{"id":2443,"date":"2019-05-09T18:34:03","date_gmt":"2019-05-09T17:34:03","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2443"},"modified":"2023-08-22T11:13:31","modified_gmt":"2023-08-22T10:13:31","slug":"nelly-fouad","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/nelly-fouad\/","title":{"rendered":"Nelly Fouad, Raqs Sharqi &#8211; Innovation in Movements (5.5.3)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter is-resized\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-belly-dancer.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-belly-dancer.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-belly-dancer-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-belly-dancer-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-belly-dancer-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-belly-dancer-267x400.jpg 267w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Nelly Fouad the bellydancer\" class=\"wp-image-2457 lazyload\" style=\"width:300px;height:450px\" width=\"300\" height=\"450\"  sizes=\"(max-width: 300px) 100vw, 300px\" \/><noscript><img decoding=\"async\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-belly-dancer.jpg\" alt=\"Nelly Fouad the bellydancer\" class=\"wp-image-2457\" style=\"width:300px;height:450px\" width=\"300\" height=\"450\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-belly-dancer.jpg 600w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-belly-dancer-200x300.jpg 200w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-belly-dancer-533x800.jpg 533w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-belly-dancer-355x533.jpg 355w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-belly-dancer-267x400.jpg 267w\" sizes=\"(max-width: 300px) 100vw, 300px\"><\/noscript><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">(Continuing on the section on Raqs Sharqi in Egyptian Cinema and TV (1970s and Early 1980s) <\/p>\n\n\n\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_88 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6ab5bc13a963b\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6ab5bc13a963b\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/worlddanceheritage.org\/nelly-fouad\/#The_Early_Career_of_Nelly_Fouad\" >The Early Career of Nelly Fouad<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/worlddanceheritage.org\/nelly-fouad\/#Main_Characteristics_and_Movements_of_Nelly_Fouad_as_a_Dancer\" >Main Characteristics and Movements of Nelly   Fouad as a Dancer<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/worlddanceheritage.org\/nelly-fouad\/#Outward_Vertical_Hip_Figures_of_Eight\" >Outward Vertical Hip Figures of Eight<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/worlddanceheritage.org\/nelly-fouad\/#Movement_Style_of_Nelly_Fouad\" >Movement Style of Nelly Fouad<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Early_Career_of_Nelly_Fouad\"><\/span>The Early Career of Nelly Fouad<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Nelly Fouad (\u0646\u064a\u0644\u0644\u0649 \u0641\u0624\u0627\u062f), as Evanoff (2012) reports, was born in Alexandria and she first became famous in Lebanon, before returning to Cairo.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Her career spanned from the late 1970s to the 1980s and one of her teachers was Raqia Hassan (whom I will talk about in 5.7.1, because of the great influence she has had over modern raqs sharqi dancers).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Raqia encouraged Nelly to start teaching. She still teaches in Raqia\u2019s annual Ahlan wa Sahlan festival in Cairo and she has also appeared in volumes 10 and 11 of Raqia\u2019s instructional DVDs.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nelly Fouad did not appear in many movies, but she appeared on TV and the fact that she teaches at international festivals means that her style has influenced dancers worldwide.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Main_Characteristics_and_Movements_of_Nelly_Fouad_as_a_Dancer\"><\/span>Main Characteristics and Movements of Nelly  <br>Fouad as a Dancer<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Nelly Fouad\u2019s main characteristic is being an innovator. However, while Nagwa Fouad innovated through her dance productions, Nelly innovated by introducing new movements, as Naima Akef did during the Golden Ages.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thus, she draws her artistic resources from the movement vocabulary domain.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These new movements, which I will list more extensively in Table 25, are now part of the Raqs sharqi movement vocabulary.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Some of these movements were in Soheir Zaki\u2019s repertoire as well (the tossing of the head with back to the audience, the pelvic tilts with weight transfer, and the Egyptian walk), but Nelly Fouad did a lot more inventive variations and layering.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In a Raqs sharqi TV performance from the 70s called Raks Nelly (PrinceKayammer, 2013), it is possible to appreciate many of her intricate hip layerings, fast spins and innovative movements and traveling steps, such as gliding across the stage with tiny steps and hip shimmies, \u2018her famous &#8220;shuffle&#8221; (choo choo) shimmy on demi pointe\u2019 (Evanoff, 2012, para. 9).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Outward_Vertical_Hip_Figures_of_Eight\"><\/span>Outward Vertical Hip Figures of Eight<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Nelly Fouad first used the maya (outward vertical hip figures of eight) in Egypt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Raqia Hassan once said that \u2018it was the first time she had seen the movement which she calls &#8220;maya&#8221;. . . Raqia says that that move must have come from Alexandria as dancers in Cairo were not doing that move at that time\u2019 (Evanoff, 2012, paras 10, 11).<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad.jpg 325w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-233x300.jpg 233w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-311x400.jpg 311w\" decoding=\"async\" width=\"325\" height=\"418\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Nelly Fouad the Egytptian dancer\" class=\"wp-image-2454 lazyload\"  sizes=\"(max-width: 325px) 100vw, 325px\" \/><noscript><img decoding=\"async\" width=\"325\" height=\"418\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad.jpg\" alt=\"Nelly Fouad the Egytptian dancer\" class=\"wp-image-2454\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad.jpg 325w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-233x300.jpg 233w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-311x400.jpg 311w\" sizes=\"(max-width: 325px) 100vw, 325px\"><\/noscript><figcaption class=\"wp-element-caption\"><strong>Figure 25<\/strong> &#8211; Nelly Fouad (Evanoff 2012) <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The name maya, according to some American sources, was given to this movement by Jamila Salimpour after the dancer Maya Medwar, who danced in the USA in the 1960s (El Safy, 1994; Sciacca, 2015; Shelaby, 2015).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">We do not know where the Maya originated from and who did it first, but I have not seen it in any Egyptian videos of raqs sharqi I have analyzed, before Nelly Fouad.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It is now a very common component of the Raqs sharqi vocabulary.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Another set of movements, which I had not noticed before Nelly Fouad, and which shows transculturality, are movements that are reminiscent of dances from the Gulf (<span style=\"text-decoration: underline;\"><strong><a href=\"https:\/\/www.academia.edu\/download\/45403043\/Lo-Iacono-and-Brown-2016-Beyond_Binarism_Exploring_a_Model_of_Living_Cultural_Heritage_for_Dance-AM.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Lo Iacono, 2016<\/a><\/strong><\/span>).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For example, the handshaking with an open palm and chest lifts (video n. 027, min 08:24) and kneeling with head tosses side to side (video n. 027, min 08:33). Table 24 summarises Nelly Fouad\u2019s style.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Movement_Style_of_Nelly_Fouad\"><\/span>Movement Style of Nelly Fouad<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-movement-style.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-movement-style.jpg 536w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-movement-style-300x161.jpg 300w\" decoding=\"async\" width=\"536\" height=\"288\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Nelly Fouad movement style\" class=\"wp-image-2466 lazyload\"  sizes=\"(max-width: 536px) 100vw, 536px\" \/><noscript><img decoding=\"async\" width=\"536\" height=\"288\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-movement-style.jpg\" alt=\"Nelly Fouad movement style\" class=\"wp-image-2466\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-movement-style.jpg 536w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/nelly-fouad-movement-style-300x161.jpg 300w\" sizes=\"(max-width: 536px) 100vw, 536px\"><\/noscript><figcaption class=\"wp-element-caption\"><strong>Table 24<\/strong> &#8211; Nelly Fouad movement style (from the PhD of Dr Valeria Lo Iacono, 2019)<\/figcaption><\/figure>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\"><strong>Next Page &gt;&gt; <span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/choreological-analysis\/\">Sociological and Choreological Analysis of Egyptian Cinema and TV (1970s and 1980s)<\/a><\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>(Continuing on the section on Raqs Sharqi in Egyptian Cinema and TV (1970s and Early 1980s) The Early Career of Nelly Fouad Nelly Fouad (\u0646\u064a\u0644\u0644\u0649 \u0641\u0624\u0627\u062f), as Evanoff (2012) reports, was born in Alexandria and she first became famous in Lebanon, before returning to Cairo. Her career spanned from the late 1970s to the 1980s [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2453,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[20],"tags":[],"class_list":["post-2443","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-raqs-sharqi"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Nelly Fouad, Raqs Sharqi - Innovation in belly dance movements (5.5.3)<\/title>\n<meta name=\"description\" content=\"Nelly Fouad the belly dance. 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