Model_Ashley Vee
Photography_unknown
motion graphic effects by George RedHawk
(google.com/+DarkAngel0ne)

And yet, another incredible masterpiece from Werner Hornung !
motion graphic effects by George RedHawk
(google.com/+DarkAngel0ne)

and when your lucid dream gets away from you, you get version 2
Digital Master Werner Hornung !
motion graphic effects by George RedHawk

(google.com/+DarkAngel0ne)

 

Farida Seif el Nasr

Farida Said Al-Nasr is an Egyptian actress who was born (1959) in the Agouza area of Cairo. She began her acting career when she was discovered by director Hossam Al-Din Mostafa and artist George Sidhom, who included her in the “Tholathy Adwa’a El Masrah” (The Theatre Lights Trio). Her most famous cinematic performances include “Min Fina Al-Haramy” (Who Among Us Is The Thief), “Badia Masabni," “Abnaa’ Al -Samt” (Children of Silence), and “Deil al-Samaka” (Fish Tail). Some of her most famous television performances include “Bedoun Zikr Asma’” (Anonymously), “Hamam Shaykh al-Arab," “Afareet Al-Seyalla” (The Demons of Al-Seyalla), and “Al-Rehaya." 
Source: elcinema 

Video: Farida Seif el Nasr (1987)

This is Cairo-born actress Farida Seif al Nasr and as you can see, she is a good dancer too. The scene is from the 1987 Egyptian film 'Al Zawga Taa'rif Akthar' (The Wife Knows Best الزوجة تعرف أكثر ) which also starred Farouk al Fishawi (in the light coloured suit), Salah Nizmi (in the dark suit) and Elham Shahein. ~ TheCaroVan

Video: Farida Seif al Nasr

This is Cairo-born actress Farida Seif al Nasr and as you can see, she is a good dancer too. The scene is from the 1987 Egyptian film 'Al Zawga Taa'rif Akthar' (The Wife Knows Best الزوجة تعرف أكثر ) which also starred Farouk al Fishawi (in the light coloured suit), Salah Nizmi (in the dark suit) and Elham Shahein. ~ TheCaroVan

Digital art by Luminokaya
motion effects by George RedHawk
(google.com/+DarkAngel0ne)

Original artwork by Tim Borgman

motion graphic effects by George RedHawk

(google.com/+DarkAngel0ne)

 

 

Original artwork by Adam Martinakis:

"It's never too late to sleep forever with somebody" 

motion graphic effects by George RedHawk

(google.com/+DarkAngel0ne)

 

Samara

 

 

Samara Belly Dancer

Samara is a famous Lebanese Belly Dancer from Iraqi descent. Samara's real name is Tahira (pure in Arabic); her artistic name was given to her by TV personality Gaby Lteif.

Samara started her professional Raqs Sharqi Oriental bellydance career in 1982 by accident. She got the support of the written press, but more importantly was adopted by Simon Asmar, the creator of stars (at the time at least). He propelled her forward with numerous TV performances on the shows he would be directing. (...) , she was the most popular because of this media coverage, and had a golden period between the mid 90s early 2000s. She was mostly admired for her demure performances, as opposed to what was happening on the scene at that time (vulgarity in belly dance performance) . Samara also managed to shoot a few music video clips featuring some of her belly dance tableaux.

In 1986, she became a mother and had to shortly stop dancing or making appearances. Because of problems with her spouse Tarek Osman which ended up in a divorce, her career was also put on hold and she disappeared for a long while before making a weak come-back in 2008.

Samara was however busy giving private dance classes and opening belly dance institutes in all countries of the Gulf, and in 1997 she opened her first Academy in Brazil. (...) ...

Source: http://www.fanoos.com/dance/samara_belly_dancer.html 

Video: Samara

Samara

Born in Baghdad the capital of Iraq, Samara moved to Beirut, Lebanon in the early 1980s as a student. There, she took dance lessons from famous bellydancer Nadia Gamal. The story is that Nadia Gamal asked Samara, "Do you want to be a dancer or do you just want the money?" When Samara replied that she wanted to learn to dance properly, Nadia Gamal encouraged her to practice hard and develop her own personal style.

Samara made her name in Lebanon being most popular during the mid-1980s. However, the 'Fanoos' website is unabashed in describing Samara as ‘…an average dancer with boring tableaux’. The site continues with a bit of background, “In 1986, she (Samara) became a mother and had to shortly stop dancing or making appearances. Because of problems with her spouse Tarek Osman, which ended up in a divorce, her career was also put on hold and she disappeared for a long while before making a weak comeback in 2008. Samara was however busy giving private dance classes and opening belly dance institutes in all countries of the Gulf, and in 1997 she opened her first Academy in Brazil.” There are holes in this backstory that we could shoot pumpkins through but there you go.....

Samara’s rise to fame seems to have been thanks to her connection with Simon Asmar, I guess you could say he was the Lebanese Simon Cowell of the time. Asmar developed talented artists, not only bellydancers but singers too, and showcased them via his tv talent show ‘Studio el Fann’. He also either directed or produced many of the Lebanese tv game shows where bellydancers or singers performed. The tradition continues as Asmar’s son Bashir has worked as a producer’s assistant on the Lebanese tv bellydance competition called ‘Hezzi Ya Nawaem’. For those who’ve never seen the show, its like ‘So You Think You Can Dance’ but with bellydancers only. ~ TheCaroVan

Video: Iraqi belly dancer Samara OLD FOOTAGE HQ  

Sulamith Wülfing (1901 – 1989)

Sulamith Wülfing (1901 – 1989)

"My drawings are a visual representation of my deepest feelings - pleasure, fear, sorrow, happiness, humor. And, to people attuned to my compositions, they may well be mirrors of their own experiences.
It is because of this that I have left the explanation of the drawings completely to the viewer, so that they are not bound by my interpretation of what each picture should be.
For me it is not a matter of creating illustrations to fit nursery rhyme themes. My ideas come to me from many sources, and in such harmony with my personal experiences that I can turn them into these fairy compositions.
My Angels are my consolers, leaders, companions, guards. And dwarfs often show me the small ironies and other things to make me smile even in life's most awesome events."
~ Sulamith Wülfing
She was born in Germany in 1901 and raised by very spiritual parents (her father was a Theosophist). The artist within her burst forth at the age of four. She had a very definite and personal style firmly developed before she received her first formal training at the Art College in Wuppertal. Graduating in 1921, she spent the next decade painting her vision of the world. When she married in 1932, she and her husband started a company to print and distribute her work. It was in existence until his death in 1976. Source: http://www.bpib.com/wulfing.htm

Grégoire A. Meyer_I Give You My Heart
motion effects by George RedHawk
(google.com/+DarkAngel0ne)
+Grégoire A. Meyer

Grégoire A. Meyer_"Prism" 

motion effects by George RedHawk
(google.com/+DarkAngel0ne)
+Grégoire A. Meyer 

Video: George RedHawk Motion Art_ Crying Spy 

Khaleegy, Khaleegi, Khaligi, Khaleeji

Englisch / Deutsch

Khaleegy, also known as "Thobe Nashaal" or "Thobe Nashaat", is a dance from the Saudi Gulf region. It is performed by women and is characterized by a special costuming style and movements. The thobe worn for this dance style is long and loose and is an active part of the dance as the performer manipulates the fabric and sleeves. Another key characteristic of Khaleegy style performances is a focus on hair movements, both hair flips and continuous hair spinning motions.

Photo by Bardulf

Nadia Nikishenko 

Video: Nadia Nikishenko. Khaleegy. USA 2014

Khaleegy is a joyful, lively, expressive, gestural and delicate dance performed in events involving happiness and celebration (like weddings). Women dance in complicity and it is often started with one of them standing alone in the dance floor to begin the dance, and then the others join her. The main movements of Khaleegy are done in a very feminine and rhythmical way. The main body parts involved in the dance are the hands, the head and the thobe itself; dancers move it to create undulating figures resembling the sea waves. The hands also make figures with different meanings: representing sea creatures like fish or turtles or they also can represent feelings. The hair, apart from the thobe is the main element used to dance Khaleegy: women let their long hair “dance” moving it from side to side, back and forth, in circle and making other figures. The meaning of this dance is related to the sea and water (because of the Persian Gulf and fishing) another of the objectives of Khaleegy is showing the region´s beauty, richness and the importance of petroleum.

Khaleegy is often danced to traditional Saudi music. The most used rhythms are Adani (from the Arabian Peninsula, original from Yemen) and Nagazy. The songs have lyrics and a good dancer must know their meaning in order to express the real significance of the song in their dance. Music is accompanied with the sound of palms.

Source: https://en.wikipedia.org/wiki/Khaleegy_%28dance%29

Video: Traditional Omani Khaleeji Arabic Song 

 Foto: Sakkara Katalog 2000

 Sakkara: Khaleegy - ein haariger Tanz

Der Khaleegy kommt aus der arabischen Region der Golfstaaten. Sein Name heißt nichts anderes als golfig, bzw. zum Golf gehörend . Die Golfstaaten, dass sind die Länder Kuwait, die Vereinigten Arabischen Emirate genauso wie Qatar und Teile von Saudi-Arabien und dem südlichen Iran. Wobei in der Region selbst dieser Tanzstil unter der Bezeichnung Raqs Na’ashat oder Samri läuft und ausschließlich von Frauen getanzt wird. Diese tragen dabei die sogenannte Thobe. Anlass für einen Khaleegy waren Feierlichkeiten, wie z.B. Hochzeiten.

Derzeit erlebt der Khaleegy eine internationale Renaissance und auch auf Youtube findet man immer mehr Einträge zu diesem Thema. Es gibt sogar DVDs mit Khaleegy als Lernmaterial... Frauen finden immer wieder zu Gruppen zusammen um miteinander zu üben und sich schief zu lachen, wenn nach einigen schönen schwungvollen Drehungen und Haarwürfen die Figur sich auflöst und die Tanzenden erstmal durch die Gegend taumeln bis sie sich wieder im Raum orientiert haben. Drehen mit gleichzeitigem Kreisen des Kopfes ist gar nicht so einfach und definitiv nichts für schwache Mägen. 

Die Kleidung beim Khaleegy: wenn man es ganz genau nimmt, sind es 2 Kleider übereinander. Das Unterkleid ist etwas mehr auf Figur geschnitten und auch aus einem dickeren Stoff als das Überkleid. Das Unterkleid ist nicht verziert und wird auch gerne in einer Kontrastfarbe genommen, um die Durchsichtigkeit des Oberkleides zu betonen und auch um schöne Farbkreationen zu schaffen.

Das Überkleid, die Thobe, ist in der Mitte reich mit Stickereien verziert und ist an den Schultern überschnitten. Man kann nicht wirklich von Ärmeln reden, eher einem breiten Schlitz im Stoff. Im Idealfall ist das Kleid aus einem durchsichtigen Seidenstoff, heutzutage hat hier aber auch schon Polyester Einzug gehalten. Der tiefe Ausschnitt und die Ärmelenden sind ebenfalls mit Faden- und Paillettenstickereien gesäumt. Polyesterkleider sind meist undurchsichtig, so dass ein Unterkleid nicht mehr zwingend notwendig ist.

Der Rhythmus / Tanzfigurenein Humpelschritt ist die Basis, der Takt wird auf 2 gezählt. Das reicht völlig aus um eine lebhafte Musik zu kreieren, die alle mindestens zum mitwippen oder mitklatschen bringt. Und wenn eine aus dem Frauenkreis anfängt zu tanzen, bleibt sie nicht lange allein. Es ergeben sich Linien und Kreisfiguren ohne dass man großartig darauf achten muss.

Das Überkleid ist meist nicht nur sehr weit sondern auch - für unsere Begriffe - zu lang. Dies bedeutet, es ist immer mindestens eine Hand damit beschäftigt das Kleid etwas anzuheben, damit man beim Tanzen nicht darauf tritt. Daraus ergeben sich sehr kokette Figuren, mit diesem weiten Kleid kann man sehr schön mit dem Publikum Verstecken spielen, seine Vorzüge andeuten und schäkern ohne dass es anzüglich wirkt.  Die Hand vibriert am seitlich rausgestreckten Arm, das eine oder andere Mal geht sie auch an das rechte Nasenloch. Dies soll von den Perlentaucherinnen herrühren, die sich die Nase zuhielten ehe sie abtauchten. Natürlich wird nur die rechte Hand genommen, denn die linke ist unrein - auch im Tanz.

Autor: Das Sakkara-Team

Video: Warda Maravilha | Khaleeji

Video: Khaleegy dance kaleegi belly dancing kuwait arabian gulf denver co

 

 

Master Digital Artist_Werner Hornung,
motion effects by George RedHawk
(google.com/+DarkAngel0ne)

Werner Hornung_"Don't settle for anything less",
motion effects by George RedHawk
(google.com/+DarkAngel0ne)

Weißgesichtseule - White-faced Scops Owl
("Transformer-Owl")