Shoo Shoo Amin in Green Part 1 Entrance شوشو أمين رقص شرقي скачать в хорошем качестве

Shoo Shoo Amin in Green Part 1 Entrance شوشو أمين رقص شرقي

Shoo Shoo Amin is one of my favorite dancers, with a refined, sweet stage presence and shimmies that defy gravity. I worked with her at the Auberge on Sharia al-Haram in the early 1980's. It took me almost 6 months to master her signature in-out "Turkish" shimmy. I've never seen anyone do it better than she does. Here is part of an article I wrote about Shoo Shoo for Gilded Serpent in 2010: A Forgotten Treasure of the 1980's by Yasmin Henkesh (January 26, 2010) Thirty years ago when I told people I worked with Shoo Shoo Amin in Cairo, the response was “Wow!” Now, people go “Who?” No one knows who she is, even Egyptians. But ask the older generation who she was and they sing her praises. “One of the best dancers of the 1980’s!” “Very good dancer!” “So sweet, not like [ Fifi Abdou, Sahar Hamdi, or C-class dancers in dive bars]. I could take my wife to see her.” And that’s exactly where I met Shoo Shoo, in a place where Egyptians took their wives, a famous supper club on the Sharia al-Haram called the Auberge. Nagwa Fouad launched her career there in the 1960's. It seated 700 people. I worked downstairs in the nightclub while Shoo Shoo performed upstairs in the main “salla.” When she returned to London, I took her place. I would come early every night to watch her. She made everything look so easy, so effortless. But looks can be deceiving. Students are often shocked how hard her signature moves are. I first saw Shoo Shoo in London while I was working with Mona Said at the Omar Khayyam on Regent Street. She worked at a luxurious club called The Empress. Khamis Henkesh was her drummer. In my mind, the two of them created the perfect drum solo – along with Mona’s, of course. Shoo Shoo had a spectacular shimmy that she maintained as she dropped to the floor and came back up again. She also had an amazing down-hip three-quarter shimmy that she did double time as she walked around the stage. Her timing was perfect, her stage presence engaging, and she played excellentfinger cymbals. I was mesmerized. In Cairo, I couldn't believe how lucky I was to get to watch her for free every night. I was in heaven. Shoo Shoo was from Alexandria. She convinced her family to let her dance in the early 1970's. She went “pro” at the age of 19 and soon landed a contract to work with Hassan Abou Saoud (Shik Shak Shok composer) in Japan. She stayed for a year, but she was happiest in London and worked there on and off until she retired in 1994. She was an innovative dancer, but stayed close to her roots. She is the only one I know who incorporated live zar musicians into her folklore tableau. The group she used, Mazaher, plays on Sands of Time's 3 zar albums [Zar – Trance Music for Women]. One of the songs she used is Benat al-Handasa, track 7. The group still performs regularly at Makan in downtown Cairo. Shoo Shoo had many signature moves: a contract/release "Turkish" shimmy mentioned above a down-hip three-quarter shimmy (on the balls of the feet) wide, twisting full torso snakes a four-step with an accent on three abdominal pops Egyptian stomach rolls fast, compact hip circles character spins that stop on a dime a continuous shimmy down to the floor and up again. She would often layer two or three movements together. And layered or not, I was always amazed at how quick and sharp her three-quarter shimmies were. Many dancers of her era excelled at these fast hip movements. Nelly Fouad is perhaps the best example. In my experience, the more westernized the dancer, the slower their hip work. Fast ‘hip jiggling’ is ideal for rattling coins on hip scarves. Sadly, Shoo Shoo did not become a movie or video star like many of her contemporaries. She only appeared as a dancer in 3 films: 1974 لغة الحب 1979 سأكتب اسمك على الرمال 1980 دموع بلا خطايا Dancers like Shoo Shoo, Nelly Fouad, Hayatim, Fifi Abdou, or more recently Dandesh show what belly dance looked like before tribal fusion, the Bellydance Superstars, "AmCab", Vintage Orientale and Reda Troup Folklore all left their marks. Art evolves, but it's important to study previous masters, too.