The 1998 Central Asian Dance Camp:
A Dream Come True
by Mary Ann  C. Bell

For the past 3 years, I've dreamed of having the chance to attend the Central Asian Dance Camp. Not only did my dream come true, but I had the incredible opportunity of taking class with guest teacher Qizlarhon Dusmuhamedova, People's Artist of Uzbekistan. The Uzbek Dance and Culture Society sponsored the event along with the New Mexico Dance Coalition. Ambassador Sodiq Safaev and the staff at the Uzbek embassy also assisted with Kizlarkhon's visit. Thank you all!

Held July 16-19, 1998 at Synergia Ranch in Santa Fe, New Mexico, the Central Asian Dance Camp was both a relaxing experience and an intense workout. The opportunity to study with a native teacher outside of her own country is very rare. Those of use lucky enough to participate this year made the most of our time with Kizlarkhon.

Kizlarkhon has performed not only on the concert stage and on television in her own country, but has shared her art on tour worldwide. I was lucky enough to see her perform along with Laurel Victoria Gray at the Smithsonian as part of the 1989 "Artists of Uzbekistan" tour organized by the Uzbek Dance and Culture Society. She was mesmerizing. Her technique is outstanding and she dances with so much grace and expression completely in character. Kizlarkhon is an accomplished dancer in all three styles of Uzbek dance — Bukhara, Ferghana, and Khorezm.

Camp coordinators Laurel Victoria Gray and Travis Jarrell also taught classes. Laurel and Travis are known both nationally and internationally for their expertise of Uzbek and Middle Eastern dance. Laurel teaches Persian dance at the Iranian Community School in Vienna, Virginia and is the Artistic Director of the Silk Road Dance Company. Travis, who has also studied Indian Kathak dance, is an Artist-in-Residence in New Mexico's public schools.

Classes each day began with a warm-up led by either Travis or Laurel. Travis taught a Bukharan style wedding dance (which, believe or not, we performed in beautiful, traditional costumes at the Saturday night dance concert in Santa Fe to a capacity crowd!) She also showed us a short improvised piece in the same style. Laurel's Classical Persian Etude was beautiful and flowing and quite a contrast to the fun, funky, energetic folklore dance, Bandari, which she also taught.

Central Asian dance focuses on the heart, shoulders, hands and face. Concentrating on using the upper body, movements are delicate, feminine, subtle, modest and lyrical. Steps are small and quick yet can really cover space. Using your eyes as a means of expression is very important. Without waiting for Laurel to translate, we knew instantly when Kizlarkhon was flirting, teasing or looking for a lost love, simply by the expression on her face and the carriage of her body.

Kizlarkhon is a consummate artist. Tirelessly she demonstrated combinations and steps, first moving up to tempo, then slowly, so we could see the exact placement of her feet, arms and head. Like ballet, all three Uzbek dance styles have basic positions of the arms and legs from which all the combinations and variations develop. I was fortunate to have a head-start on this since I have studied Uzbek dance with Laurel and also have the video," An Introduction to Uzbek Dance", which shows all the basic positions. Ferghana is the most lyrical of the three Uzbek styles and requires years of training. Like students in Uzbekistan, we started the Doire Dars ("drum lesson") as a way to become familiar with various rhythms and step combinations. It was quite a challenge. Kizlarkhon explained that it takes students at the Choreographic Institute in Tashkent a couple of years to master the Doire Dars since they spend weeks perfecting each step before adding a new one. And we only had four days!

The second choreography Kizlarkhon taught was Jonim Bolisanmi, a dance about love. She explained how to do each step and then related the movements to the words of the song. Phrase by phrase we worked on the right expression for each movement -- all the subtle things that add up to make a big difference. So much to remember: focus, plie, fingers together, arms not too far back or forward....

Synergia Ranch has a sense of timeless serenity. (Kizlarkhon kept saying that the ranch looked liked something from a cowboy movie!) Accommodations at the Central Asian Dance Camp are rustic yet elegant, with most of us having private rooms that opened up on a central courtyard and garden. The spacious dance studio, with its large mirror, was just a few steps away. Gourmet meals were prepared by Giovanna Volpe, an Australian chef at a local restaurant. Campers took turns helping with clean-up after meals, another chance to talk and get to know each other. Participants came from all over the United States and even the Isle of Man. While most of us had a background in Middle Eastern dance, one camper was a former member of the Joeffrey Ballet and another was a specialist in dance notation.

Dance notes and music were provided for each camper along with materials for our crafts project -- decorating veils according to old Persian and Uzbek technology. Lynda Hendrick gave an informative slide presentation and lecture on Persian costuming through the ages. We also had the chance to view rare dance video footage, including highlights of the 1997 Samarkand International Festival where Laurel was a judge. A Central Asian bazaar with fabric, jewelry, and dance items from Uzbekistan tempted us daily. We also managed to fit in a few hours of sightseeing and shopping in Santa Fe.

Even though classes were quite intense and we often danced seven hours each day, I found the experience both exhilarating and relaxing. All participants agreed that we want Kizlarkhon to return next year and that the Central Asian Dance camp should be extended to five days. So, on the last day of camp, when we all went to "tie" our wishes onto the Uzbek prayer tree, I had a new dream to think about for next year. I hope it comes true.

Mary Ann C. Bell is a member of the Maryland Company of Middle Eastern Dancers.