Articles by Farida Fahmy
"The enthusiasm for the dance that I have witnessed all over the world has encouraged me to share this passion through writing about my past experiences and knowledge about dance in Egypt, as well as presenting ideas and impressions that, hopefully, will inspire others."
Note: Some articles have also been translated into other languages.
Volunteers who would like to translate articles are welcomed!
Please email Keti Sharif at firstname.lastname@example.org
"I am so grateful that my dream has come true. To this day, whenever people run into me, I am met with such love and respect that fills my heart. I know that I with the Reda Troupe have remained in the memory of the Egyptians."
Interview with Keti Sharif, Cairo
“Every single step must have its value… the audience feels and understands that.” Farida Fahmy
Farida discusses the important movement values that imbue Egyptian dance and Raqs Sharqi.
Farida's long awaited article - an historic resource, written by the pioneering dancer of Egyptian Millayah Laff.
"The influence of the millayah in bint al- balad’s body language and non verbal communication was introduced and blended into movement and steps, then merged into the choreography."
"On the evening of the event, al-Haggala (the name of the local professional female dancer) was traditionally summoned to participate in the dance with the male inhabitants of the community. She arrived in her ankle-length, colorful floral-designed Bedouin dress, revealing a tan-colored boot embroidered in multicolored designs."
"The name muwashshah, it has been said, is in reference to the Wishah a (sash) that women wore in Andalusia. It is described as being bejewled in delicate workmanship which is similar to the muwashshah's intricate melodic, rhythmic and poetic structure, as well as the meanings it provoked in its use of imagery."
"August 6th 2009 marked the Golden Jubilee of the Reda Troupe. Exactly 50 years since Mahmoud Reda, myself, and a small group of dancers appeared on stage in what we named The Reda Troupe. As the number of the dance members increased the repertoire of performances and spectacles presented also grew with innovative and original dances that to this day remain an inspiration to all."
Mahmoud Reda’s Concepts of Movement: Mahmoud Reda’s choreography introduced the Egyptians to a new concept in the use of space…He know the perspectives and dimensions of the stage. By making use of points of emphasis and juxtaposition in his choreography, he was able to enhance the different moods he wanted to evoke. (Fahmy 1987:28)
"The highlight of performing in the Opera was the command performances that we presented for President Nasser and his royal and presidential guests. The most memorable of these performances and what was a great source of pride and a double honor to all of us, was when we danced at the same night and on the same stage with the great Egyptian singer Um Kolthsoum."
"A painter uses paints and brushes to bring what he perceives into existence that, in its turn, speaks to the beholder directly. Paint and brushes are the medium of his creations. When a dancer performs pre-set, pre-designed movements, he or she is the mediator. The dancer becomes the instrument that brings forth the choreographer's perceptions into existence."
Farida's article with tips on what works for stage and practical application of costume design skills.
"During my travels these last few years, I have seen dance groups that have performed dances that were in the Reda Troupe style yet the costumes did not match up or relate to these dances."
Farida Fahmy, the renowned Egyptian dancer and founding member of the iconic Reda Troupe, spoke to Ahram Online on her 83rd birthday about her rich legacy in a group that has had a powerful impact on the country's cultural life and challenged prevailing stereotypes. Article by Jihan El-Gharabawy, Jul 2023.
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