nagwa fouad

Nagwa featured on many of the covers of the Ahmed Fouad Hassan LP's/CD's. To me, she seems quietly courageous, with an indomitable spirit. She invested tremendous amounts of capital in her shows. Some of her kind gestures have been unnoticed but by a few. She raised her, sending her to university and buying her a big house following her marriage. . Besides Hassan and El-Zoghbi, there was the actor Ahmed Ramzy; dance director and choreographer Kamel Naem; and Director of the Vice Police, Mohammed El Sobi. Another time I had gone to costumer Madame Abla near Mohammed Ali Street, and Nagwa was just leaving after checking on some costuming details. Leaning towards her in hushed tones he detailed what the dancers had worn, the music used, the audience members and their response. Her charismatic personality was instantly and intimately transmitted to the audience, causing a kind of collective ecstasy—all the more surprising to me knowing she had back pain from recent surgery following an automobile accident. I had heard that Nagwa had a daughter, although I’d never met her. . 11 Hermitage Street, Crewkerne, Somerset TA18 8ES, England. The two most famous raqs sharqi dancers of the time, Soheir Zaki and Nagwa Fouad, both started their dancing career earlier in the 1950s and 60s. “During this time women were very strong. From the late 1970s and the 1980s, we can see examples of her famous musicals, influenced by her research in folkloric dances. She was Egypt’s representative.”. It means we have made a bridge between liking and respecting.”, Nagwa surrounded herself with the best artists in the business: a fifty-piece orchestra with virtuoso musicians, solo vocalists, costume designers, and a support team of technicians, publicists and business managers. She wanted to be informed. But Nagwa was already, in her typical fashion, thinking ahead. For the next ten days I followed her around the festival functions and informal outings, first in San Francisco and then in Los Angeles. I had a dream and it came through. Without a hint of annoyance from her, she tossed her thick shoulder-length red hair and jumped up. We must think about the future to have more happiness than the past.’ That was the idea behind the dance. Elevate the woman as something you love.” I asked how this philosophy influenced his work with Nagwa. She attended theatre productions in London and New York and was up-to-date on international events and celebrity gossip. Nagwa Fouad acted and danced in several movies, performed for famous people from all over the world when they went to Egypt, produced and starred in about one hundred television musicals and was considered one of the most famous raqs sharqi dancers in the Arab world in the 1970s. After a short exchange, I pressed on, putting aside all pretenses of formality, and blurted out, “How do you do that shimmy?” I was referring to her signature vibration, sustained and powerful. As glorious as her career achievements are, and as adored as she is by fans around the world, Nagwa’s personal life has had its ups and downs. Your email address will not be published. While I was writing this article, I put in a call to Amal Bakir, a mutual friend who is the cultural editor at Al Ahram. For other forms of dance from the Middle East, see Middle Eastern dance. There were the female Pharaohs, Hatshepsut and Cleopatra. The following two tabs change content below. Students complete auto-marked assessments, and watch … Folgendes muss noch verbessert werden: Vollprogramm. (Arabic: نجوى فؤاد‎, Egyptian Arabic: [ˈnæɡwæ foˈʔæːd]; born 1939) is a famous Egyptian belly dancer. Art and Drawing Dance. I introduced myself and said that I would be interested in interviewing her for Habibi, then owned by the Zalots. There was much ado in the gossip columns about the presumed romance between the two, but she protested to a reporter, “I could not have anything to do with him, nor with any pro-Zionist or pro-Israeli,” and that she was a “half Egyptian, half-Palestinian woman. She wanted to be on top, and once she had defined where that pinnacle was, she worked hard to maintain her reputation. Both were ambitious and hardworking, eager to stretch boundaries and conquer new territory. His creative expertise in dance theatre and extensive knowledge of the regional dances of Egypt brought an inventive element to Oriental dance—original, stage-worthy feature-length productions. “It was one of the best shows I’ve danced because I depended on the movement and not the look. Shock briefly crossed her face, but once she was assured that no one had been hurt, she said, “Maleesh” (too bad) with a steady voice and turned back to the living room. Her parents moved to Jaffa when she was just a few months old and Nagwa’s mother sadly died shortly after. Now into her sixth decade Nagwa looks better than ever, as demonstrated by the very recent cover photo for this issue. Except for the occasional limited nightclub appearance or special concerts, Nagwa would no longer dance at continuous engagements. And did she ever look over her shoulder for up-and-comers, one might wonder? At a serendipitous first meeting in 1986, Mohammed Khalil impressed me with his approachable manner, flexible imagination and intuitive sensitivity. “I think the most difficult part of my life is now because I am at the top and I have to keep myself there,” a rare frown crossing her face. All rights reserved. El Safy (2001) reports that Nagwa Fouad was born in Alexandria, Egypt, from an Egyptian father and a Palestinian mother and the family moved to Jaffa, soon after Nagwa’s birth. Nagwa now has three grandchildren. In the film You who were my beloved from 1976 (ArabClassicFilms, 2011b), a more energetic style appears, in line with the trend spotted in the previous timeframe. I think just her exuberance is fantastic. And can you believe, Nagwa was only fifteen!” The vice police hadn’t been so amused. I can’t work with you because there is only half the group, only half of a country—and the bad half, the desert half!” He continued, “Without woman in the country, in the home, to love and influence you, you can’t do anything. Nagwa’s ascending star began to assume super-nova proportions as she made innovative changes that would transform the way Oriental dance was regarded. “Art,” she said, “is not linked with age or nationality; it is linked with creation and presence and if the artist can give and enjoy, she must continue to perform.” Like a spring pouring forth its deep waters, Nagwa keeps giving to her craft, her audience and to the world. She does that big chest shimmy quite a lot . I thought about it coming true. I asked her what was wrong? Also, there seems to be a growing interest in trying to legitimize dance as an art form. Nagwa!” She showed her appreciation, waving her hand in the air and laughing. I remember commenting to a member of my band that Nagwa was so kind and thoughtful. This site uses Akismet to reduce spam. Nagwa’s life was completely focused on her dance, and he wanted a family. 2) gives an insightful account of what it was like to see one of Nagwa’s shows live: One evening in a Cairo hotel, I think I remember counting (or maybe I stopped counting when I reached 58) the number of musicians on stage for Nagwa’s show. I am a westerner who does not speak much Arabic and am unaware of the many subtleties of meaning and complexities of Egyptian culture. Goodyear (2011, para. A year or two before her last show at the Marriott’s Empress Nightclub, I saw an inspiring display of choreographic memory. He convinced her to perform live at the most prestigious music and dance show in the 1960s called Adwa El Madina (City Lights) which had featured such superstars as Shadia, Abdel Halim Hafez, Fayza Ahmed, and Sabah. Belly Dancers in Contemporary Egyptian Media (5.7.6), Introduction to the Analysis of Egyptian Raqs Sharqi as Living Dance/Heritage (5.1), Naima Akef – Laban Analysis & Movements (5.3.3), Sociological and Choreological Analysis of Raqs Sharqi in Egyptian Cinema and TV (the 1970s and 1980s), Feelings, Dancer/Audience Interaction and Kinaesthetic Empathy, Continuing this section on Raqs Sharqi in Egyptian Cinema and TV (1970s1980s) we look at Soheir Zaki – The ‘Truly Oriental’ Performer >>, How to Draw and Paint Dancers in Movement. Nagwa kept her hand on the pulse of the entertainment industry both in Cairo and abroad. “In 1948 our house was blown up by Zionist gangs, and we lost everything. It’s a well-known fact that Nagwa commanded a high price for her dance extravaganzas, but everything she earned she put back into her shows, relying instead on her film career for personal income. The dancer comes [on stage] and does some sexy movement. . Required fields are marked *. According to El Safy (2001), Nagwa’s dance creations were the result of her collaboration, from 1975 to 1992, with the choreographer Mohammed Khalil who had extensive experience of theatre dance and great knowledge of Egyptian local dances.

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