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| "The Ghawazi: Back From the Brink of Extinction (For now)" Gilded Serpent, posted July,2009
In January 2009, I went to Egypt with the aim of visiting Khairiyya Mazin, the last remaining practictioner of authentic Ghawazi dance. It had been on my mind for six years since I met her in Cairo at the 2003 Ahlan Wa Sahlan Festival. At that time things looked dire for Khairiyya and the legacy of the Ghawazi.
|Link to Article|
| "The Legacy of the Ghawazi" Habibi, v. 20, no. 4, Fall 2005, p. 38-46
An overview of the origins and history of the ghawazi up to the present, including the American dancers that first discovered and studied with the Ghawazi. The evolution fo the ghawazi costume over 100's of years.
|"Ghawazi revisited: a party in Luxor" Habibi, v. 21, no. 1, Winter 2005, p. 40-47
Habiba recounts her experiences with the Banat Maazin Ghawazi in Luxor in 1985 and 1989. An in-depth description of a typical Ghawzi performance. The current plight of the Ghawazi tradition, in danger of extinction.
|Tunisian Images, Part I,The Home,Arabesque, v.6, no. 3, Sept-Oct., 1980, p. 14-15.
Being a guest in the home of a family in Dar Chabaane, Tunisia. Examines traditional family life and customs.
|Tunisian Images, Part II, Religion, Arabesque, v. 6, no.5,Jan-Feb. 1981, p. 15-16, 23.
The role of religion is everyday life is examined. Habiba visits a Saint's tomb (marabout) in the small town of Dar Chabaane, Tunisia and observes the pervasive influence of Islam on every facet of life.
|Of Henna & Weddings, Arabesque, v. 7, no. 3, Sept-Oct. 1981, p. 12-13, 33.
Learning that she is newly married, the women of Dar Chabaane give Habiba a henna party where she is fed tea and pastries while women henna her hands and feet. Traditional wedding gowns, facial tatoos and henna are discussed.
|The Ballet Nationale, Arabesque, v.7, no. 4, Nov-Dec., 1981, p. 4-5,21.
Habiba meets the director of the Conservatoire, Dr. Salah al Mahdi, Tunisia's school of traditional music and dance and registers for the beginner class at the school of the National Troupe of Tunisia. She studies with Habib Trabelsi and sees a rehearsal of the National Troupe performing the Scarf Dance (Raks al Maharem).
|In Search of Dance, Arabesque, v. 7, no. 5, Jan-Feb 1982 , p.
Habiba travels South to the island of Jerba, Tunisia, in search of the pot dance (Raks al Juzur).
|Tunisian Images, Learning The Dance, Arabesque, v. 8, no. 5, Jan-Feb, 1983, p. 4-5,28.
A look at the National Troupe of Tunisia. Habiba returns to Tunisia to continue studying. She moves on to specific technique for the Raks al Juzur (pot dance) and the Raks al Maharem (scarf dance).
|Of Brides and Glory, Arabesque, v.8, no. 6, Mar-April , 1983, p. 6-7, 26.
Habiba gets a job dancing raqs sharqi at the Tunis Hilton and spends her spare time going to weddings.
|Men of Tunisia, Arabesque, v. 9, no. 5, Jan-Feb., 1984., p. 10-12, 29
Habiba and her husband, Ron, experience firsthand pleasures of Hamamet a renowned playground for the international crowd. They are the guests of Aly Ben Salem, Tunisia's most famous artist and are plunged into the world of the rich and famous. She also attends groom's night wedding ceremonies and witnesses the traditions of two different Sufi Societies: Sulamiyyah and the banned Isawiyyah.
|A Party in Luxor|
| Party in Luxor, Arabesque, v. 11, no. 4, Nov-Dec 1985, p. 10-11, 19-20,
Habiba's first visit to Luxor in order to meet the Benat Maazin Ghawazi. Not being there for any scheduled performances of the Benat Maazin, they arrange their own Ghawazi performance.
|Purveyor to the Stars|
| Purveyors to the Stars, Arabesque, v. 12, no. 1, May-June 1986, p. 12-13
Shopping in Cairo including Mahmoud Abdel Ghaffar Haberdashery Shop, Mme Abla and galabiyya heaven: the village of Kerdessa.
|The Hagallah Revisited|
| The Hagallah Revisited, Arabesque, v. 15, no. 6, Mar-April 1990, p. 12-15.
The dance performance called the Hagallah is from the Awlad Ali bedouin in the western desert of Egypt near Mersa Matruh. The tradition of the Hagallah involves sending a female member of the wedding party to dance for the men. The origins and subsequent theatricalization of the tradition is discussed.
|Musk and Amber|
|Musk & Amber Parts I-III Arabesque, v. 18, no. 6, Mar-April 1991, p. 12-14; v. 19, no. 1, May-June 1992, p. 6-7; v. 19, no. 2, July-Aug 1992, p. 5-7.
Andalusian music and dance from the Arab perspective: The living tradition of Andalusian Music and dance as found in North Africa. Habiba discusses the legacy of Ziryab, the history of the Arabs in Spain, the invention of the poetic form, the Muwashsha, and the musical form, the Nuba. Also, the role of women in Andalusian music and dance, the legacy of Andalusian Spain in Tunisia, and costuming for Arab-Andalusian dance.
|Bookends to the Fair of 1893|
|Bookends to the Fairs of 1893: 1897 & 1904, Arabesque, v. 19, no. 4, Nov-Dec. 1993, p. 6-9.
Early Middle Eastern dancers in America including a Tunisian dancer doing the scarf dance (Raks al Maharem) at the US Centennial Exposition in 1876, dancers at the Louisiana Purchase Exhibition (Universal Exposition) in St. Louis, 1904, and the Philadelphia National Export Exposition in 1898, including a Little Egypt sighting.
|Belly Dance: The Enduring Embarrassment|
Belly Dance: The Enduring Embarrassment, Arabesque, v. 21 no. 4, Nov-Dec 1995, p. 11-13.
This paper was originally given at the Middle East Studies Association (MESA) Conference on December 8, 1995 in Washington, D.C. It was presented in a panel entitled "Public Culture in Arab Societies I: National Culture and Performance Arts." Examines the history and social context of Raqs Sharqi (belly dance) in Egypt. Habiba analyzes the movements and feeling that make the dance unique.
|Habiba...A Self Portrait|
|Habiba: A Self-portrait,Crescent Moon, Sept-Oct, 1997, p. 5-6. The people and places that inspired Habiba to follow her path.|
Cairo Diary, Bennu, v. 1, no. 1, 1999, p. 7, 10, 11.
While cat-sitting in Cairo Habiba takes the pulse of the dance community. Lessons with Ragia Hassan, Nadia Hamdi, and a visit to Om Said and Mme Hikmet, costume-makers.