WHAT MAKES A GOOD TEACHER?
By Vashti of Hinton, Alberta, with contributions by members of the Edmonton Belly Dance Community
Middle Eastern Dance, as we know it today, is rooted in a culture of oral tradition. Music and dance were learned by observation rather than by formal written texts. This naturally gives rise to many different interpretations and expressions, which gives the dance its unique and individual character. It also means that, despite current efforts to provide standard guidelines for teaching (notably by Hadia, Venus, and Beata and Horatio Cifuentes), there remains no universal standard for Middle Eastern Dance instructors. With that said, there are some basic qualities that all good teachers should posses. Whether you are a new student looking for a teacher, a current student looking to try a new teacher, or a seasoned dancer looking to start teaching your own class, the following guidelines may prove helpful:
A good instructor:
1. Gauges the students' abilities and personalities. Praise first, then work on the problem, for example: "Your posture is excellent, which is really important, but we need to work on the arm movement." Constant criticism leaves the students feeling rejected and hopeless.
2. Breaks the movement into steps. Every good instructor can do this. With that said, many native Middle Eastern dancers, including some of the great masters, teach with a “follow the leader” style. For the astute student, much can be learned from this style of teaching.
3. Makes the class fun and relaxed. Most of the students are not in belly dance to make a career of it. The instructor must still ensure the steps are done properly and to teach as if they do want to take the dance further.
4. Has a good working knowledge and use of the basic props such as zills and veils. The more experienced will be able to instruct in sword, shamadan, cane and Isis wings routines.
5. Has a good knowledge of performance venues; stage, restaurant, weddings, private parties (though never "men only" performances!)
6. Is a diplomat in and out of the classroom and must try to diffuse personality problems that may arise in belly dance, in the classroom and performance settings.
7. Helps each student who needs it. This can be difficult in a large class; the instructor does the best she/he can to provide individual attention when needed.
8. Refers students to outside resources such as suggestions for purchasing costumes and props, keeping students up to date on workshops and performances, recommending websites, being able to help find other instructors should the student relocate and want to continue the dance.
9. Organizes recitals, workshops, performances.
10. Refrains from forcing students to perform, especially when they are uncomfortable with the idea. Some people need more time than one set of beginner classes; some just don't want an audience watching them and never will. It is not a flaw; it's just how some people are. They can still be part of a show by doing some very important organizational things, and if not, will always be the best supporters of the performers in the audience.
11. Creates her/his own choreographies and encourages the students to really listen to the wonderful music and rhythms and try to create their own choreographies. Choreographies of master dancers are a great teaching tool, but the teacher must not always rely on them and should be able to teach her/his own material as well, and give credit where credit is due. A good dancer/instructor should also be able to instruct the how-tos and the whys of choreography.
12. Knows the more commonly used Middle Eastern rhythms by the counts, name and accent beats, is familiar with the most commonly used instruments, and is able to teach students about them, at least at a basic level.
13. Is knowledgeble with at least some of the great Egyptian classics, composers and singers such as Um Kalthoum, Farid al Atriche, and Abdel Halim Hafiz, as well as some modern and folkloric music, and knows the difference.
14. Answers all questions with patience and respect; students and prospective students should never feel stupid or hesitant to ask questions.
15. Is willing to allow prospective students to view or try a class to help them make their decision to take a class or not.
16. Is willing to recommend other instructors to current and prospective students; a good teacher does not disrespect or compete with other teachers and always considers the best interests of the students over filling her/his own classes.
17. Is knowledgeable about human anatomy and injury prevention, and takes time to ensure students are moving safely and are educated about safe movement.
18. Has taken at least three consecutive years of classes, at all levels, as well as numerous workshops, and continues to attend workshops and work with videos to upgrade her knowledge and skills.
19. Gives credit where credit is due regarding music and other dancers' choreographies, and educates students about the importance of following this practice.
21. Is familiar with at least some of the legendary Egyptian dancers such as Fifi Abdo, Sohair Zaki, Nagwa Fouad, and Tahia Cariaoca, as well as some of the top contemporary dancers.
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WHAT IS A PROFESSIONAL DANCER?
By Jamilee Abir of Abir's Casbah (Calgary) with additions from members of the Edmonton Belly Dance Community
Over the last ten years the Mid East dance population has grown considerably in Edmonton. In order to avoid undercutting and backbiting, defining professionalism is necessary. There is a whole range of basic components that dancers should have before the term �professional� can truthfully be labelled. Hopefully the guidelines outlined below will help define PROFESSIONAL DANCER STATUS. If a dancer doesn�t have at least 95% of the following she may still be at the Advanced Student Level.
1. Learning to move your body to the music, play basic rhythms on finger cymbals and wearing a pretty costume is only the START of becoming a professional Middle Eastern Dancer. At least 3 to 5 years of classes and workshops are necessary to achieve the skill levels & understanding of movement to music in order to move confidently & well. A professional can flawlessly perform both basic and complex combinations of movements & steps as improvisation and has performed both basic & intricate choreographies using the appropriate music & costume. A professional dancer must also be very comfortable and adept at reading and interacting with her audience. In most cases,this interaction is expected and is the highlight of the performance for many clients. CAN PLAY FINGER CYMBALS LIKE A DEMON!
2. Has knowledge of different dance styles, music and costuming and is able to use that knowledge appropriately for the various occasions & performances that the dancer maybe required to perform. (eg. Egyptian Cabaret, Egyptian Folkloric, American Cabaret, American Tribal Fusion, Tribal � Techno Fusion, African-Egypt. Fusion.) Know that some of these dance styles ( Amer. Tribal or Tribal Fusion) may not be accepted by Ethnic- Arab audiences. Wearing the right costume, ie. More covered or full dress for an Ethnic wedding & NEVER WEAR WHITE, you don�t compete with the bride!! Also more coverage for a school event or shows for children. This all has to do with cultural sensitivity.
3. Is able to perform to live Arabic Music as well as recorded music with good improvisational skills and has a repertoire of both oriental- cabaret stylings and folkloric dances of the middle east. Folkloric Examples. Raqs Assaya (Cane) Raqs Shamadan ( Candelabra, nice for Egyptian weddings) Saudi ( Khaligy Folkloric). Continues to attend classes & workshops to upgrade skills as well as connect with the dance community. Seeks and accepts feedback and criticism whenever possible. Is punctual, realiable and conducts herself professionally for all performances.
4. Has put together a good selection of music for performances cd�s . This is sometimes tricky. Some restaurants prefer the latest Arabic pop music or a lot of remixes using a strong disco sound backbeat on top of traditional Arabic pieces while others prefer more traditional & classical oriental or lively folkloric music. It�s a good idea to have 20 to 30 min selections of a bit of both with a good strong drum solo included in the mix. It is also important that cd�s be of consistant recording quality. Communicating with fellow professional dancers or your instructor about performance music is helpful.
5. Has a business based on Middle Eastern Dance performance, can be a part-time home based operation or works through a LEGITIMATE agency that is licensed and has a business ph. #. When working for an agency make sure that the agent is ADDING THEIR fee on to the AGREED upon fees by the professional dance community, rather than deducting their fee from your earnings (including your tips!) � BE SURE YOU ARE COLLECTING THE FULL RATE.
The current fee rates for Edmonton are:
*Private functions within Edmonton: 20-30 mins. $175-$200 /show
*Worskhops: 1-1.25 hours, $150; $125 for each additional hour
> if workshop includes a performance, the peformance fee is charged in addition to the workshop fee (a short demo of a 3 to 4 minutes in dancewear does not apply)
> if a studio must be rented for the workshop, the studio fee is charged in addition to the workshop fee.
*Group performance rates: 3 or more dancers- varies according to length & number of performances. Eg. 3 dancers perform 3 - 10min sets-$300-$500
*Out of town performance or workshop fees: add on hotel charges plus .55 /kil. or airfare as applicable
Anyone charging less that the above quoted fees is NOT a professional belly dancer.
Edmonton currently has a system in place where schedulers have volunteered to organize the dance schedules for restaurant performances. The schedulers ensure that restaurant shows are filled with good quality, reliable, professional dancers while ensuring that the dancers are treated with dignity and respect and get paid the current rates. They keep current on up and coming dancers and contact new dancers for shows as the need arises. The schedulers do not receive extra pay for this service, and they do NOT take a percentage of the dancers' wages or tips. It is a demanding and much appreciated service which requires them to accomodate restaurant owners' wishes, work around schedules and availability of other dancers, and often give up evenings off to cover shows on short notice if a dancer becomes ill.
6. Charges the set fees (see above # 5) agreed upon by the dance community and never undercuts. The importance of NOT UNDERCUTTING to get shows cannot be over emphasized. Undercutting hurts everyone, and you must consider the cost of all your costumes, music, gas for car, travel time, classes & workshops. ( Also may need to provide sound system on occasion.) Undercutting lowers the standards for everyone and makes it impossible to continue performing and costuming to the highest standards, which in turn cheapens our dance in the eyes of the public.
7. Demonstrates highest ethics when asked to substitute for a job for another dancer. Price undercutting and put-downs of any kind towards the other dancer in order to steal the regular job is NEVER done by a professional. This makes us all look bad.
8. NEVER accepts bookings for bachelor parties or private parties for men only. This not only sends the wrong idea about Middle Eastern dance, it puts the dancer in a potentially dangerous situation, even if she conducts herself with the utmost decorum. When negotiating a private booking, a dancer should always ask if the audience will be a mix of men and women.
9. Only performs family-friendly shows. If anything a dancer does resembles exotic dancing (removing clothing, etc), she is NOT a professional Middle Eastern Dancer.
10. Has business cards, photos & publicity material that looks professionally done and are reasonably up to date.
11. Researches information available to Mid-East dance enthusiasts, usually has a great stash of video�s, dvd�s, books, magazine articles & subscribes to such.
12. Has at least 2 (to start with & more will come later) professional quality cabaret or oriental style costumes, and several folkloric style costumes & a caftan style cover-up. All costumes should be in good condition whether oriental or folkloric, ( no uncovered bra straps) & must look great even for close up viewing. For professional performances, costumes must be professionally made � home made costumes will not do!. Be prepared to pay $600.00-$1200.00 per costume, in addition to purchasing proper shoes, jewellery, make up, zils, and other accessories. Costumes must look flattering for your body type and be properly fitted. Here arises the question of body type. Oriental dancers do generally have more public acceptance and leeway in terms of weight & age, HOWEVER a FIT, YOUTHFUL image is still the preferred type that will be hired for regular restaurant work. If you dance with a folkloric or tribal group, there is generally more acceptance towards a heavier & older body type.
TATOOS.& PIERCINGS: Because the cabaret and oriental style represents a more classical and traditional style of dance, large body tattoos & multiple obvious piercings are not acceptable to the Arabic community. Most restaurant owners don�t care for them either. They suit the American Tribal or Fusion Tribal looks more.
13. Volunteer performances such as charities or cultural celebrations may be requested. If the dancer chooses to participate, the benefactors are treated the same as if it was a paid engagement as far as the commitment goes. When approached to do charitable work, it is good practice to let the client know the current rate for professional performances and ask for a small honorarium or tax receipt in lieu of the regular fee. This let the client know the value of our services and helps them gain a greater appreciation of what we are doing for them. It is also a good opportunity to network & present your promotional material & will sometimes evolve into a paid engagement later.
Above all, dancing professionally must be treated like any other profession - a professional dancer treats her peers and clients with dignity and respect, conducts herself with professionalism and integrity, and continues to upgrade her skills and knowledge so she can always present herself and her art in the best light.
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TRIBAL VS FOLKLORIC/REGIONAL
With all of the new fusion forms arising in the Middle Eastern Dance world today, I have noticed a marked increase in confusion, particularly among new students, between the terms �Tribal� and �Folkloric�. This is quite understandable as they seem to imply similar concepts, and, on the surface, may even appear to be similar. In order to shed some light and clear some confusion, I would like to illustrate some of the differences between these forms.
Folkloric or regional dances are rooted in a particular culture and region. They are performed to music and in costuming that is specific to the region of origin. They have a long established history and are usually rooted in the daily lives and activities of the people of the region. For example, in Upper Egypt, men dance with large heavy sticks that they use as weapons to defend their families and homes. In the rural areas of Egyptian delta region, Fellahin dancers carry large jugs to represent women going to the well to gather water. Dancers from Alexandria and the Port Said areas wear sailor hats, making reference to the importance of sea port culture in these regions, and incorporate moves that depict daily activities such as tossing a fishing net (Alexandria) or using fishing knives (Ismalia, Port Said region). Hagalla dancers wear the flat-soled, ankle-length boots of the nomadic Bedouin tribes and sometimes carry and wave a small stick, making reference to the stick used by the women to herd their sheep. Khaleegy dancers wear the beautiful embroidered thobes that Saudi and Kuwaiti women don at parties when they want to dance with each other. People from these regions recognize and celebrate these dances as part of their culture.
Despite the sound of it�s name, Tribal is actually a modern, Western dance form which had it�s beginnings in the San Francisco Bay area of the United States. The term �Tribe� refers to the group of dancers, who work together to develop cohesive and unique costuming, make up and dance vocabulary that allows them improvise as a group. Using hand and arm signals agreed upon ahead of time, the dancers are able to signal when it is time to change movements, leaders, etc., allowing the dancers to create dances on the spot. The movements are largely borrowed from Middle Eastern dance traditions, as well as other traditions such as Flamenco, East Indian and even Hip Hop. The costuming borrows elements from all of these regions and dance forms as well, using them in different contexts than their original purpose. For example, the bare midriff is seen in Cabaret and Orientale styles of Middle Eastern dance rather than folkloric styles of Middle Eastern dance; the tassel belts are inspired by saddle blankets used for camels, and the turbans, worn by men in traditional cultures, are worn instead by female dancers. The music, created by western musicians for the purpose of the dance, is also influenced by a variety of musical forms.
If variety is the spice of life, then Middle Eastern dance, and all of its recent offshoots, continues to spice up the dance world and offer a little something for everyone.
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REGIONAL AND FOLKLORIC ELEMENTS IN RAKS SHARKI (Middle Eastern Dance)
When prospective students/clients contact me regarding classes or performances, one of the questions they ask most often is �what style do you teach/perform?� Since Raks Sharki (Dance of the Orient) is a hybrid of regional, folkloric and modern forms, this is a difficult question to answer. There are certainly individual differences in style. Some dancers are lively and outgoing while others prefer to be more internal or mysterious. Some use large, dynamic movements while others prefer subtle, precise movements. A really good dancer knows when and where to utilize all of these styles, and does so with grace and ease.
With that said, there are a number of common movements in the Raks Sharki vocabulary that can be found in the regional and folkloric dances of North Africa and the Middle East. The following list is not exhaustive; nor does it prove the origins of certain movements. Rather, it is intended to illustrate the hybrid nature of this dance form.
HEAD SLIDES:
- Khaleegy (Saudi Arabia, Bahrain, Kuwait)
- Bandari(Iran)
- Nubian (Southern Egypt, Sudan)
- Ouled Nail (Algeria)
- Persian (Iran)
SHOULDER SHIMMY:
- Khaleegy (Saudi Arabia, Bahrain, Kuwait)
- Bandari (Iran)
- Persian (Iran)
- Nubian (Southern Egypt, Sudan)
- Ouled Nail (Algeria)
- Ismalia (Port Said)
- Shikhat (Morocco)
- Ghawazee (Luxor)
CHEST LIFT/DROP:
- Ouled Nail (Algeria)
- Saiidi (Southern Egypt)
REVERSE UPPER BODY CAMEL:
- Khaleegy (Saudi Arabia, Bahrain, Kuwait)
CHEST SLIDE:
- Khaleegy (usually combined with a shoulder shimmy)(Saudi Arabia, Bahrain, Kuwait)
- Nubian (usually in a �>� pattern)(Southern Egypt, Sudan)
HIP TWIST:
- Tunisia
- Bandari (Iran)
- Ismalia (Port Said)
- Fellahin (Delta Region of Northern Egypt)
- Ghawazee (Luzor)
PELVIC DDROP/LIFT
- Ouled Nail (Algeria)
- Saiidi (Southern Egypt)
- Shikhat (Morocco)
FIGURE 8 HIP:
- Fellahin (usually with a heel bounce) (Delta Region of Northern Egypt)
TRAVELING SHIMMY:
- Hagalla (Marsa Matruh - Northern Egypt)
- Shikhat (Morocco)
- Ghawazee (Luxor)
- Ouled Nail (Algeria)
SHUFFLE STEP/CABARET STEP: (flat ball flat or ball flat ball)
- Khaleegy (Saudi Arabia, Bahrain, Kuwait)
- Bandari (Iran)
- Persian(Iran)
- Nubian (Southern Egypt, Sudan)
- Tunisia
- Fellahin (Delta Region of Northern Egypt)
LAME DUCK STEP: (variation - Egyptian Diagonal)
- Khaleegy (Saudi Arabia, Bahrain, Kuwait)
- Bandari (Iran)
- Persian(Iran)
- Nubian (Southern Egypt, Sudan)
- Ouled Nail (Algeria)
3 STEP TURN/EGYPTIAN TURN:
- Fellahin (Delta Region of Northern Egypt)
VEIL/SCARF:
- Ouled Nail (Algeria)
- Ismalia (Port Said)
- Tunisia
Information for this article was gathered from lectures, workshops, videos and live performances by Sahra Saeeda, Helene Ericksen, Hadia, Devorah, and Farahnaz. A huge thanks goes out to these very talented and knowledgeable dancers for their hard work and devotion in gathering and sharing this information.
WORD OF THE MONTH: In Sh'Allah - God Willing ("God Willing, this movement will get easier!")**************************************************************************************************************
AM I READY FOR INTERMEDIATE CLASSES?
As an instructor, this is probably the question I answer most frequently. While the answer may vary according to individual practice time, experience, and ability, there are a few general guidelines I like to offer students.
First of all, I recommend that all students take beginner class 2-3 times before moving on to intermediate. We cover a lot of movements in beginner class, some of which require fine muscle coordination that takes time to develop. It is not like being in grade school - you cannot fail this class and there is no shame in repeating! On the contrary, I admire and respect students who have the patience and persistence to repeat until they are ready.Here are some things to consider when deciding to move on:
- Can I do all of the movements comfortably, with relative ease (even the torso rotation)?
- Can I isolate the movements properly:
eg.Can I do a shoulder shimmy without shaking my bottom?
eg.Can I do a Hip Drop or Hip Release without dropping my head?
eg.Can I do a Head Slide without turning my face or tilting my head?
- Can I do the movements well enough to do them while traveling? While playing finger cymbals?
- Can I do the movements well enough to do two movements simultaneously:
eg.Can I do a Leg Shimmy and a Hip Circle at the same time?
eg.Can I do a Torso Undulation with a Basic Arabic?
Ultimately, the decision is yours. You will know when you are ready. Taking your time to learn the movements to the best of your ability is truly rewarding and will save you a lot of frustration. It will also help prevent injury. If your muscles are not yet strong enough to perform the basic moves, they may not be strong enough to perform more advanced moves, which may lead to injury. So please take your time and enjoy the process!****************************************************************************************************************
TURKIYE - MAGICAL, POWERFUL, OTHERWORLDLY
As promised earlier, I am devoting this issue to my recent travel adventures in Turkey. As space is limited, I will not be able to do this amazing country or unforgettable experience justice. I will provide a few highlights from each of the regions I visisted. For photos of this journey, please visit the Turkiye photo gallery. Click "Photos" at the top of this page, then select "Turkiye" from the pull down menu that will appear on the upper right hand side.
BODRUM
Our first stop was at Bodrum, a Mediteranean style resort town nestled on the bluer than blue Agean Sea. We arrived at sunset, with the slanted rays of the evening sun bathing the hillside of white-washed buildings in a pinky glow. The narrow, winding streets, densely packed buildings, and briliant bouganvillea let you know that you are not in Kansas anymore, kid. It was a perfect place to unwind after 15 hours in the air and over 10 hours in airports. Bodrum highlights include:
Zip Zip
We were blessed with the opportunity to drive into the mountains to the village of Zip Zip, a small co-op of carpet makers. While the atmosphere in the cities is definitely masculine, village life is characterised by a calm, peaceful feminine energy, so powerful it almost made me cry. We watched women of all ages making the most amazing carpets by hand. Some of us tried a little carpet weaving ourselves. As my weaving skills leave a lot to be desired, I have decided not to quit my day job and move to a small, mountain village. We visited people in their homes, humble, one-room earthen dwellings white washed with lime, and teraces heavy with fresh grapes. We were treated to a simple yet scrumptious meal, with all of the meats, vegetables, and herbs grown and prepared lovingly with their own hands. After diner we were treated to Raki, Turkey's national drink (a licorice flavoured liquor), and an exquisite belly dance performance by Usha, a lively, mischievious 4 year old who appeared to be the unofficial princess of the village. She shimmied, undulated, and rolled her belly as well as dancer I have seen. Not only was she skilled, she had amazing presence. This little one knew how to entertain. She pulled us up one by one and invited us to join her. She was like a little sponge, absorbing new moves from her new found friends.
Hamam
If you go to Turkey, you must visit the hamam (Turkish Bath). Picture this: A marble room topped with an ancient dome, marble benches along the wall with taps for hot and cold water, exquisite punched copper bowls for rinsing, and a heated marble slab in the centre. Imagine laying on that heated marble slab, singing the chakras with some dear friends, as your voices blend in perfect harmony and reverbate through the amazing natural accoustics. Our guide brought a doumbek and began to play some striking rhythms, as we got up and danced on that slab while others splashed us refreshing bowls of cool water. Then the massage - as you are lying on that wonderful, warm marble, the masseur scrubs you from head to toe, making you feel alive. Then comes the soap massage, where you are completely enveloped in suds while all your stiffness and soreness are melted away. And finally, the hydrotherapy baths, with alternating hot and cold water make you feel like a new person. If you go, be sure to check the times as many hamams are segregated and have different times scheduled for men and women. If possible, try to chose an historic hamam that retains its original dome. The older hamams have a much nicer ambiance.
Road to Pamukkale and Cappadocia
The drive through the countryside is not to be missed. The landscape changes every 10 minutes, from lush green forested areas to ancient, rolling hillsides, to rocky, uninhabitable terain, to endless fields of cotton and sunflowers. Here is where you experience the "real" Turkey - the familiar sound of horses hooves and carts carrying people to their fields at daybreak, livestock wandering freely. It's like stepping into the pages of a National Geographic.
Anatolia, the name of the Asian portion of Turkey, means "the end of the world". When travellers first came to this place, they thought that they were, indeed, at the end of the world. As we were rounding a corner near Mount Argeos, a volcano in the central region, we witnessed a vast sea of land, with a seemingly endless horizon softly obscurred by a gentle haze. I have never seen so much land in my life (coming from a prairie girl, that carries a lot of clout). If I were to imagine what the edge of the world would look like, this would indeed be it.
CAPPADOCIA AND PAMUKKALE
These two places are, quite possibly, the most otherworldly places on earth. Completely natural, yet so seemingly alien, Pamukkale's white travertine cliffs, full of mineral pools and swimsuit clad tourists, look like a scene from a surrealist painting, as though we were sunbathing on an iceberg in the frozen north. The healing waters of the thermal bath, bubbling over tumbled ruins, effervese like a glass of warm champaigne, making you feel completely alive, and thankful to be alive.
Cappadocia is equally surreal. When travellers first came to this region, dominated by miles of uneathly rock formations and endless caves, they thought that the rock formations could not have been created by nature. They called them the "Fairy Chimneys", believing they were created by fairies living in underground homes. For thousands of years, people have carved their existance out of these rocks. The early Christians who created vast underground cities in the region to escape persecution. Today, people still carve hotels, restaurants, clubs and even homes out of the caves in the hillsides.
Urgup
While in the city of Urgup, we had the good fortune to attend an open air concert by one of the country's most renown Saz players, a man who was incarcerated for politically subversive lyrics and rants at his shows. The hillside was framed by a number of small caves. We managed to claim one for ourselves. We spent a magical evening dancing in a cave by candlelight and eating freshly roasted sunflower seeds.
ISTANBUL
We arrived at Istanbul by night, with the full moon shining on the Bosphorus. We awoke to a stunning skyline of domes and minarets. This city, which spans two continents and three bodies of water, is truly amazing. The sights, smells, and sounds are overwhelming. There is simply not enough to be said about this city.
Galata Tower
Although the Tower itself is not particularly striking, the view from the top is amazing and definitely worth the trip. We were fortunate enough to ascend to the top at sunset. A huge, briliant red orb slowly descended behind the countless domes and minarets as the call to prayer rang out through the city from hundreds of mosques. My companions and I were deeply moved by this powerful experience.
Topkapi Palace
If you were to look up the word "opulence" in a visual dictionary, you would see an image of Topkapi Palace. It is opulence defined. It is even more luxurient and decadent than the Palace of Versailles. As you make your way through the huge complex, you encounter increasingly ornate buildings lavishly decorated from top to bottom. Every inch is adorned in exquisite detail - walls covered in beautiful hand-painted tiles, wooden doors inlaid with mother of pearl, fountains and alcoves decorated with delicate mosaics, rich carpets and tapestries, elaborately painted ceilings and the most amazing, beautiful guilded domes I have ever seen. Visiting the harem was a personal thrill for me. Aside from the tour guide that tried to rush us though in 20 minutes (what WAS that man thinking???), it is definitely worth the extra $15.00 entry fee. You would be hard pressed to find a more stunning piece of architecture. And where else can you walk down "the golden road", the hall where the favored women of the harem made their way to the sultan's boudoir. I found myself wandering around, mouth hanging open. I think my vocabulary was reduced to "wow" and "oh my God" for the duration of the visit.
This account is hardly exhaustive. There are so many things to see and do in this amazing country. Although I only spent three short weeks, I felt as though I had spent a lifetime. The engery of the ancient hills still runs in my blood. At my departure, I felt that I was leaving a part of me behind and I was reminded of the words of Kahlil Gibran in "The Prophet":
It is not a garment that I cast of this day
But a skin that I tear away with my own hands
And fain would I take with me all that is here
But how can I?
A voice cannot carry with it the tongue that gave it wings
And alone and without it's nest must the eagle fly across the sun.
Huge thanks to Hadia for making this amazing tour possible.
WORD OF THE MONTH: Serife - Cheers! (Turkish)
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