Zobeides Choreographies

ZOBEIDE

Egyptian Technique, American Precision, Modern Performance

New!! Zobeide opens classes in Alexandria, Virginia!
Eight-week session begins 7/12 at Alliance Dance Institute...www.adidance.com

Zobeide's Vision

The Golden Idol (Copyright Pending)
Midnight in an Indian Temple - A golden idol is awakened by the gods to dance a blessing for the marriage of two houses. The gods refuse her pleas to remain enchanted. Sadly, she returns to her former state. Based on the variation from La Bayadere, this dance is a fusion of belly dance and Russian Orientale ballet. (Many thanks to Adriana for her advice.)

Background
The “Golden Idol” is based on the Dance of the Golden Idol from Act IV of Marius Petipa’s ballet La Bayadere. Zobeide jokes that she always felt a little sorry for both character and performer. The performer must portray a character; who springs to life for very little reason, executes an incredibly intense choreography, and completely disappears...for no reason. In fact, the variation was actually choreographed by another dancer and not Mr. Petipa.

As originally conceived, this is men’s ballet variation neither for the delicate nor the faint of heart. The dancer is dressed only in a dance belt and headpiece with his entire body painted gold. The choreography includes spins, leaps, and complicated floor patterns. The delivery is

is fast-paced and marked by strong bodylines and arms stylized with Hindu and Middle Eastern emphasis. In fact, the choreography is so intense that it is frequently performed in international ballet competitions.

The Point
Zobeide’s choreography accomplishes two things:
1) It changes the focus of a Raks Sharki fusion. It brings technique into the spotlight of a genre that emphasizes audience interaction foremost
2) It completes the character’s story and adds context.

First, as originally conceived, the Golden Idol variation focuses on technical bravado. This concept is in direct opposition to Raks Sharki (belly dance), which praises “girliness,” flirtation with the audience, and even audience participation. Zobeide’s “Golden Idol” seeks to discover what would happen if she meshed several aspects of the two genres:
   1) Technical bravura of ballet and dramatic expression of Russian Orientale v. “personality” of   raks
   2) Soaring quality of ballet v. the strictly floor-bound nature of raks
   3) Strength of a men’s variation v. genre dominated by feminine sensuality

Second, Zobeide uses Fokine's "Five Principles" to give this poor character some reality and context. For example, most performances have the idol dancing immediately. This version acknowledges that a being, frozen in one position for a long time, would take minute or so to adjust to movement. This version further acknowledges the audience’s need to know what happens to the Golden Idol. The answer is simple. After performing the blessing, she must return to her former state.