{"id":2739,"date":"2019-05-11T19:02:30","date_gmt":"2019-05-11T18:02:30","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=2739"},"modified":"2023-08-17T18:38:13","modified_gmt":"2023-08-17T17:38:13","slug":"randa-kamel","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/randa-kamel\/","title":{"rendered":"Randa Kamel Laban Dance Analysis \u2013 The Powerful Dance (5.7.3)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/randa-kamel-dancer.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/randa-kamel-dancer.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/randa-kamel-dancer.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/randa-kamel-dancer-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"randa kamel dancer\" class=\"wp-image-2747 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/randa-kamel-dancer.jpg\" alt=\"randa kamel dancer\" class=\"wp-image-2747\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/randa-kamel-dancer.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/randa-kamel-dancer-300x169.jpg 300w\" sizes=\"(max-width: 560px) 100vw, 560px\"><\/noscript><\/a><\/figure>\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-6ab5bc48520ad\" 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-6ab5bc48520ad\" 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\/randa-kamel\/#Introduction_to_Randa_Kamel\" >Introduction to Randa Kamel<\/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\/randa-kamel\/#Background_on_Randa_Kamel\" >Background on Randa Kamel<\/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\/randa-kamel\/#Videos_Analysed_of_Randa_Dancing\" >Videos Analysed of Randa Dancing<\/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\/randa-kamel\/#Laban_Analysis_of_Randa_Kamel_Dance_Movements\" >Laban Analysis of   Randa Kamel  Dance Movements<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/worlddanceheritage.org\/randa-kamel\/#Western_Audiences\" >Western Audiences<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/worlddanceheritage.org\/randa-kamel\/#Observations_on_Randas_Style\" >Observations on Randa&#8217;s Style<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/worlddanceheritage.org\/randa-kamel\/#Expression_of_Feelings\" >Expression of Feelings<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Introduction_to_Randa_Kamel\"><\/span>Introduction to Randa Kamel<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Randa Kamel is extremely famous among practitioners worldwide because she travels a lot for teaching and also because her very energetic style is very appealing to foreigners.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She is one of the first Egyptian dancers who is more famous abroad than she is in Egypt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I found all the information I have about Randa\u2019s life and dance views online, in interviews that she has given either for blogs (El Safy, no date b; Sullivan, no date; Zahara and Shahin, 2012) or on videos that are available on YouTube or Vimeo (Beltran, 2010; OrientExpressTV, 2010; Dubinina, 2011; Samir, 2013) or on DVD (Senkovich, 2008).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The reason why she is not so famous in Egypt could be because she has not appeared in any movies or on TV, so the general public does not know her, as much as they know, for example, Dina or Fifi Abdou.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Sullivan (no date, para. 29), \u2018whereas once dancers could become household names by appearing in movies and on TV, over the past couple of decades those opportunities have dwindled, with oriental dance all but disappeared from cinema and TV screens\u2019.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel.jpg 263w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel-191x300.jpg 191w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel-254x400.jpg 254w\" decoding=\"async\" width=\"263\" height=\"414\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Randa Kamel\" class=\"wp-image-2750 lazyload\"  sizes=\"(max-width: 263px) 100vw, 263px\" \/><noscript><img decoding=\"async\" width=\"263\" height=\"414\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel.jpg\" alt=\"Randa Kamel\" class=\"wp-image-2750\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel.jpg 263w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel-191x300.jpg 191w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel-254x400.jpg 254w\" sizes=\"(max-width: 263px) 100vw, 263px\"><\/noscript><figcaption class=\"wp-element-caption\"><strong> Figure 31<\/strong> &#8211; Randa Kamel at the International Belly Dance Congress in the UK, 2009<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Background_on_Randa_Kamel\"><\/span>Background on Randa Kamel<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Randa Kamel was born in Mansoura, Egypt, and she started dancing ballet at the age of 12, but two years later she joined <a href=\"https:\/\/worlddanceheritage.org\/reda-troupe\/\">the Reda Troupe<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She spent seven years dancing folklore, before becoming a soloist Raqs sharqi dancer.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She usually mentions in interviews (Zahara and Shahin, 2012; Samir, 2013) how her family (from El Mansoura, a very conservative city) was against her dancing, but she did not give up because she loved dancing.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She studied psychology at university, has a low-key private life, and is very passionate and serious about her profession (Samir, 2013).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She has a strong personality and she once said: \u2018I never like to accept failure and I don\u2019t know how to give up . . . to be a dancer I struggled a lot, but I persisted and I loved it\u2019 (Senkovich, 2008, sec. Interview).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 5.7.9, I will analyze how her background and personality might have influenced her dance and the way in which her style contrasts so neatly (as it will be explained further on in this section) with the styles of other dancers.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Videos_Analysed_of_Randa_Dancing\"><\/span>Videos Analysed of Randa Dancing<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">As a reference, I selected just two examples, as they show the evolution of her style.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first one is a performance on Egyptian TV, from the start of Randa\u2019s career, maybe in the 1990s or very early 2000s (WardaElHosny, no date).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this video, her signature style is already very defined, but there is still a small degree of similarity with Dina.<\/p>\n\n\n\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe class=\"lazyload\" data-src=\"https:\/\/www.youtube.com\/embed\/X1yWMC7OmAk?feature=oembed\" title=\"Randa Kamel on TV show &quot;1001 nights&quot;\" width=\"1080\" height=\"810\"   allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The second one is from a festival in Switzerland in 2011, where her style is fully developed (EsquisseOrient, 2012).<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe class=\"lazyload\" data-src=\"https:\/\/www.youtube.com\/embed\/wEIoPnwulfw?feature=oembed\" title=\"Randa Kamel\" width=\"1080\" height=\"608\"   allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Laban_Analysis_of_Randa_Kamel_Dance_Movements\"><\/span>Laban Analysis of  <br>Randa Kamel  Dance Movements<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\/Randa-Kamel-dance-style.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel-dance-style.jpg 452w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel-dance-style-293x300.jpg 293w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel-dance-style-390x400.jpg 390w\" decoding=\"async\" width=\"452\" height=\"463\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Randa Kamel dance style\" class=\"wp-image-2755 lazyload\"  sizes=\"(max-width: 452px) 100vw, 452px\" \/><noscript><img decoding=\"async\" width=\"452\" height=\"463\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel-dance-style.jpg\" alt=\"Randa Kamel dance style\" class=\"wp-image-2755\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel-dance-style.jpg 452w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel-dance-style-293x300.jpg 293w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/Randa-Kamel-dance-style-390x400.jpg 390w\" sizes=\"(max-width: 452px) 100vw, 452px\"><\/noscript><figcaption class=\"wp-element-caption\"> <strong>Table 36<\/strong> &#8211; Randa Kamel\u2019s style and Laban analysis<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In Table 36 Randa\u2019s style emerges as very different from every other Egyptian dancer analyzed so far.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She innovates expressing a type of energy and movement qualities, which are the complete opposite of the traditional Raqs sharqi feeling. Randa was inspired by the dancers of the golden age, in particular, Samia Gamal and Naima Akef, as she admitted herself many times.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She always states in interviews that nobody taught her Raqs sharqi and she learned all by herself, but that she has learned a lot by watching Samia Gamal and Naima Akef on videos (Zahara and Shahin, 2012, para. 6).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Of other dancers,\nRanda said \u2018I loved <em>Suhair Zaki<\/em> for\nher amazing hips; <em>Mona Said<\/em> for her\nbeautiful arms, <em>Fifi Abdou<\/em> for her\ncommanding presence, and <em>Nagua Fouad<\/em>\nfor her way of putting a show together\u2019 (Sullivan, no date, para. 11). Randa stated about her style:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">I mix it up. You\u2019ll see some ballet, some folklore, you\u2019ll see some of my own moves, you\u2019ll find a move from Soheir Zaki, a move from Samia Gamal. You\u2019ll find moves from all the people I love. (Senkovich, 2008, sec. Interview)<\/p>\n<cite>(Sullivan, no date)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Those who have\nseen Randa perform agree that her style is very strong and powerful, for some\neven aggressive. This is what some of my participants said about Randa\u2019s style:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Randa . . . has a really strong persona. She demands attention on the stage . . . I think that\u2019s inspiring and also the strength in her, actual, physical strength. (Lorna)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I was never sure about Randa, but Randa grew on me, because Randa is very, very powerful. (Ann)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dina: she has a distinct style of her own. . . . Many try to be like her and none has succeeded. Randa Kamel used to resemble her a lot, but she has diverged to a more energetic (almost aggressively so) style. (Leena)<\/p>\n<cite>Three comments above fom research participants (Dr Valeria Lo Iacono, 2019)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Randa herself\nstates that hers is a conscious decision to make the dance more powerful<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">I always like the dancer to have power. To me, the dancer should always be strong . . . she must have energy . . . power, continuous movements. I don\u2019t like soft moves . . . I don\u2019t want anyone in the audience not feeling my moves. Everyone watching must be pulled into my dance.<\/p>\n<cite>(Senkovich, 2008, sec. Interview) <\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Western_Audiences\"><\/span>Western Audiences<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">This very powerful style is very appealing to Western audiences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Randa once commented (Sullivan, no date, para. 6) \u2018I\u2019ve had many foreigners come to see me . . . and I notice that they sit transfixed, watching every movement\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Egyptians do not like Randa\u2019s style as much as foreigners do, as it looks too harsh to them. According to Kay Taylor (no date, para. 2), \u2018Randa is . . . &#8211; a powerhouse &#8211; her performance is electric.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Much admired by foreign dancers, she is not as popular amongst Egyptians\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This could be due to the fact that, in Randa\u2019s style, \u2018what you won\u2019t see, perhaps, is much softness\u2019 (Sullivan, no date, para. 15).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Yasmina of Cairo quotes the chief of Randa\u2019s orchestra in Cairo as saying (Sullivan, no date, paras 16, 17): \u2018We\u2019re always hoping she\u2019ll be a bit more \u2018<em>delaa\u2019.<\/em> . . . (In other words, soft, teasing and coquettish)\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One of the reasons for Randa\u2019s focus on strength and power, rather than softness, may be a reaction to society\u2019s common views on women and dance. She once said (Senkovich, 2008, sec. Interview):<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">In Egypt, here, most people define dancing as the representation of a woman\u2019s beauty, that she seduces men, because dancing attracts men. I totally oppose this, because dancing is an art . . . that\u2019s why I don\u2019t like to dance seductively . . . I like to show people that I am a true dancer, not just a body in a costume.<\/p>\n<cite>(Senkovich, 2008)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Observations_on_Randas_Style\"><\/span>Observations on Randa&#8217;s Style<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">My analysis of Randa\u2019s style from the videos reflects these observations.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In terms of Laban analysis, I have observed that the majority of Raqs sharqi dancers\u2019 style is usually, for the most part, indirect.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Whatever their individual styles, the trajectory of their moves is mostly soft, sinuous, indirect. Randa is the complete opposite.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Her style is mainly direct, with straight legs and arms and direct, assertive trajectories while moving in space.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Moreover, most of her movements have a sudden quality and a bound flow, which increase the sense of power and strength.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Even her shimmies are extremely powerful, so much so that \u2018her whole body, from the tips of her feet to the top of her forehead, vibrates with high energy\u2019 (Sullivan, no date, para. 14).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Expression_of_Feelings\"><\/span>Expression of Feelings<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Expressing feelings in dance is very important for Randa and she also mimics the songs and uses gestures, like Fifi, Dina, and Dandesh.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">She often points out the importance of feeling and dancing from the heart. For example, in an interview, she said (Beltran, 2010):<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">When I am dancing I never do choreography . . . choreography for me, just for teaching . . . but when I dance in Egypt, or anywhere, I dance from my heart.<\/p>\n<cite>Beltran (2010)<\/cite><\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There are many videos of Randa online that can be seen, all live performances where she is dancing in Egypt, on the Nile Maxim boat, or abroad at festivals all over the world.<\/p>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\">Next Page &gt;&gt; <strong><span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/camelia\/\">Camelia from the 2000s,  the extremely assertive dancer<\/a>.<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Introduction to Randa Kamel Randa Kamel is extremely famous among practitioners worldwide because she travels a lot for teaching and also because her very energetic style is very appealing to foreigners. She is one of the first Egyptian dancers who is more famous abroad than she is in Egypt. I found all the information I [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2747,"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-2739","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>Randa Kamel Laban dance analysis, movement, and videos<\/title>\n<meta name=\"description\" content=\"Introduction to Randa Kamel and Laban dance analysis of her belly dance movements. 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