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> Read Review: Weekend Workshops with Amel Tafsout and Salah Dawson Miller
> Read Review: Glastonbury Dance Festival
> Read Review: Dareeja about Amel Tafsout
> Read Review: Horse Dance
> Read Review: Sufism - Breathing Movement & Healing
> Read Review: Orient Magazine (in German)
About Amel Tafsout's first company: BANAT AS SAHRA:
"Unterstuetzt wurden die Dissidenten dabei von den stolzen und erhabenen Taenzerinnen der Gruppe Banat As Sahara (die Wuestentoechter), die eigens fuer dieses Konzert und fuer einen Auftritt in der "Angel Casa Show" in Spanien geplant worden waren,.... .Banat As Sahara annimierten das Publikum vollends zu ungestuemen Beifallbekundungen.Sodass kurzfristig ein Zusatzkonzert im prunkvollen Studio 54 angesetzt werden musste."
Hollow SKAI, in Me/Sounds Jan.1986
"Die Motivation der Banat As Sahara liegt .... in der bewussten Reflexion der kulturellen Traditionen der arabischen Heimat (drei der fuenf Wuestentoechter stammen aus arabischen Laendern).Zwar traegt die Distanz zwischen dem Leben in Europa und dem Leben in der Heimat dazu bei, die traditionellen Taenze aufzugreifen, doch verkommen diese Darbietungen nicht in beschaulich nostalgischer Folklore.Die Entfernung zu Nordafrika laesst die eigene kulturelle Identitaet fragwuerdig werden als Abgrenzung zu europaeischen Kulturen und europazentrierter, nordafrikanischer Kultur."
Klaus Mehnert in IKA , Germany,1985
About AMEL TAFSOUT:
'Her dances will dispel these misconceptions - simple, spiritual dances that emphasise the lyrical and celebratory aspects of an ancient art form.'
MISS LONDON, 1990
'First gentle hand circle with light drops, soon the movement began to be more intense, leading to vivacious jumps, looking earthy and dignified, then a vibration followed making the whole body tremble. I thought: 'Here is she, the dancer of the Ouled Nayl, a dancer no longer existing, about who Amel has written. Amel appeared to me as the authentic great grandaughter of those proud Desert women, nevertheless performed by a modern woman who seems to have gone through a generation's span and who combines different worlds together.'
S.M.WENZEL in HALIMA (a German Oriental Dance magazine),1994
'Desert Storm II : An accomplished dancer and scholar ... The Maghreb muse. A very worldly woman. Dance anthropologist and choreographer Amel TAFSOUT enacts 'Where Africa meets the Orient'
METRO,Santa Cruz,USA,1996
'Amel (...) is disturbing. She does not easily fit the image of the Arab dancer and dance teacher, and eludes any attempt to nearly compartmentalise her: She looks Algerian, thinks Arab or African depending on how the mood takes her, feels a citizen of the world, moves easily between 4 languages, and dances so lightly, so effortlessly, you'd forgiven to think there was nothing to it.'
SPARERIB, June 1990, London.
'Amel is not only a highly talented dancer, whose style exemplifies the strength , grace and beauty of the women of her culture, but also a singer, writer, a linguist and an authority on Arabic and Berber Women's studies. (...). She helped us to open up and enjoy ourselves. She tried to inspire in each of us (...) a feeling of personal power and a spiritual attitude which is essential to the dance.'
by Helene,in HABIBI Magazine, Vol.16,no2,Santa Barbara, U.S.A.
'Dancer Amel had me mesmerised as she whirled and shimmied around the stage. By the end of the evening I was forced to conclude that she must have more joints than the rest of us, such was the fluidity and delicacy of her movements.'
Sue Parish in OFF THE BEAT,Lancaster,Oct.1993
'The very skilled and well respected Amel Tafsout.'
by Mohammed Hijazi, in the Arabic Newspaper EL HAYAT,London.1991
'She (Amel) performs a dance which does not recognise dividing lines between types of music and performance and which involves some degree of improvisation and spontaneous firing - off fro all involved. A dance involves (...) an approach which aligns itself more closely to flamenco, Indian and African dance ...'.M.T
FOLK ROOTS,London.July 1994
'There was more dance from the Algerian-born but London based Amel TAFSOUT,who opened the evening.Always graceful, she nevertheless reflected the enormous energy and excitement of the strongly percussive music to add an extra dimension to a truly remarkable evening.'
P.Rush in THE STAGE, Nov.1997.
'The second half consisted of Amel Tafsout.The scent of incense set the atmosphere of Arab spiritual dancing,especially "Nur El 'Ain" (Seing the Light )a tribute to those killed in Algeria that was very moving. Something I had never seen before was "Khamsa - the Dancing Hands" performed by Amel covered in a black veil, in total darkness, wearing fluorescent gloves that glowed eerily as her supple and expressive hands performed the most amazing movements. I am sure Amel is unique in her ability to spend an entire piece of music doing nothing but hand movements and keep the audience spell-bound throughout.'
C.Maynes in MOSAIC Dance Magazine,1998
'But the real highlight of the day was the workshop and show by Amel Tafsout. She coaxed a large circle of adults and children to learn some basic steps and mime. The children thoroughly enjoyed themselves and performed the mime with great gusto. We wished the workshop could have lasted longer. (...)
Amyl went to change and returned to the stage transformed in traditional dress - a wonderful, rich peacock blue and silver striped silk, her pantaloons were hand embroied by her mother as a young girl, bedecked with some very havy lookin silver jewellery and the piece de resistance, tribal tattoos. She looked absolutely stunning.(...) We were all treated to a rich tapestry of dances from Tunisia, Algeria and Syria - a huge variety of tempos, movements and moods, and all interpreted as only Amel can.'
C.Maynes in MOSAIC,Spring 1999.
'In ihrem Auftritt erschien Amel TAFSOUT mit Kerzen in der Hand, so dass am Anfang nur das Licht zu sehen war. In ihrer Kostueme, mit ihren langen Haaren and schwarzen Augen strahlte sie positive Energie aus. Schon bald hatte sie die ganze Aufmerksamkeit dern Zuschauerinnen.Sie schenkte dem Publikum Blicke und Lache.Ihre Gestik versprach Heilung und mir Pantomime bettete sie,wusch sich, verteilte Brot, wobei das alles mit der Bewegung der Schultern, der Schwingung der Hueften, den Tanzschritten und spiralen Drehungen im sich veraendernden Rhythmus der Perkussion eine faszinierende Zelebration wurde.Es war duch Tanz ausgedruckte Lebensfreude.Die ueber hundert Zuschauerinnen, mindestens neunzig Prozent der Frauen waren begeistert.
Auf Andringen der wegen dem Ausverkauf abgewiesenen Interessierten wurde die Vorstellung in gekuerzter Form wiederholt.Fuer diejenigen,welche sich gehen liessen, war es en Abend wie in guten, alten orientalischen Maerchen.'
Ali Saabethe Kaindas,Zurick,Switzerland.July 1999.
"Watching a performance by Amel Tafsout is a cathartic experience.(...)She dances from the very core of herself. Sensuality is expressed as power and generosity. She has a direct stare, a presence that can come only from the true knowledge of herself and her art. She is a unique performer and there is no one else who dances like her."
Beatrice Parwin, in Habibi,Vol.18,No 1 ,1999, Santa Barbara, USA
"Amel Tafsout, accompanied on drum by Salah-Dawson Miller, provided us with a third contrast in dance styles.The earthy rhythms of the drums and Amel's mesmeric hips and arms made you feel as though you were in a Berber's tent. I particularly enjoyed the scarf dance which gave Amel a magical look as though she was surrounded by a halo of swirling colours, emphasising her beautiful arm and hand movements. Amel has the ability to convey an incredible feeling of energy in her dancing - you could almost see the sparks flying from her hips. It makes it impossible to sit still when she's dancing - your feet twitch with the urge to join in.(...)"
Afra Al Kahira,1999
"Since I have known Amel I have always been touched by her deep sincerity and authenticity, as a performer, teacher, and as a person. In her performances she draws upon the many facets of her personality and experience. In her workshops she shares her inspiration with a generosity of spirit, and is the most wonderful storyteller."
Nicola Taylor,Mosaic,Winter 2000.
"Amel Tafsout - a spiritual woman (...)Her presence is tangible; with her dark, beautiful face, exotic eyes, all framed by her tousled black ringlet curls. She is a (...) strong woman with a powerful ambiance surrounding her, and yet is completely without pretense. She was at once imposing, yet utterly approachable. Her wide dazzling smile, and freely given hugs and kisses on the cheek make one feel like a friend of possibly long lost relative. She is patient and gentle, with an energy that seems to come from deep in her centre.(...)
The entrancing Amel opened the show as the honored guest. Though I had been working closely with her several days, I had not yet seen her perform a full routine. As the music began, she emerged from behind the make shift curtain, and one look at her foretold that this would be a special and important night for me. Amel was stunning in full costume and make-up Her head was wrapped in an intricate turban of fringed scarves and coin jewelry. Adorned with carefully applied facial "tatoos", and draped in layers of scarves and skirts, she practically floated to the stage, holding a candle in one hand, and an incense wand on the other. Her dances were mesmerizing, incorporating many of the movements we had so recently become familiar with. Every expertly casual motion reminded the audience that dance has been an integral part of her entire life. Her regal poise carried each tension filled shimmy with subtle control. She leapt and stomped with confidence, her intense gaze settling on each audience member in turn. Her seemingly effortless execution and her frequent eye contact truly connected her with her audience in a way that only a deeply soulful and skilled dancer can achieve.It was a rare and beautiful performance to behold."
by Mahirimah bint Habib " A metamorphosis before my eyes" in a Journal and Reviews of Oasis Dance Camp West,Oct.2000, USA
"The experience I had with Amel was so moving. It was like I spent two hours sitting across the table from a medicine woman. She had so much wisdom to offer and I left that day feeling enlightened. Amel reminded me why I dance. The strength, beauty, and dignity that goes along with this Dance means to me more than anything in the world."
"I am a dancer. I like dancing. Dancing is my joy. Dancing is my life. Dancing is my expression. Dancing is myself, she says."
by Erin Lybby ( Dancing with Joy: an interview with Amel Tafsout) in Caravan Trails, Winter 2001, USA
"...I took my goddaughter to a large Middle Eastern show.(...) As far as Amel was concerned, one title did not seem enough, she requires two :Amel was a queen and a priestess.(...)
"Amel will seem to you like a voyager between countries, cultures and languages. (...) Her technique of teaching focuses on sharing the spiritual energies which are part of each respective dance.(...) Each of Amel's movements comes from inside her and is charged with archaic energy. While Amel, the Berber woman, moves closer to the souls of the women, they in turn become more aware of their own strengths and are able to recover their spiritual balance through dance. The word "healing" is not mentioned but what happens here is nothing less than that."
by Gizella Hartmann, in Orient Magazine,, Germany, Nr.1.2002
"Strong woman, passionate, formidable cultural ambassador, internationally acclaimed, spiritual, Medicine woman, patient, gentle, academic, linguist, powerful ambience surrounding her"- All true. But there 's the rest: the humour"
Marian Watson in Mosaic, Winter 2001/2
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