Review of Arab Dance Co. at Bristol Community Festival July 21st 
by Sarah Sparke - Published by Mosaic UK.

The name Bristol Community Festival (BCF) belies the enormity and popularity of this annual event in Bristol. Over two days festival goers can sample the cream of the Bristol club (Portishead, Massive Attack...) and arts scenes, shop till they drop at the bazaar (world clothing and artifacts which stretch over two fields), dine out on falafel, balti, japanese noodles etc and generally have a great time. And all for almost nothing - an entrance fee of just a few pounds has now replaced this being a free event.

There has been Arab dance at BCF since its beginnings; Wendy Buonaventura started the tradition and Jacqueline Jamal has continued for the last 13 years. Over the last ten years it has been a focus for Jacqui's company, Ghawazee, to do an end of year show before breaking for the summer. Over the last three, Karine Butchart, formerly a member of the company, has returned with her own students and this year Chas Whitaker has added his drumming students to complete what has now become a massive showcase of Arab dance: Eighty dancers, twenty musicians, countless sequins and a fan club of a few hundred to be precise.

Starting with a bang, this years show kicked off with a duet from Jacqui and Karine, resplendent in full tribal regalia in golds and magentas, stick dancing to live music from Chas Whitaker's band PanJam Drums with Jacqui's Lebanese Tabla player, John Sleiman. Tunisian Dance figured largely with Jacqui's group showing the range of movements which she has researched over the years and fondly remembers seeing first in a farmyard in the wilds of Tunisia. Karine's group showed her characteristic flair for group shape in choreography - striking an effective balance between entertaining the audience and showing the good relationships within the group. 

A brave new Beledi number from Karine's accomplished Bath group showed the tradition in a new light. Standing on the diagonal (a big theme in Beledi) they neatly achieved presenting Beledi as a group without losing the essential soulful feel of the dance. Using the Panther walk they advanced and withdrew from their audience and swept them along to the rousing rhythmic second part of the piece. Excellently rehearsed, cleverly choreographed by Karine, they looked slick in their slim Beledi outfits and moving as a body with beguiling and relaxed expressions. Two of the group, Carmen and Victoria also performed a striking duet 
choreographed by Karine to Hossam Ramzy's latin number from Sabla Tolo. Holding surprises aplenty for a transfixed audience, a great balance of traditional Egyptian technique, expertly executed, with some fiery Latin influence to match the beat. Other 'fusion' flair came from the dancers in Jacqui's company with a flurry of influences from Nubian, African, Spanish, Egyptian, Tunisian and Moroccan dance all happening on the stage at the same time. Phew. They pulled it off beautifully - a wow of colour and individual style doing justice to Jacqui's commitment to studying indigenous dances at their source.

A sexy veil number from new teacher, Anna Povey - bang up to the minute showing Shakira how its done, followed by Jacqui dancing to the Jah Wobble remix of Holly Valance's 'Kiss Kiss'. Jacqui was delighted to find Jah Wobble strutting his funky stuff again, a memory of his early heady days with Natasha Atlas when they were leaders of the music scene into the current fascination with all things eastern. In a flash of brilliance she collaborated with Bristol's beautiful Sudanese dancer, Rachel de Garang. The two have been compared as the black and white versions of each other. Tall, high cheekbones, strong white teeth, irresistible smiles, irrepressible hair (burning red/jet black), one as dark skinned as the other pale - each with trmendous energy, magnificent prescence and nearly four metres tall between them. They each explored their own and the other's technique - a Sudanese movement form Jacqui here and an Egyptian one from Rachel there. Splashes of fire, Nubia, great bursts of mutual enjoyment and a crescendo of flailing locks. Ably accompanied by John on Tabla, they left their audience weak with desire, revived only by Karine with a classic number using music by Le Cod D'Afrique. 

Karine has always had an intuitive feel for North African dance and now adds to this a control and Egyptian repertoire which uses pauses and statuesque posture to hold her audience and bend the music to her will. Interrupted by wild wheels and inscrutable expression, she captivates her audience, by turns drawing them in and casting them afar.

Both Karine and Jacqui danced solos with live accompaniment which were another highlight of the set. Karine danced with Panjam Drums with whom she regularly works and Jacqui a customary Tabla Solo with John Sleiman. Each were danced with their usual accomplishment and totally engaging of their audience. Bridging the two were some haunting Beledi Taqasim and a game with Sagat and audience. It was good to see two such skilled dancers at ease with themselves and each other, sharing the stage and having fun on a summer's afternoon.

A grand finale started with Jacqui's and Chas's beginners braving the stage, dancing and playing Saidi. The traditional appearance from Jacqui's son, Sammy (since his first one when Jacqui was seven months pregnant - never forgotten by the fans) and everyone up to boogie before collapsing exhausted at the beer tent - and that was just the audience. Next year promises all live music and a full length 90 minute show - don't miss it!