these one of a kind special designs, but after some conversation, she agreed to ship it and hopefully there will be few alterations needed. Although going back to Cairo for that fitting seems closer today than it did a year ago.

Memo's Booth - Next to Asuite (Tulle) Designer

The last day of the festival netted me a beautiful Asuite (Talle) Kaftan. I real prize. This is not the typical “new asuite that has little metal, and flimsy fabric, but rather a heavy mesh with intricate full patterns. This new designer has studied the old product extensively to offer a quality product that any of us would be proud to own. I happily handed over a substantial amount for this lovely piece.

Our choices in workshop instruction seemed easy for the most part. The festival runs two to three workshops at the same time, giving a very large selection. Dina and Raqui were hands down my first choices. The lines outside of the workshop halls were long with pushing and shoving at times; with dancers who pretend not to understand the rules and will walk to the front of the line and begin shoving or attempting to bribe their way into the room. Even with good security it is difficult to stop this process and realistically this is the tip of the iceburg on the rude-o-meter with some groups. We happened to be in the very front of the line for Dina’s workshop, waiting nearly an hour there. So in my opinion, we showed up on time, we should be able to be up in front of the stage, right? Wrong! Once inside, we staked out our spot, standing there and patiently waiting for Dina’s arrival – after all we were a little early. But those who came in much later simply walked right in front of us as though we didn’t exist, and refused to move. I don’t do well with this kind of behavior as I am sure some can imagine, but my angst didn’t hold a candle to a couple of young women who had come in with us and were literally calling out the girls who were attempting to push us all out of the way. The late-comers flat did not care who was there first, who waited, etc. They were standing up front no matter who they upset clearly not caring in the least how they were perceived. As frustrating as this was, taking a class from Dina was still high on my “exciting things to do this week” list.

Now, I want to set the record straight here. There was an unfortunate comment in another publication about this workshop, from someone who was not in attendance and going on hearsay. So, let me tell you how it really went – because I was in fact there. Dina was five minutes late. Not by her choice, but if you have ever had to try to get through those hallways of merchants leaving a 3 foot wide walkway full of shoppers and that many people coming in and out, well, not something that can be done quickly. As well, people were crowding the door to the workshop room, so she couldn’t even get in to her own workshop. Once she did get in she was all smiles and then the process of working her way through a crowd of adoring fans took a few more minutes. As soon as she hit the stage however, she began teaching the choreography. She would periodically stop, giggle a little, and tried offering explanation of movement in several ways. About midway through the workshop she stepped on a very large staple in the carpeting on the stage. She spoke to her crew in Arabic, showing them and us the staple, laughed and with bloodied foot went on – no complaints, no tantrum – all professional. She had no less than 150 people in the workshop – and she worked very hard to assure everyone in the room could hear and see. It was a joy to participate.

Raqia’s workshop was equally as rewarding with the exception that by that point King Tut’s revenge had hit me full on (I know – TMI – but Note 9 will provide a solution to the ancient curse. A solution you need to know and take advantage of as soon as you arrive in Cairo). Because I was continually needing to leave the room, I was grateful for her particular teaching style of “repetition”. The ease with which she could repeat the movement not missing a bit of the choreo was fabulous. She is a little dynamo and with that mega-watt smile turned on you can’t help but smile with her. She gives the participants a sense of warmth and humor that few other instructors have. While she taught choreography from the stage, she as well would come down onto the main floor and work from the center of a circle so that more of us had a better view of what she was doing. One participant asked her if she was performing over the weekend which caused us all to echo the question. I was sad to hear she would not be dancing on stage – she is such a delight to see in her teaching persona. What a gift it would have been to see her perform.

Taking a workshop from these ladies is truly a challenge. Not only is the movement oddly off (but really on) the rhythm, but they speak no English and give no instruction. So, it is absolutely a follow the leader scenario. They would dance a couple of songs, we followed along and then they would stop for five or so, then start all over again. I would undoubtedly take their workshop again, as they are the last performers in a long line of family Ghawazi dancers - - the opportunity to be there is one I am grateful to have.

Each night, after the workshop sessions, there was an evening show – remember – a show in which one only needs to sign up in order to be able to perform in. Also there is a competition associated with the festival. I wish I had more information about this, we did not attend and as a competition owner/producer I feel that I missed out on an opportunity to both compete and see how Raqia conducts this event. The last evening of the festival has a closing night Gala in which most of the workshop instructors and I believe the winner of the competition perform. This is where the benefit of staying at the Mena House where the festival is taking place is so very important. Since we had to go back to our hotel via shuttle, change and regroup, and with the daily frustrations that I have not divulged here, we were less inclined to go back outside and wait again for the shuttle back to the Mena House. So it is with regret that we did miss these extra shows and the competition.

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Zaina's Zany Adventures - Egypt and Beyond * Installment 4 * Part 2, The Festival