The name of the dance troupe - Rotana for "welcome back" - seemed peculiarly apt to their return to the Cairo last week, writes Nesmahar Sayed A success story that started with the coming into being of the Shalatin Dance Troupe following a foray of the Cultural Palace Organisation into the western half of the Red Sea governorate where the Arab Ababda and non-Arabic-speaking Bishariyya tribes preserve a distinct cultural heritage. According to Shalatin Cultural Palace head Rabie Mohammed, the troupe's purpose was to save the traditions and customs of the area from extinction: "The troupe has given many performances in the Red Sea and at various national festivals, like the Ismailia Folk Dance Festival. Over a decade of experience has not only honed the skill of troupe members but brought support from USAID and the Red Sea project Livelihood and Income from the Environment (LIFE) without in the least compromising their vision or working method. "The main benefit of such support is that it has enabled us to become more professional through acquiring excellent coaches and adding new instruments." Among the area's distinct instruments are the basencob and the embelhweid, the latter no longer used in Shalatin and therefore excluded from the troupe's ensemble. first came to Cairo for Environment Day 2006, where they performed at Al-Azhar Park. This time they were at the Nahr Theatre of Al-Sawi Cultural Centre with six pieces choreographed by Mahmoud Ouf, who started coaching them two years ago with LIFE, whose fund has raised the living standards of troupe members significantly. With the fund, Ouf also plans on enlarging the repertoire and confronting cultural and language barriers. Camel trader Tajessir, 20, says his family were opposed to him joining the troupe until it started to pay off financially. Like Shek Mohammed, he appreciates the opportunity to tour Egypt. Still, as Awad Karrar explains, tradition continues to prevent women from appearing on stage.
