“DANCER IS THE LAST MUSICAL INSTRUMENT ORCHESTRA”:Hossam Ramzy

Now as he said …

“DANCER  IS THE LAST MUSICAL INSTRUMENT ORCHESTRA”

By Hossam Ramzy

 

The great master of percussion Hossam Ramzy and oriental music, of Egyptian nationality, at the age of 3 years he received his first Table Egyptian, becoming undoubtedly the most passion, showing an extraordinary talent. He received professional training from the hands of great musicians and musicians Egyptian Bedouins of Saudi Arabia who helped him reconnect with their roots and to create their own style of music.

The teacher has composed musical pieces for major edges international stature as Yesim Salkim, Celick Erici, Cheb Khaled, Tarkan, Rachid Taha, Faudel, The Gypsy Kings to name a few …

His albums sold around the world, being requested his extraordinary Drum Solo and its exciting and unique Baladi Accordion.

He has been awarded many times for its strong sales to be deserving of platinum by her record label, however, for the teacher Hossam is vital that the dancer Bellydance not only buy your music, if not to go beyond and really understand the meaning of Eastern music and its role within the orchestra.

That is why the teacher has designed several courses with his wonderful wife Serena Ramzy dancer making a perfect dumbbell form to spread the importance of musical knowledge in dance.

The teacher says “THE DANCER IS THE LAST MUSICAL INSTRUMENT ORCHESTRA”

Have you thought about it before? How many of us really think of music as the main element to dance? Do you agree with this statement? Well, I do. So, thats why I´ll share my point of view about this powerful phrase:

Thanks to comprehensive training I received from my teacher Maria Isabel Angel of Colombia, came to understand that dance is more than moving the hip, but mostly met Master Hossam Ramzy and his whole philosophy about music-dancer connection. And since that ocassion, I couldn´t stop following their work, trying to implement what could be more and applying it from the design of a class to my participation in a stage.

Hossam & Serena Ramey

Hossam & Serena Ramey

And it is that after studying the technique and polishing movements or learn new ones, the most important is “TRANSLATE THE MUSIC” honor the work of percussionist, keyboardist, singer and each of the members of a musical orchestra. There is nothing more beautiful than to see the music in the development stage of the dancer.

From a long and strong to the subtle sound of Nay note, the dancer has to connect and translate these notes out of respect for the musicians, the music itself, the essence of dance, but especially to the public!  You must be wondering …?

It turns out that the outside Bellydance audience will not see a show to count how many movements and “lots” you can do, it will not count how many times you repeat the same motion. Or if this sequence did for right and left, no no no … the stranger to the dance audience will admire and to know that the Bellydance is not interested if you’ve taken class with ten thousand foreign or domestic.

This audience wants to see is the dance, which means Oriental dance, as achieved? Through music … through knowledge MERGER AND ORCHESTRA PERFECT – BALLERINA.

It is our responsibility to know how an orchestra of oriental music works, how it is made, as such interaction is designed which instruments involved, the environment of the part they played, musical development, the letter (if any), if there are instruments soloists, etc.

In order to transform these concepts into motion, to have pieces scene speak for themselves, to vibrate to the table and fly with the orchestra to create dynamic choreographies that do not become predictable.

In order to create your own style! Whether you improvise all the time or you like to choreograph the power that gives the musical knowledge is unparalleled, true dancer is not the one who knows many movements and uses the most expensive costume, the real dancer is one that achieves INTERPRETING THE MUSIC AS and as heard, which can be as “flexible and changing” as is the music itself and so does your audience can see and feel the music.

Now, you realize this goes beyond learning a Dum Dum Tak – DUM – TAK, the teacher Hossam gives us a universe of possibilities within his musical theory applied to Bellydance, allows us to explore beyond the basics, it’s just deciding issue and invite us to learn more about the music and its relationship with feelings, emotions, movements and our own dance.

Tips I share for this week are:

  1. Know more about the work of the master Hossam: http://www.hossamramzy.com/store/home.php?cat=253
  2. Acquire your products (DVD and CD).
  3. Come to learn more music, no dance blindly
  4. Go beyond dance for fashion, get busy to know what track they have chosen to make a performance.
  5. Always, but, always perform a musical analysis before staging a choreography.

To Rakasse:

Stephanie Monzerrat

 

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