Suhaila Salimpour’s Video Catalog

Suhaila’s performance from her 2004 video/DVD, “Suhaila Solo”. Featuring Fathi Al Jarrah on Violin as well as special soloists: Rashid (Tom Ryan) and Isabella Salimpour.

Musicians: Fathi Al Jarrah (Violin), Nabil Elsafi (Oud), Muhannad Elwer (Keyboard), Emad Mezied (Tambourine), Louai Dhbour (Duf)
Suhaila’s Choreography: Suhaila Salimpour
Copyright Suhaila International LLC (Suhaila Productions) 2004. All rights reserved.

Suhaila Salimpour’s dance company in a full-length theater production of Sheherezade. Filmed in 2005.

Specialty Artists: Tom (Rashid) Ryan as the Eunuch
Violinist: Fathi Al Jarrah
Producer/Artistic Director/Choreographer/Director/Producer: Suhaila Salimpour
“In The Beginning” Choreography: Jamila Salimpour
Editor: Carson Porter
Post Production: Rough House San Francisco
Copyright 2005 Suhaila International LLC (Suhaila Productions). All Rights Reserved.

The official revival of Bal Anat by the Salimpour Family in 2001.

Producer/Artistic Director
Creative Consultants: Jamila Salimpour, Rashid (Tom Ryan)
The Birth Magic Ritual Choreographed by Jamila Salimpour
Karshlama Original Choreography by Meta Metal
Ghawazee Choreographed by Suhaila Salimpour and Rashid
Snake Dance Choreographed by Suhaila Salimpour
Moroccan Choreographed by Suhaila salimpour
Pot Dance Choreographed by Suhaila Salimpour and Rashid
Algerian Choreographed by Jamila and Suhaila Salimpour
Sword Choreographed by Suhaila Salimpour
Cane Dance Choreographed by Suhaila Salimpour
Tray Dance Choreographed by Rashid
Finale Choreographed by Suhaila Salimpour

Band Leader Ernie Fischbach: Muzmar, Kanun, Mijwiz, and Shebeba
Alex Bettesworth: Tabla
David Brown: Rebaba, Mijwiz, Mizmar, Ney, and Mezound
Chris Caswell: Mizmar, Kanun, Mijwiz, and Shebaba
Melissa Fishbach: Dumbek and Tabla Balade
Kam Lettner: Tabla
Imad Mizyed: Tambourine and Tabla
Brian Steeger: Violin, Argul, Muzmar, and Bendir
2001 Suhaila International LLC
All Rights Reserved

Suhaila and the Suhaila Dance Company performing Suhaila’s Percussion Show at the Renaissance Pleasure Faire, 1999

Concept, creation, and choreography by Suhaila Salimpour. Music composed by Suhaila Salimpour and Susu Pampanin.

Copyright 1999 Suhaila International LLC. All Rights Reserved.

Suhaila Salimpour performing the “Raks Suhaila” set from her Unveiled DVD (1996).

Director: Bruce Martin
Producer: Grant Cihlar
Produced by 1171 Production Group Los Angeles, California
Choreography by Suhaila Salimpour

Suhaila Salimpour performing the “Raks Jamila” set from her Unveiled DVD (1996).

Choreography on ”Raks Jamila” by Jamila and Suhaila Salimpour
Director: Bruce Martin
Producer: Grant Cihlar
Produced by 1171 Production Group Los Angeles, California

Suhaila Salimpour and the Suhaila Dance Company performing Suhaila’s Percussion Show at the Renaissance Pleasure Faire in 1997. The production features original versions of several choreographies including Suhaila’s well known Renaissance Sword choreography.

Choreography and Music Arrangment by Suhaila Salimpour
Suhaila’s drum Solo Composed by Ziad Islambouli.
Copyright 1997 Suhaila International LLC. All Rights Reserved.

“Zai El Hawa” and “Tamr Henna” Sets from 1991 BC (filmed in 1990).

Choreography Created and Performed by Suhaila Salimpour
Produced by Francis Delia and Suhaila Salimpour
Directed & Photographed by Francis Delia
Line Producer: Eileen Fields
Assistant Cameraman: Nicolas Glover
Second Camera Nicholas Glover, Gary Walker
Audio: Rob Boyle
Copyright Suhaila International LLC. All Rights Reserved.

1991 BC: Suhaila Plants Seeds for the Future

By Abigail Keyes

The last time we saw Suhaila on film was her deliberate, architectural, and experimental choreography on Dances for the Sultan. There she had just begun her innovative work of integrating hard contraction isolations and jazz dance footwork into the belly dance canon. Her musical interpretation was intentionally experimental, deviating from what a dancer from “over there” might do with the same music. When we see her two years later in 1991 BC, and the difference time makes is striking.

But first, let’s talk about the production itself.

1991 BC was filmed at Cabaret Tehran, which at the time was one of the most popular Middle Eastern nightclubs in Los Angeles. At the time of the video’s filming Suhaila had been a featured dancer at Cabaret Tehran for several years. But because of budget constraints, the man responsible for lighting her live shows also ran the lights for the filming… and the lighting for her live shows became the lighting for the video recording. Suhaila did not re-take the performance, because she and the crew only had the resources and time for one take. No do overs. We’re stuck with the multi-colored party lights and the fog machine.

And, of course, we can’t over look the dramatic entrance via sarcophagus (which was, apparently, more Jamila’s idea than Suhaila’s) or the feather cape, which was all the rage in the late 1980s and early 1990s. Just look at the fabulous Fifi Abdo.

But if we look past the production values, we can see a huge technical and expressive leap in Suhaila’s dancing since her last performance video, Dances for the Sultan.


Suhaila Format in the Spotlight

The last time we saw Suhaila on video was In Dances for the Sultan. There she uses her mother’s format very deliberately. Steps like Running Choo Choo and Singles on the Up are obvious. Counterclockwise Pivot appears in its default form. Circle step is unadorned and without layering. The movements are straight out of the Danse Orientale manual, with only a few experimentations in what Suhaila calls “Jamhaila.”

However, in 1991 BC, literal Jamila Format steps fade into the background to make room for the jazz and lyrical fusion that makes the Suhaila Format so versatile and expansive. Yes, the 3/4 Shimmy on the Up appears repeatedly, but the layers that come along with it make the original Jamila Salimpour step barely recognizable. She layers the classic 3/4 Shimmy on the Up with interior hip circles, and the 3/4 Shimmy on the Down with undulations down-to-up over an in-out-place foot pattern with wrist circles… which appears in “Yanna Yanna” a few years later.

This performance heralds the vibration as we know it today—a movement Suhaila developed herself. While it made a minor appearance in Dances for the Sultan, here Suhaila demonstrates its musical versatility. She layers pelvic locks, squares, and other hip movements underneath it, while highlighting drum rolls and other melodic and rhythmic phrases. In addition, Suhaila Format pelvic pyramids and Vs feature heavily here, particularly over the rhythmic breaks in “Zay al-Hawa” (around 3:45), in which they are set over foot patterns that match the strings, while the hip work accents the percussion. We also see the further integration of jazz and lyrical dance, complete with fan kicks, chaine turns, and push turns. These technical elements are articulated so seamlessly, that the viewer has no inkling of their difficulty. And that’s the point.

The intricate layering of this performance showcases a mastery of technique that Suhaila had been refining in her regular nightclub performances. With plenty of time to experiment, she has a command over her body previously unseen. Her upper body is more free, and we see her characteristic head release at the end of undulations down-to-up and as a bridge between phrases. Intricate technique flows effortlessly from her body. She no longer has to think about each movement, as she did in Dances for the Sultan. Indeed, this performance is the bridge between the architectural simplicity of Dances for the Sultan and the sophisticated polyrhythmic musicality of Unveiled, and later in Suhaila Solo. Indeed, her musicality has matured, with the music appearing to react to her body rather than the other way around.


“You have to do the homage…”

In the Live Music workshop this past January, Suhaila emphasized that we must be familiar not only with her own body of work, but those of the great dancers from the Arab world. When the band plays certain songs or drum riffs that the great dancers in history have made famous, it’s imperative that we, the new generation, pay tribute to these women in our own shows. Certain performances are iconic, such as Nadia Gamal’s dramatic pelvic pyramid walk and Nagua Fouad’s heel bouncing drum solo. Suhaila told us, “You have to do the homage.”

Nagua Fouad, one of Suhaila’s biggest inspirations, was famous for her theatrical stage productions, complete with elaborate sets, back-up dancers, and costume changes. Suhaila’s entrance through a sarcophagus could be considered similar to Nagua’s famous litter-bown entrance to “Set El Hosen.” And during the repetitive “doums” of the first drum solo at around 12:30, we see her paying tribute to Nagua Fouad’s drum solo in a similar style. Standing in one place with loose rib cage locks and quick, direct arm movements on the drum accents (all over a vibration). In this drum solo, too, we can see a little hint of Mona El Said’s West African-style drum solo, performed in the “barely there” gold lame tube top.

We also see the Nadia Gamal’s influence in 1991 BC. One is that Suhaila choreographed the taqsim sections of the sets, which Nadia Gamal had famously done in her own performances. Typically a dancer would improvise, as the musician would also be improvising their solo. We also see her influence in Suhaila’s extensive use of floorwork. Nadia was famous for her use of floorwork, particularly when performing a theatricalized zar trance ritual. Indeed, in “Tamr Henna,” Suhaila also performs free-flowing head and upper body circles and sways akin to Nadia’s.


Planting Seeds for the Future

Those who are more familiar with Suhaila’s choreographies might notice a few familiar phrases and combinations. In these pieces, she plays with fragments and movements that appear in her later choreographies, even through the most recent dances in Enta Omri.

She walks forward with pelvic pyramids fulltime downbeat front, her arms reaching forward, palms up in a kind of “come here” gesture (33:40). We see this later in the second section of “Accessible.” She performs a jazz passe, with arms that windmill into a hand flip down, then touching and twisting her hip as she juts her elbow. This, of course, appears not only “Bongo Funk,” but also Enta Omri’s “Zay al-Hawa” and “Lissa Faker.” In the extensive floorwork of the second performance, Suhaila starts in a Turkish Drop position, seated with her feet tucked underneath her, and she performs the classic upper body circles (27:35) that appear later in “Yanna Yanna” and the sword dances of both Bal Anat and Scheherezade. Another “Yanna Yanna” fragment you might recognize is the 5-Count with interior hip circles and 3/4-3/4-Single-Single-3/4 glutes (7:15). And around 34:35, Suhaila does eight counts of a Leg-Out Whip Spin into eight counts of 3/4 Shimmy Spin, a sequence seen later in “Bongo Funk.”

For those who have not yet seen Enta Omri, Suhaila’s most recent full-length production, the next seeds might not be so obvious. Both “Zay al-Hawa” and “Bahlam Beek” on 1991 BC include phrases that would later show up in the dances of the same name in Enta Omri. The opening chaine turns of “Zay al-Hawa” and the low kick, pelvic lock, rib lock, undulation, figure-8 front-to-back of “Bahlam Beek” still survive in the current incarnations of those dances. When we look at Suhaila’s work as a continuous whole, we see the threads and links between choreographies.

The strobe lights, fog machine, and feather cape of 1991 BC might seem cheesy and dated today, but if you look past them, you can see the solidification of a format and technical approach that would change belly dance around the world.

“Pharoanic Suite” from Dances for the Sultan (1988).

Performed by Suhaila Salimpour
Choreography: Jamila Salimpour and Suhaila Salimpour
Director: Francis Delia
Producer: Nine Muses
Videographer: Paul Nevitt
Editor: Tom Acito
Sound: Brett Lukezic
Music for Karnak Arranged and Performed by Farid Al-Atrash & Mohamed Abdel Wahab.
Copyright 1988 by Suhaila International, LLC (Nine Muses). All rights reserved.

Erte, Experimentation, and Irony: Suhaila Salimpour’s “Pharaonic Suite”

When looking at the total of Suhaila’s recorded performances, you might notice that the “Pharaonic Suite” on the 1988 production Dances for the Sultan is different. The movements are highly stylized, bound, and deliberate. If you are familiar with more “traditional” interpretations of Arabic music, you might also notice that this particular work challenges those modes and turns them on their head. In the ouvre of Nadia Gamal, Suhaila has set choreography to every measure of these classic songs, even the taqasim.

Suhaila choreographed the suite, which she also calls “Karnak” (in reference to the ancient Egyptian-inspired costume that she wears in this performance), without input from her mother. In fact, it was the first time she created a piece without Jamila’s feedback, a sensation that she compares to riding a bike without training wheels. Unlike earlier works such as “Joumana,” “Hayati,” and “Maharajan,” where Suhaila would choreograph with her mother nodding in approval if she liked something or offering suggestions if she didn’t, Suhaila says that she felt that she had more room to play and experiment, without the responsibility of dancing in the “Jamila” style.

Indeed, the performances on Dances for the Sultan are decidedly experimental, when compared to the three earlier works in which Jamila gave her artistic input.

Primitivism, Erté, and Isolations

When we think of ancient Egyptian art, we might visualize those two-dimensional stelae, with goddesses and kings posed with their faces in profile, their torsos seen from the front, and feet turned in the direction of their facing. At the turn of the 20th century, this style of art spurred an entire aesthetic movement, often referred to as “Primitivism.” You can see how it influenced the subversive and ground-breaking choreographer Vaslav Nijinsky in his “Afternoon of a Faun.” (Watch how the nymphs enter the stage at around 2:50, and the faun’s own dancing throughout.) In fact, many of the Ballets Russes’ fin de siecle choreographies use primitivism. Movements are highly-structured, often direct, with bound arms at 90-degree angles, as if they had stepped off the walls of Tutankhamen’s tomb.

The two-dimensional approach to the human body is also seen in the work of Russian artist Erté, whose paintings depict women either posed directly from the front or directly from the side.

When I asked her, “Why Erté?” Suhaila responded that she always loved the design and lines in which Erté posed his women, but also because she felt that they look a bit sad. This influence is clear in the first 30 seconds of the performance, with the close-up on the young Suhaila’s face, before she spins into the Jamila Format Pyramid Step, her arms held firm out to the side, elbows at right angles, and palms facing upwards. At only a minute into the performance, she performs a series of rib cage and pelvic locks, arms traveling in a direct line from a high V, palms up, to a low V, palms down, hands parallel to the floor. She then follows the music in a series of pops from fingertips through the arms, through the torso, reversing in the hips and traveling up the body again.

Suhaila created the “The Pharaonic Suite,” after she begun her collaborative work with Oakland Boogaloo and tap dancer Walter “Sundance” Freeman. If you haven’t already, watch this video that the Salimpour School has created on Suhaila’s work with Walter. She was working on what she calls “crisp” isolations of the rib cage and pelvis, which had made an appearance in “Hayati” but had not yet been so prominently featured. In fact Syrian violinist and composer Fathi al-Jarrah, Suhaila’s long-time collaborator, remarked that he understood that Suhaila was blending hip-hop and belly dance in her early work. Her jazz training also becomes more integrated than in previous performances. Watch the section between 4:00 and 4:30 and you’ll see a textbook jazz pas du bourrée, into a turn and jazz layout. When we see these elements, it becomes easier to understand where now iconic works like “Bongo Funk” originated.

Indeed, it was these elements—Jamila Salimpour’s format, West Coast street dance, concert jazz dance, and a spirit of experimentation—that spurred Suhaila’s development of her now famous format. In “The Pharaonic Suite” we see her playing with these ideas, placing her movements on a solid “Home Position,” and building a foundation for a lifetime of work to come.

Subtle Irony

One of my earliest questions about this video was the title, Dances for the Sultan. It sounded so orientalist, so cheesy, so incongruent for a woman, dancer, and choreographer who has such great respect for and experience with Arabic culture and who has been such a strong advocate for women’s independence, strength, and fortitude. So, I asked. It turns out that the name is a bit of a joke. Tongue-in-cheek and ironic, it satirizes the role of the belly dancer in Arabic culture. It says to the iconic sultan, in his turban and salwar, sitting on his throne, smoking his shisha pipe, in control of everything he surveys, the paradigm of a Western idea of Oriental excess and indulgence: You want a dance? I’ll show you a dance.

Written by: Abigail Keyes (SSBD 5 and JSBD 5 certified instructor)

Performed by Suhaila Salimpour
Choreography: Jamila Salimpour and Suhaila Salimpour
Director: Francis Delia
Producer: Nine Muses
Videographer: Paul Nevitt
Editor: Tom Acito
Sound: Brett Lukezic
Music for Karnak Arranged and Performed by Farid Al-Atrash & Mohamed Abdel Wahab.
Copyright 1988 by Suhaila International, LLC (Nine Muses). All rights reserved.
What to Watch for in Suhaila Salimpour’s “Banat Iskandaria”

It’s easy to look back at a dance and only see it though a historical lens. We can identify certain movements as “dated” or a body line and position as from a certain time frame in belly dance history. The first dance off of Suhaila Salimpour’s 1988 video Dances for the Sultan, “Banat Iskandaria,” however, arguably still stands the test of time.

Contemporary Relevance

“Banat Iskandaria” straddles a stylistic line. This particular performance highlights one of Suhaila’s first forays into integrating very clear isolations of the rib cage and pelvis into her choreographies. While so-called “locks” and “pops”* of the torso and hips had been performed by dancers in the Middle East (Mona El Said’s full upper body locks come to mind), belly dancers had not so very distinctly made these movements into almost a gestural quality, attempting to separate each part of the body from the other.

Here we also see the beginnings of the layering system that Suhaila developed. Only a few minutes in, she dances Arabic 4 footwork, half-the-timing, with figure 8s front-to-back. This particular combination of movements appears time and time again in her choreographies, often with slight variations in the hips or hand gestures.

Of course, there are some gestures that reveal its era or origin (such as when Suhaila brings her hands to her eyes, pointer finger and middle finger extended, and pulls her hands away from her head symmetrically, a la John Travolta in Saturday Night Fever). And those who know Suhaila’s body of work can see elements that mark this choreography as from a particular period, such as how the hands frame the hips, palms in, when she performs Singles on the Down.

Otherwise, the movements and stylization of this particular piece could appear on many a belly dance stage and still be fresh. In fact, we see many of these elements embraced by the North American belly dance community, both in those dancers who perform more “cabaret” styles and those who perform more “tribal” styles. Turkish belly dance star Didem appears to reference this particular choreography quite a bit in her own performances, as she often integrates quick and direct isolations of the torso into her drum solos.

Innovation within the Belly Dance Genre

We also see clear Jamila Format steps, as always in Suhaila’s work. These are the steps that keep “Banat Iskandaria” firmly within the belly dance genre. Hipwork is always prioritized over tricks, musicality favored over experimentation. In the first taqsim, look for the default Running Choo Choo with Forward-Middle-Middle-Back, while turning counter-clockwise. We also can see variations of the Bounce Step, a default Salaam Step, a lot of Circle Step and variations, Samiha, and Arabic 2 variations.

There is a deliberate quality to all of the movements. Everything has been planned. Notably, also, even the taqsim sequences are choreographed, just as Nadia Gamal set her taqasim when creating her dances.

We see the inspiration of the tribal fusion “micromovements” that are so associated with that stylization in the keyboard taqsim of the baladi progression.

The Euro-American Concert Dance Upper Body Line

In general her upper body is quite upright. What this upright body also shows is the integration of what Suhaila talks about as the “ballet line.” When we watch ballet, we see very similar qualities in the dancers’ upper body. The head is often poised over the ribs and hips, a necessary placement for dancers in pointe shoes or who are often on the balls of the feet. Any deviation from this upright position is deliberate, planned, and controlled. She pivots her head on the top of her neck to the 45° angles learned at the ballet barre. When Suhaila drops into a backbend, it is done in a bound quality, rather than free-flowing. She takes her time to find the edge of the movement, just as a ballerina might take her time to find the edge of her cambre back. Indeed, Suhaila moves her head more than a typical classical ballerina (of course one could watch more contemporary ballet choreographies and see much more movement of the head and rib cage outside the vertical axis of the body). And at the same time Suhaila was integrating her years of classical ballet training into her belly dance performances, belly dancers in the Middle East were also integrating Euro-American concert dance elements into their performances.

Of course, there are the characteristic head releases and head rolls, but they are more contained than Suhaila’s later work. Later choreographies, as seen on Unveiled, and the improvised performances in the Suhaila Solo videorecording show a more free upper body than the one on Dances for the Sultan. The tribal fusion stylization is also marked by a bound neck and head, stacked over the dancer’s center of gravity except for backbends and some floorwork. This comes as no surprise when we learn that Rachel Brice cites this performance as one of her earliest inspirations.

Every time I watch this performance I see more. I see the beginnings of a style that many dancers today don’t even know that they are imitating. When I watch the myriad dancers from North America, I see the legacy of “Banat Iskanderia” in the body line, isolations, and musicality. There are very few performances which hold such a strong place in North American belly dance history. We can pin influences to particular dancers or instructors, but so rarely can we do it for a specific recording. I suspect “Banat Iskandaria” will continue to be relevant to dancers for many years to come.

*Belly dancers often use the term “pops and locks” to refer to quick and direct isolations of the torso and pelvis. In street dance, however, Popping and Locking are two distinct forms. Popping, a funk form from the late 1960s and early 1970s, features quick contractions of muscles, mostly in the limbs, but also in the torso. Check out this video from 1986 of Popping pioneer Skeeter Rabbit. Locking, often credited to dancer Don Campbell and his company the Campbellockers in the early 1970s, features quick gestures of the arms and legs, such as pointing. Watch this video of the dance group, The Lockers, on Soul Train in 1970.

Written by: Abigail Keyes (SSBD 5 and JSBD 5 certified instructor)