Flowers of Desert Plays With Tradition

When is a bump not a bump, and a grind not a grind? Maybe when their context changes--and context is everything for The Flowers of the Desert, a new dance company rooted in folk and cabaret traditions from the Middle East and North Africa.

In the first of three weekend performances of “Dances of the Orient” at the Fountain Theatre, hips circled and torsos shook. But the heavily loaded terms “bump and grind” were open to redefinition in light of the playfully direct and confident style of the dancers and the supportive responses of fans. Although their images inevitably echo belly dance stereotypes, these women clearly intend to create their dance as an art form and not to be consumed by male gazes.

Although each has a lively style, not all of the company’s dancers are technically adept, often lacking secure footing and the complex skill of getting various body parts in different time zones. For this, Kamala and founder/artistic director Laura stood out, beautifully mastering the rolling midriff, switching hips and jittery whole-body vibrations.

Taped music was generally compelling, but choreographic choices were often predictable. However, in dances such as the Tunisian water jug dance (by Zahra Zuhair), it all came together as the gloriously over-styled gold-lame dresses--costumes by Hallah Moustafa were stunning throughout--caught the light. Only here did dancers sometimes face each other, warmly suggesting the female-only social atmospheres in which the dance form developed.

Virtuosic cane dances were done by Zeyno and guest Ramy Eskander, while guest performer Carolyn Kruger’s Persian and Uzbek solos had a light, balletic style. Another guest, Muhammad Khordadian provided a short interlude of “Persian cool” with his mimed, satirical urban dance, “Shaateri.”